% Journal and proceedings papers that score as NIME-related and are in neither archive. % Generated by analysis/tools/score_journals.py. Not curated. @inproceedings{hoggan2009audioortacti, author = {Eve Hoggan and Andrew Crossan and Stephen A. Brewster and Topi Kaaresoja}, title = {Audio or tactile feedback}, booktitle = {Proceedings of the SIGCHI Conference on Human Factors in Computing Systems}, year = {2009}, pages = {2253--2256}, doi = {10.1145/1518701.1519045} } @inproceedings{fremerey2007ademonstrati, author = {Christian Fremerey and Frank Kurth and Meinard Müller and Michael Clausen}, title = {A Demonstration of the SyncPlayer System.}, booktitle = {ISMIR}, year = {2007}, doi = {10.5281/zenodo.1415586} } @inproceedings{mainsbridge2014nontactilege, author = {Mary Mainsbridge}, title = {Non-tactile Gestural Control in Musical Performance}, booktitle = {Proceedings of the 2014 International Workshop on Movement and Computing}, year = {2014}, pages = {146--149}, doi = {10.1145/2617995.2618021} } @article{hansen2002thebasicsofs, author = {Kjetil Falkenberg Hansen}, title = {The Basics of Scratching}, journal = {Journal of New Music Research}, year = {2002}, volume = {31}, number = {4}, pages = {357--365}, doi = {10.1076/jnmr.31.4.357.14171} } @inproceedings{xu2026moxartaudiov, author = {Tianyu Xu and Sieun Kim and Qianhui Zheng and Ruoyu Xu and Tejasvi Ravi and Anuva Kulkarni and Katrina Passarella-Ward and Junyi Zhu and Adarsh Kowdle}, title = {MoXaRt: Audio-Visual Object-Guided Sound Interaction for XR}, booktitle = {Proceedings of the 2026 CHI Conference on Human Factors in Computing Systems}, year = {2026}, pages = {1--16}, doi = {10.1145/3772318.3791929} } @article{emmerson2001fromdancetod, author = {Simon Emmerson}, title = {From Dance! to “Dance”: Distance and Digits}, journal = {Computer Music Journal}, year = {2001}, volume = {25}, number = {1}, pages = {13--20}, doi = {10.1162/014892601300126070} } @inproceedings{knutzen2014vibrotactile, author = {Håkon Knutzen and Tellef Kvifte and Marcelo M. Wanderley}, title = {Vibrotactile Feedback for an Open Air Music Controller}, booktitle = {Lecture Notes in Computer Science Sound, Music, and Motion}, year = {2014}, doi = {10.1007/978-3-319-12976-1_3} } @article{hinojosa2020electronickh, author = {Laddy Patricia Cadavid Hinojosa}, title = {Electronic_Khipu_: Thinking in Experimental Sound from an Ancestral Andean Interface}, journal = {Computer Music Journal}, year = {2020}, volume = {44}, number = {2-3}, pages = {39--54}, doi = {10.1162/comj_a_00561}, abstract = {Abstract A khipu is an artifact used in the ancient Inca Empire and previous Andean societies to process and transmit statistical and narrative information. It is known as one of the first textile computers, a tangible interface encrypted in knots and strings made of cotton and wool. This system was widely used until the Spanish colonization that banned and destroyed many of the existing khipus. This article presents the creation process of the Electronic_Khipu_, a new interface for musical expression. It takes the form of a MIDI controller, inspired by the original Incan device. The Khipu has been converted into an instrument for interaction and experimental sound generation by weaving knots with conductive rubber cords, thereby encoding musical compositions. The article goes on to document the implementation of the electronic instrument and evaluate its use in live performances. The research also explores the work of significant artists in this conceptual line who, from a decolonial perspective, have transformed and incorporated the khipu into different contemporary expressions of electronic sound art. These works, along with the practical example cited with the Electronic_Khipu_, suggest alternative practices of tangible live coding, computer music, and data sonification. Creative work with sound continues a legacy, almost lost in colonization, of the ancestral practice of weaving knots as code. In addition, some ideas will be presented to enhance the instrument's performance in the future.} } @article{arbel2018symbalineane, author = {Lior Arbel and Yoav Y. Schechner and Noam Amir}, title = {Symbaline: An electromagnetically actuated wine glass instrument}, journal = {Journal of New Music Research}, year = {2018}, volume = {47}, number = {5}, pages = {476--491}, doi = {10.1080/09298215.2018.1465983} } @inproceedings{fayet2024vivovideoana, author = {Matéo Fayet and Diemo Schwarz and Vincent Tiffon}, title = {VIVO: Video Analysis for Corpus-based Audio--Visual Synthesis}, booktitle = {Journées d'Informatique Musicale}, year = {2024}, url = {https://hal.science/hal-04576894v1}, abstract = {Audio–visual corpus-based synthesis extends the principle of concatenative sound synthesis to the visual domain, where, in addition to the sound corpus (i.e. a collection of segments of recorded sound with a perceptual description of their sound character), the artist uses a corpus of images with visual perceptual description (colour, texture, detail, brightness, entropy, movement), in order to create an audio–visual musical performance by navigating in real-time through these descriptor spaces, i.e. through the collection of sound grains in a space of perceptual audio descriptors, and at the same time through the visual descriptor space, i.e. selecting image frames from the visual corpus for rendering, and thus navigate in parallel through both corpora interactively with gestural control via touch sensing. We extend here this principle to the analysis of videos constituting the visual corpus, by adding video-specific descriptors. The artistic-scientific question explored here based on the realisation of a concrete performance piece is which visual descriptors are suitable for multi-modal interaction and how to integrate them via real-time video data analysis into a corpus-based concatenative synthesis sound system with the aim of creating an embodied multi-modal audio–visual experience.} } @inproceedings{xu2024dancecraftam, author = {Ruilin Xu and Vu An Tran and Shree K. Nayar and Gurunandan Krishnan}, title = {DanceCraft: A Music-Reactive Real-time Dance Improv System}, booktitle = {Proceedings of the 9th International Conference on Movement and Computing}, year = {2024}, pages = {1--10}, doi = {10.1145/3658852.3659078} } @article{moore2019choreography, author = {Rosanna Moore}, title = {Choreography in R. Murray Schafer's The Crown of Ariadne—Technical or Theatrical?}, journal = {Contemporary Music Review}, year = {2019}, volume = {38}, number = {6}, pages = {624--644}, doi = {10.1080/07494467.2019.1706348} } @article{stroppa1986elementidiin, author = {Marco Stroppa and Goffredo Haus}, title = {Elementi di Informatica Musicale}, journal = {Computer Music Journal}, year = {1986}, volume = {10}, number = {1}, pages = {100}, doi = {10.2307/3680303} } @inproceedings{j2001tonetableamu, author = {Bowers, J.}, title = {TONETABLE: A Multi-User, Mixed-Media, Interactive Installation}, booktitle = {DAFx}, year = {2001}, url = {https://www.dafx.de/paper-archive/2001/papers/bowers.pdf} } @inproceedings{wu2023unlogicalins, author = {Zhen Wu and Ze Gao and Tristan Braud}, title = {Unlogical instrument: Material-driven gesture-controlled sound installation}, booktitle = {Designing Interactive Systems Conference}, year = {2023}, pages = {86--89}, doi = {10.1145/3563703.3596643} } @inproceedings{bertini2006aninteractiv, author = {Graziano Bertini and Massimo Magrini and Leonello Tarabella}, title = {An Interactive Musical Exhibit Based on Infrared Sensors}, booktitle = {Lecture Notes in Computer Science Computer Music Modeling and Retrieval}, year = {2006}, doi = {10.1007/11751069_8} } @inproceedings{s2001expressiveco, author = {Serafin S. and Burtner M. and Nichols C. and O'Modhrain S.}, title = {Expressive Controllers For Bowed String Physical Models}, booktitle = {DAFx}, year = {2001}, url = {https://www.dafx.de/paper-archive/2001/papers/serafin.pdf}, abstract = {In this paper we propose different approaches to control a real-time physical model of a bowed string instrument. Starting from a commercially available device, we show how to improve the gestural control of the model.} } @inproceedings{merrill2007thesoundofto, author = {David Merrill and Hayes Raffle}, title = {The sound of touch}, booktitle = {CHI '07 Extended Abstracts on Human Factors in Computing Systems}, year = {2007}, pages = {2807--2812}, doi = {10.1145/1240866.1241044} } @inproceedings{merrill2008thesoundofto, author = {David Merrill and Hayes Raffle and Roberto Aimi}, title = {The sound of touch}, booktitle = {Proceedings of the SIGCHI Conference on Human Factors in Computing Systems}, year = {2008}, pages = {739--742}, doi = {10.1145/1357054.1357171} } @article{bernard1991theupicasape, author = {Pierre Bernard}, title = {The UPIC as a performance instrument}, journal = {Contemporary Music Review}, year = {1991}, volume = {6}, number = {1}, pages = {47--57}, doi = {10.1080/07494469100640051} } @inproceedings{rodrigues2017avirtualmusi, author = {André Montes Rodrigues and Marcelo Knorich Zuffo and Olavo da Rosa Belloc and Regis Rossi Alves Faria}, title = {A Virtual Musical Instrument for 3D Performance with Short Gestures: Exploring Mapping Strategies with Virtual Reality}, booktitle = {Lecture Notes in Computer Science Bridging People and Sound}, year = {2017}, doi = {10.1007/978-3-319-67738-5_18} } @article{jathal2017realtimetimb, author = {Kunal Jathal}, title = {Real-Time Timbre Classification for Tabletop Hand Drumming}, journal = {Computer Music Journal}, year = {2017}, volume = {41}, number = {2}, pages = {38--51}, doi = {10.1162/comj_a_00419}, abstract = {The plethora of electronic drum controllers on the market today are designed for “location-oriented” striking techniques, resulting in an interaction paradigm for finger drumming that is increasingly “controllerist.” Interfaces such as these use the controller in the manner of a musical instrument rather than a simple mixer. The minority of controllers that allow hand-drumming techniques also either conform to region-based triggering design, or, in a trade-off for expressivity, skip out on hardware connectivity options that are vital to the context of the electronic rhythm producer. This article describes the design and implementation of HandSolo, a real-time, timbre-classification drum controller that allows the use of natural hand-drumming strokes, while offering the same end-goal functionality that drum controller users have come to familiarize themselves with over the past decade.} } @inproceedings{skuse2020disabledappr, author = {Amble Skuse}, title = {Disabled Approaches to LiveCoding, Cripping the Code}, booktitle = {International Conference on Live Coding 2020}, year = {2020}, doi = {10.5281/zenodo.3939238}, abstract = {The project takes a Universal Design approach to exploring the possibility of creating a software platform to facilitate a Networked Ensemble for Disabled musicians. In accordance with the Nothing About Us Without Us (Charlton, 1998) principle I worked with a group of 15 professional musicians who are also disabled. The group gave interviews as to their perspectives and needs around networked music practices and this data was then analysed to look at how live coding software design could be developed to make it more accessible. We also identified key messages for the wider design of digital musical instrument makers, live coders and performers to improve practice around working with and for disabled musicians.} } @inproceedings{hamilton2014musicalsonif, author = {Robert Hamilton}, title = {Musical Sonification of Avatar Physiologies, Virtual Flight and Gesture}, booktitle = {Lecture Notes in Computer Science Sound, Music, and Motion}, year = {2014}, doi = {10.1007/978-3-319-12976-1_31} } @article{burtner2002theexbowmeta, author = {Matthew Burtner and Stefania Serafin}, title = {The Exbow MetaSax: Compositional Applications of Bowed String Physical Models Using Instrument Controller Subsititution}, journal = {Journal of New Music Research}, year = {2002}, volume = {31}, number = {2}, pages = {131--140}, doi = {10.1076/jnmr.31.2.131.8093} } @inproceedings{graugaard2006unifyingperf, author = {Lars Graugaard}, title = {Unifying Performer and Accompaniment}, booktitle = {Lecture Notes in Computer Science Computer Music Modeling and Retrieval}, year = {2006}, doi = {10.1007/11751069_16} } @article{murphy2015expressivero, author = {Jim Murphy and James McVay and Paul Mathews and Dale A. Carnegie and Ajay Kapur}, title = {Expressive Robotic Guitars: Developments in Musical Robotics for Chordophones}, journal = {Computer Music Journal}, year = {2015}, volume = {39}, number = {1}, pages = {59--73}, doi = {10.1162/comj_a_00285}, abstract = {This article provides a history of robotic guitars and bass guitars as well as a discussion of the design, construction, and evaluation of two new robotic chordophones, with a focus on different techniques to extend the expressivity of robotic guitars. Swivel and MechBass, two new robots we built, are discussed. Construction techniques likely to interest other musical roboticists are included. These robots use a variety of techniques, both new and inspired by prior work, to afford composers and performers the ability to precisely control pitch and string-picking parameters. Both new robots are evaluated to test their precision, repeatability, and speed. The article closes with a discussion of the compositional and performative implications of such levels of control, and how it might affect humans who wish to interface with the systems.} } @inproceedings{anon2013usingdrawing, title = {Using drawings and a guitar pedal to create one-man-band music: the Illusio Jerônimo Barbosa1, Filipe Calegario1, Veronica Teichrieb1, Geber Ramalho1, Giordano Cabral2}, booktitle = {SBCM 2013}, year = {2013}, abstract = {This paper presents a new digital musical instrument, the Illusio, based on an augmented multi-touch interface that combines a traditional multi-touch surface and a device similar to a guitar pedal. Illusio allows users to perform by drawing and by associating the sketches with live loops. These loops are manipulated based on a concept called hierarchical live looping, which extends traditional live looping through the use of a musical tree, in which any music operation applied to a node affects all its children nodes.} } @inproceedings{branje2010vibrotactile, author = {Carmen Branje and Michael Maksimouski and Maria Karam and Deborah I. Fels and Frank Russo}, title = {Vibrotactile Display of Music on the Human Back}, booktitle = {2010 Third International Conference on Advances in Computer-Human Interactions}, year = {2010}, pages = {154--159}, doi = {10.1109/achi.2010.40} } @article{roberts2015designingmus, author = {Charles Roberts and Graham Wakefield and Matthew Wright and JoAnn Kuchera-Morin}, title = {Designing Musical Instruments for the Browser}, journal = {Computer Music Journal}, year = {2015}, volume = {39}, number = {1}, pages = {27--40}, doi = {10.1162/comj_a_00283}, abstract = {Native Web technologies provide great potential for musical expression. We introduce two JavaScript libraries towards this end: Gibberish.js, providing heavily optimized audio DSP, and Interface.js, a GUI toolkit that works with mouse, touch, and motion events. Together they provide a complete system for defining musical instruments that can be used in both desktop and mobile Web browsers. Interface.js also enables control of remote synthesis applications via a server application that translates the socket protocol used by Web interfaces into both MIDI and OSC messages. We have incorporated these libraries into the creative coding environment Gibber, where we provide mapping abstractions that enable users to create digital musical instruments in as little as a single line of code. They can then be published to a central database, enabling new instruments to be created, distributed, and run entirely in the browser.} } @inproceedings{merlier2004threedimensi, author = {Bertrand Merlier}, title = {Three-dimensional Gestural Controller Based on Eyecon Motion Capture System}, booktitle = {1st Sound and Music Computing Conference}, year = {2004}, doi = {10.5281/zenodo.849235}, abstract = {(Abstract to follow)} } @inproceedings{djennane2002modlesdeprse, author = {Safia Djennane}, title = {Mod?les de présentation d'informations audio 3D pour les usagers mobiles}, booktitle = {Proceedings of the 14th French-speaking conference on Human-computer interaction (Conf?rence Francophone sur l'Interaction Homme-Machine) - IHM '02}, year = {2002}, pages = {177--182}, doi = {10.1145/777005.777029} } @article{madole1995dsoundforvir, author = {Dave Madole and Durand Begault}, title = {3-D Sound for Virtual Reality and Multimedia}, journal = {Computer Music Journal}, year = {1995}, volume = {19}, number = {4}, pages = {99}, doi = {10.2307/3680997} } @article{taylor1985tmtrioinstru, author = {Joseph Paul Taylor and Dufour and Geslin and Cuniot and Mion and Parmegiani}, title = {TM +, Trio instrumental electroacoustique}, journal = {Computer Music Journal}, year = {1985}, volume = {9}, number = {2}, pages = {60}, doi = {10.2307/3679660} } @inproceedings{serafin2016virtualreali, author = {Stefania Serafin and Cumhur Erkut and Juraj Kojs and Rolf Nordahl and Niels C. Nilsson}, title = {Virtual reality musical instruments}, booktitle = {Proceedings of the Audio Mostly 2016}, year = {2016}, pages = {266--271}, doi = {10.1145/2986416.2986431} } @inproceedings{berger2023exploringthe, author = {Jonathan Berger and Nima Farzaneh and Eito Murakami and Luna Valentin}, title = {Exploring the past with virtual acoustics and virtual reality}, booktitle = {2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2023}, pages = {1--8}, doi = {10.1109/i3da57090.2023.10289132} } @inproceedings{willemsen2020resurrecting, author = {Silvin Willemsen and Razvan Paisa and Stefania Serafin}, title = {Resurrecting the tromba marina: A bowed virtual reality instrument using haptic feedback and accurate physical modelling}, booktitle = {Sound and Music Computing}, year = {2020}, doi = {10.5281/zenodo.3898812}, abstract = {This paper proposes a multisensory simulation of a tromba marina – a bowed string instrument in virtual reality. The auditory feedback is generated by an accurate physical model, the haptic feedback is provided by the PHANTOM Omni, and the visual feedback is rendered through an Oculus Rift CV1 head-mounted display (HMD). Moreover, a user study exploring the experience of interacting with a virtual bowed string instrument is presented, as well as evaluating the playability of the system. The study comprises of both qualitative (observations, think aloud and interviews) and quantitative (survey) data collection methods. The results indicate that the implementation was successful, offering participants realistic feedback, as well as a satisfactory multisensory experience, allowing them to use the system as a musical instrument. } } @inproceedings{lab2003investigatio, author = {MIT, Media Lab and Cambridge, MA}, title = {INVESTIGATION OF THE PLAYABILITY OF VIRTUAL BOWED STRINGS Stejizizia Serajiiz, Diarza Yourzg CCRMA, Department of Music}, booktitle = {CIM 2003}, year = {2003}, abstract = {Driving a bowcd string physical model using a bow controller, we explore the potentials of simulating the gestwes of a violinist using a virtual instrument. After a description of the software and hardware developed, preliminary results and future work are discussed. I. INTRODUCTION One of the aspects that made the family of bowed string instruments successfull is the incredible degee of nuances and expressivity that a player can obtain with a bow. In building virtual bowed strings instruments, the same expressivity is a desirable characteristic. The issue of enpressivity in synthetic bowed string's rescarch is well known in the computer music field. The importance of controlling a bowed string physical model with input parameters that simulate a physical gesture was first underlined in the work of Chafe [3] and Jaffe and Smith [6]. In this research the combination of tlie input parameters of a bowed string physical model was used to reproduce different bow strokes such as detach&,lcgato and spiccato. Although the goal was to reproduce a particular sound spe- a bowcd string physical model using devices other tlran the traditional mouse and keyboard was proposed in the early 90s by Cadoz and his colleagues at ACROE. Using a device capable of providingliaptic feedback the player was able to feel the synthetic bowcd string. Recent results of this research are detailed in [4]. Recently, an increasing intzrest has been shown in controllers for virtual bowed strings developed using physical models. Preliminary experiments [I I] used a Wacom tablet to control a real-time waveguide bowcd string modcl developed in the M d M P S environment. The Wacom tablet allows a straightforward mapping of the parameters of tlie bowed string physical model, since it is able to capture the pressure and hvo axis position of the pen provided with the tablet itself; these values can be easily mapped to the bow pressure, velocity and bow-bridge distance. Moreover, the tablet is able to detect the horizontal and vertical tilt angle of the pen. This immediately shows an advantage of the Wacom tablet versus more traditional input devices such as a mouse and a keyboard, i.e. the possibility ofhaving the same degrees of freedom as a bow in contact with a string. The tablet, however, shows limitations that arc mainly illustrated by the difficulties of using it as a performance instrument. This is due also to the lack of liaptic feedback (because of the lack of elasticity of the tablet compared to the bow hair) and the dramatic difference behveen its ergonomics and that of a traditional violin bow. This lack of force feedback was compensated for when controlling the same bowed string physical model using the Moose, a device built by Sile O'Modhrain and Brent Gillespie. Expcriments show that the playability of the bowed string physical model greatly increases when haptic feedback is provided 181. In order to introduce both force feedback and ergonomics that are reminiscent of a tra} } @inproceedings{turchet2019interactives, author = {Luca Turchet}, title = {Interactive sonification and the IoT}, booktitle = {Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound}, year = {2019}, pages = {252--255}, doi = {10.1145/3356590.3356631} } @article{sethares2001meterandperi, author = {William A. Sethares and Thomas W. Staley}, title = {Meter and Periodicity in Musical Performance}, journal = {Journal of New Music Research}, year = {2001}, volume = {30}, number = {2}, pages = {149--158}, doi = {10.1076/jnmr.30.2.149.7111} } @inproceedings{s2000interactived, author = {Sapir S.}, title = {Interactive digital audio environments: gesture as a musical parameter}, booktitle = {DAFx}, year = {2000}, url = {https://www.dafx.de/paper-archive/2000/pdf/Sapir.pdf}, abstract = {This paper presents some possible relationships between gesture and sound that may be built with an interactive digital audio environment. In a traditional musical situation gesture usually produces sound. The relationship between gesture and sound is unique, it is a cause to effect link. In computer music, the possibility of uncoupling gesture from sound is due to the fact that computer can carry out all the aspects of sound production from composition up to interpretation and performance. Real time computing technology and development of human gesture tracking systems may enable gesture to be introduced again into the practice of computer music, but with a completely renewed approach. There is no more need to create direct cause to effect relationships for sound production, and gesture may be seen as another musical parameter to play with in the context of interactive musical performances.} } @article{ko2020construction, author = {Chantelle Ko and Lora Oehlberg}, title = {Construction and Performance Applications of an Augmented Violin: TRAVIS II}, journal = {Computer Music Journal}, year = {2020}, volume = {44}, number = {2-3}, pages = {55--68}, doi = {10.1162/comj_a_00563}, abstract = {Abstract We present the second iteration of a Touch-Responsive Augmented Violin Interface System, called TRAVIS II, and two compositions that demonstrate its expressivity. TRAVIS II is an augmented acoustic violin with touch sensors integrated into its 3-D printed fingerboard that track left-hand finger gestures in real time. The fingerboard has four strips of conductive PLA filament that produce an electric signal when fingers press down on each string. Although these sensors are physically robust, they are mechanically assembled and thus easy to replace if damaged. The performer can also trigger presets via four sensors attached to the body of the violin. The instrument is completely wireless, giving the performer the freedom to move throughout the performance space. Although the sensing fingerboard is installed in place of the traditional fingerboard, all other electronics can be removed from the augmented instrument, maintaining the aesthetics of a traditional violin. Our design allows violinists to naturally create music for interactive performance and improvisation without requiring new instrumental techniques. The first author composed two compositions to highlight TRAVIS II: “Dream State” and “Kindred Dichotomy.” Both of these compositions involve improvisation in their creative process and include interactive visuals. In this article we describe the design of the instrument, experiments leading to the sensing fingerboard, performative applications of the instrument, and compositional considerations for the resultant pieces.} } @inproceedings{fehr2015indirectionb, author = {Jonas Fehr and Cumhur Erkut}, title = {Indirection between movement and sound in an interactive sound installation}, booktitle = {Proceedings of the 2nd International Workshop on Movement and Computing}, year = {2015}, pages = {160--163}, doi = {10.1145/2790994.2791016} } @inproceedings{lopes2019hadoukenmusi, author = {Rocha, Gabriel Lopes and Araújo, João Teixeira and Schiavoni, Flávio Luiz}, title = {Ha Dou Ken Music: Mapping a joysticks as a musical controller}, booktitle = {SBCM}, year = {2019}, url = {https://sol.sbc.org.br/index.php/sbcm/article/view/10425}, abstract = {The structure of a digital musical instrument (DMI) can be splitted up in three parts: interface, mapping and synthesizer. For DMI’s, in which sound synthesis is done via software, the interaction interface serves to capture the performer’s gestures, which can be mapped under various techniques to different sounds. In this work, we bring videogame controls as an interface for musical interaction. Due to its great presence in popular culture and its ease of access, even people who are not in the habit of playing electronic games possibly interacted with this kind of interface once in a lifetime. Thus, gestures like pressing a sequence of buttons, pressing them simultaneously or sliding your fingers through the control can be mapped for musical creation. This work aims the elaboration of a strategy in which several gestures captured by the interface can influence one or several parameters of the sound synthesis, making a mapping denominated many to many. Buttons combinations used to perform game actions that are common in fighting games, like Street Fighter, were mapped to the synthesizer to create a music. Experiments show that this mapping is capable of influencing the musical expression of a DMI making it closer to an acoustic instrument.}, note = {Original title: Ha Dou Ken Music: Mapping a joysticks as a musical controller} } @inproceedings{solberg2016opticalorine, author = {Ragnhild Torvanger Solberg and Alexander Refsum Jensenius}, title = {Optical or Inertial? Evaluation of Two Motion Capture Systems for Studies of Dancing to Electronic Dance Music}, booktitle = {13th Sound and Music Computing Conference}, year = {2016}, doi = {10.5281/zenodo.851315}, abstract = {(Abstract to follow)} } @article{koehly2014inhousedevel, author = {Rodolphe Koehly and Marcelo M. Wanderley and Theodorus van de Ven and Denis Curtil}, title = {In-House Development of Paper Force Sensors for Musical Applications}, journal = {Computer Music Journal}, year = {2014}, volume = {38}, number = {2}, pages = {22--35}, doi = {10.1162/comj_a_00237}, abstract = {This article presents alternative ways to produce efficient custom force or pressure sensors using cellulose paper filled with carbon-black pigments. We have produced several prototypes of force sensors to observe and compare their response with applied forces with those of commercial sensors, as well as those of other conductive materials. Advantages of custom sensors are presented through the description of various examples of music controllers using several kinds of paper touch sensors with a large variety of size and shape. Our goal is to provide digital musical instrument designers with new strategies to circumvent the limited offering of commercial sensors, and to propose ways to exploit these concepts through a dedicated Web site.} } @inproceedings{camurri2004expressivege, author = {Antonio Camurri and Barbara Mazzarino and Gualtiero Volpe}, title = {EXPRESSIVE GESTURAL CONTROL OF SOUND AND VISUAL OUTPUT IN MULTIMODAL INTERACTIVE SYSTEMS}, booktitle = {Journées d'informatique musicale}, year = {2004}, url = {https://hal.science/hal-03354362v1}, abstract = {This paper discusses a multilayered model for strategies for real-time expressive control of sound and visual output. A particular focus is on multimodal interactive systems for performing arts as user-centred systems able to interpret the high-level information conveyed by performers through their expressive gestures and to establish an effective dialog with them taking into account expressive, emotional, affective content. Two kinds of control strategies are discussed enabling the designer of a performance to develop interactive systems able to react to performers' expressive actions, to build a dialog with performers, or to mix purely reactive behaviour with more complex dialogical situations. A further layer of processing allows dynamic adaptation of control strategies to the evolution of the performance. A quick survey of algorithms for expressive gesture processing is also provided. Expressive gestural control strategies are described with reference to current and past research projects at the DIST-InfoMus Lab. Some concrete applications based on the EyesWeb open platform (www.eyesweb.org) are presented as well.} } @inproceedings{franoise2014vocalizingda, author = {Jules Françoise and Sarah Fdili Alaoui and Thecla Schiphorst and Frederic Bevilacqua}, title = {Vocalizing dance movement for interactive sonification of laban effort factors}, booktitle = {Proceedings of the 2014 conference on Designing interactive systems}, year = {2014}, pages = {1079--1082}, doi = {10.1145/2598510.2598582} } @article{hayes2020addressingni, author = {Lauren Hayes and Adnan Marquez-Borbon}, title = {Addressing NIME's Prevailing Sociotechnical, Political, and Epistemological Exigencies}, journal = {Computer Music Journal}, year = {2020}, volume = {44}, number = {2-3}, pages = {24--38}, doi = {10.1162/comj_a_00562}, abstract = {Abstract Nearly two decades after its inception as a workshop at the Association for Computing Machinery Conference on Human Factors in Computing Systems, New Interfaces for Musical Expression (NIME) exists as an established international conference significantly distinct from its precursor. Although this origin story is often noted, the implications of NIME's history as emerging from a field predominantly dealing with human–computer interaction (HCI) have rarely been discussed. In this paper we highlight many of the recent—and some not so recent—challenges that have been brought upon the NIME community as it attempts to maintain and expand its identity as a platform for multidisciplinary research into HCI, interface design, and electronic and computer music. We discuss the relationship between the market demands of the neoliberal university—which have underpinned academia's drive for innovation—and the quantification and economization of research performance that have facilitated certain disciplinary and social frictions to emerge within NIME-related research and practice. Drawing on work that engages with feminist theory and cultural studies, we suggest that critical reflection and, moreover, mediation is necessary to address burgeoning concerns that have been raised within the NIME discourse in relation to methodological approaches, “equity, diversity, and inclusion,” “accessibility,” and the fostering of “rigorous” interdisciplinary research.} } @inproceedings{giordano2015followthetac, author = {Marcello Giordano and Marcelo M. Wanderley}, title = {Follow the Tactile Metronome: Vibrotactile Stimulation for Tempo Synchronization in Music Performance}, booktitle = {12th Sound and Music Computing Conference}, year = {2015}, doi = {10.5281/zenodo.851023}, abstract = {(Abstract to follow)} } @article{birchfield2005networkdynam, author = {DAVID BIRCHFIELD and DAVID LORIG and KELLY PHILLIPS}, title = {Network Dynamics in Sustainable: a robotic sound installation}, journal = {Organised Sound}, year = {2005}, volume = {10}, number = {3}, pages = {267--274}, doi = {10.1017/s1355771805000907}, abstract = {The network serves as a conceptual, metaphorical, practical and musical force that drives Sustainable , a dynamic robotic sound installation. The piece is comprised of seven autonomous water gong nodes that are networked together by water tubes to distribute water throughout the system. A water resource allocation algorithm guides this distribution process and produces an ever-evolving sonic and visual texture. A simple set of behaviours govern the individual gongs, and the system as a whole exhibits emergent properties that yield local and large-scale forms in sound and light that are visually and musically compelling.} } @inproceedings{gao2015useofsoundto, author = {BoYu Gao and HyungSeok Kim and Hasup Lee and Jooyoung Lee and Jee-In Kim}, title = {Use of Sound to Provide Occluded Visual Information in Touch Gestural Interface}, booktitle = {Proceedings of the 33rd Annual ACM Conference Extended Abstracts on Human Factors in Computing Systems}, year = {2015}, pages = {1277--1282}, doi = {10.1145/2702613.2732817} } @inproceedings{camurri2012theeyeswebhu, author = {Antonio Camurri}, title = {The EyesWeb human movement analysis library Stefano Piana}, booktitle = {CIM 2012}, year = {2012}, abstract = {A framework and software system for real-time tracking and analysis of human motion. The objective is to design and create a multimodal interactive system for the automated analysis of human movements, The system is based on the EyesWeb XMI open software platform and on Kinect depth sensors.} } @inproceedings{passalenti2019nostringsatt, author = {Andrea Passalenti and Razvan Paisa and Niels C. Nilsson and Nikolaj S. Andersson and Federico Fontana and Rolf Nordahl and Stefania Serafin}, title = {No Strings Attached: Force and Vibrotactile Feedback in a Guitar Simulation}, booktitle = {16th Sound and Music Computing Conference}, year = {2019}, doi = {10.5281/zenodo.3249321}, abstract = {(Abstract to follow)} } @inproceedings{weinel2021synaesthetic, author = {Jonathan Weinel}, title = {Synaesthetic Audio-Visual Sound Toys in Virtual Reality}, booktitle = {Audio Mostly 2021}, year = {2021}, pages = {135--138}, doi = {10.1145/3478384.3478400} } @inproceedings{willemsen2019realtimeimpl, author = {Silvin Willemsen and Stefan Bilbao and Stefania Serafin}, title = {Real-Time Implementation of an Elasto-Plastic Friction Model using Finite-Difference Schemes}, booktitle = {DAFx}, year = {2019}, url = {https://www.dafx.de/paper-archive/2019/DAFx2019_paper_18.pdf}, abstract = {The simulation of a bowed string is challenging due to the strongly non-linear relationship between the bow and the string. This relationship can be described through a model of friction. Several friction models in the literature have been proposed, from simple velocity dependent to more accurate ones. Similarly, a highly accurate technique to simulate a stiff string is the use of finitedifference time-domain (FDTD) methods. As these models are generally computationally heavy, implementation in real-time is challenging. This paper presents a real-time implementation of the combination of a complex friction model, namely the elastoplastic friction model, and a stiff string simulated using FDTD methods. We show that it is possible to keep the CPU usage of a single bowed string below 6 percent. For real-time control of the bowed string, the Sensel Morph is used.} } @inproceedings{grebel2026designingint, author = {Louise Grebel and Sarah Fdili Alaoui and Benjamin Matuszewski and Emilien Ghomi and Frederic Bevilacqua}, title = {Designing Interactive Movement Sonification For Hip-Hop Dance}, booktitle = {Proceedings of the 2026 CHI Conference on Human Factors in Computing Systems}, year = {2026}, pages = {1--17}, doi = {10.1145/3772318.3790703} } @inproceedings{sun2021palmbeatakin, author = {Qirui Sun and Shuqin Li and Zhihao Yao and Yuan-Ling Feng and Haipeng Mi}, title = {PalmBeat: A Kinesthetic Way to Feel Groove With Music}, booktitle = {12th Augmented Human International Conference}, year = {2021}, pages = {1--8}, doi = {10.1145/3460881.3460932} } @article{bartlett1979amicrocomput, author = {Martin Bartlett}, title = {A Microcomputer-Controlled Synthesis System for Live Performance}, journal = {Computer Music Journal}, year = {1979}, volume = {3}, number = {1}, pages = {25}, doi = {10.2307/3679753} } @inproceedings{s2000amultiratefi, author = {Serafin S. and Smith J. O.}, title = {A multirate, finite-width, bow-string interaction model}, booktitle = {DAFx}, year = {2000}, url = {https://www.dafx.de/paper-archive/2000/pdf/Serafin_Stefania_paper.pdf}, abstract = {In this paper we propose an efficient method to model the amount of bow hair in contact with the string in a physical model of a bowed string instrument.} } @inproceedings{roberts2015sharingtimea, author = {Charlie Roberts and Karl Yerkes and Danny Bazo and Matthew Wright and JoAnn Kuchera-Morin}, title = {Sharing Time and Code in a Browser-Based Live Coding Environment}, booktitle = {First International Conference on Live Coding}, year = {2015}, doi = {10.5281/zenodo.19351}, abstract = {We describe research extending the live coding environment Gibber with affordances for ensemble, networked, live coding performances. These include shared editing of code documents, remote code execution, an extensible chat system, shared state, and clock synchronization via proportional-integral control. We discuss these features using the framework provided by Lee and Essl in their 2014 paper Models and Opportunities for Networked Live Coding.} } @article{desaintecatherine1994journeesdinf, author = {Myriam Desainte-Catherine}, title = {Journees d'Informatique Musicale (JIM '94)}, journal = {Computer Music Journal}, year = {1994}, volume = {18}, number = {4}, pages = {97}, doi = {10.2307/3681363} } @article{pachet1996jimjourneesd, author = {Francois Pachet}, title = {JIM'95: Journees d'Informatique Musicale}, journal = {Computer Music Journal}, year = {1996}, volume = {20}, number = {1}, pages = {102}, doi = {10.2307/3681276} } @article{chemillier1997jimthirdjour, author = {Marc Chemillier and Gerard Assayag}, title = {JIM'96: Third Journees d'Informatique Musicale}, journal = {Computer Music Journal}, year = {1997}, volume = {21}, number = {3}, pages = {95}, doi = {10.2307/3681017} } @inproceedings{xamb2017turntakingan, author = {Anna Xambó and Pratik Shah and Gerard Roma and Jason Freeman and Brian Magerko}, title = {Turn-Taking and Chatting in Collaborative Music Live Coding}, booktitle = {Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences}, year = {2017}, pages = {1--5}, doi = {10.1145/3123514.3123519} } @inproceedings{grimshaw2015thesoundofth, author = {Mark Grimshaw and Mads Walther-Hansen}, title = {The Sound of the Smell of my Shoes}, booktitle = {Proceedings of the Audio Mostly 2015 on Interaction With Sound}, year = {2015}, pages = {1--8}, doi = {10.1145/2814895.2814900} } @inproceedings{ahn2026capinstrumen, author = {SooYeon Ahn and In-Chang Baek and KyungJoong Kim and Khai N. Truong and Jin-Hyuk Hong}, title = {µCap: Instrumental Music Captions for Deaf and Hard-of-Hearing Individuals}, booktitle = {Proceedings of the 2026 CHI Conference on Human Factors in Computing Systems}, year = {2026}, pages = {1--26}, doi = {10.1145/3772318.3790729} } @inproceedings{kritsis2018deploymentof, author = {Kosmas Kritsis and Aggelos Gkiokas and Maximos Kaliakatsos-Papakostas and Vassilis Katsouros and Aggelos Pikrakis}, title = {Deployment of LSTMs for Real-Time Hand Gesture Interaction of 3D Virtual Music Instruments with a Leap Motion Sensor}, booktitle = {15th Sound and Music Computing Conference}, year = {2018}, doi = {10.5281/zenodo.1422601}, abstract = {(Abstract to follow)} } @inproceedings{leonard2014avirtualreal, author = {James Leonard and Claude Cadoz and Nicolas Castagne and Jean-Loup Florens and Annie Luciani}, title = {A Virtual Reality Platform for Musical Creation: GENESIS-RT}, booktitle = {Lecture Notes in Computer Science Sound, Music, and Motion}, year = {2014}, doi = {10.1007/978-3-319-12976-1_22} } @inproceedings{rossi2025athanasiuski, author = {Marta Rossi and Christos Michalakos}, title = {Athanasius Kircher’s Sonic Playground - An Acoustic Virtual Reality Installation}, booktitle = {2025 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2025}, pages = {1--8}, doi = {10.1109/i3da65421.2025.11202057} } @article{strawn1977unplayedbyhu, author = {John Strawn and Prentiss Knowlton}, title = {Unplayed by Human Hands}, journal = {Computer Music Journal}, year = {1977}, volume = {1}, number = {3}, pages = {53}, doi = {10.2307/3679610} } @article{stirling2016beyondthedan, author = {Christabel Stirling}, title = {‘Beyond the Dance Floor’? Gendered Publics and Creative Practices in Electronic Dance Music}, journal = {Contemporary Music Review}, year = {2016}, volume = {35}, number = {1}, pages = {130--149}, doi = {10.1080/07494467.2016.1176772} } @inproceedings{forment2026sovaalibreop, author = {Raphaël Maurice Forment and Tanguy Dubois and Loïg Jezequel}, title = {Sova: A Libre / Open Source Polyglot and Collaborative Live Coding Environment for Pedagogy and Research on Live Coding}, booktitle = {Journées d'Informatique Musicale}, year = {2026}, url = {https://hal.science/hal-05663286v1} } @article{goldman2019livecodinghe, author = {Andrew Goldman}, title = {Live coding helps to distinguish between embodied and propositional improvisation}, journal = {Journal of New Music Research}, year = {2019}, volume = {48}, number = {3}, pages = {281--293}, doi = {10.1080/09298215.2019.1604762} } @inproceedings{howard2003cymaticatact, author = {David M Howard and Stuart M Rimell}, title = {CYMATIC: A tactile controlled physical modelling instrument}, booktitle = {DAFx}, year = {2003}, url = {https://www.dafx.de/paper-archive/2003/pdfs/dafx17.pdf}, abstract = {The recent trend towards the virtual in music synthesis has lead to the inevitable decline of the physical, inserting what might be described as a ‘veil of tactile paralysis’ between the musician and the sound source. The addition of tactile and gestural interfaces to electronic musical instruments offers the possibility of moving some way towards reversing this trend. This paper describes a new computer based musical instrument, known as Cymatic, which offers gestural control as well as tactile and proprioceptive feedback via a force feedback joystick and a tactile feedback mouse. Cymatic makes use of a mass/spring physical modelling paradigm to model multi-dimensional, interconnectable resonating structures that can be played in real-time with various excitation methods. It therefore restores to a degree the musician’s sense of working with a true physical instrument in the natural world. Cymatic has been used in a public performance of a specially composed work, which is described.} } @article{moro2020performerexp, author = {Giulio Moro and Andrew P. McPherson}, title = {Performer Experience on a Continuous Keyboard Instrument}, journal = {Computer Music Journal}, year = {2020}, volume = {44}, number = {2-3}, pages = {69--91}, doi = {10.1162/comj_a_00565}, abstract = {Abstract On several keyboard instruments the produced sound is not always dependent exclusively on a discrete key-velocity parameter, and minute gestural details can affect the final sonic result. By contrast, variations in articulation beyond velocity have normally no effect on the produced sound when the keyboard controller uses the MIDI standard, used in the vast majority of digital keyboards. In this article, we introduce a novel keyboard-based digital musical instrument that uses continuous readings of key position to control a nonlinear waveguide flute synthesizer with a richer set of interaction gestures than would be possible with a velocity-based keyboard. We then report on the experience of six players interacting with our instrument and reflect on their experience, highlighting the opportunities and challenges that come with continuous key sensing.} } @inproceedings{anon1998eyeswebtowar, title = {EyesWeb - toward gesture and affect recognition in dancelmusic interactive systems Antonio Camurri(*), Matteo Ricchetti(*)(**), Massimiliano Di Stefann(*), Alessandro Stroscio(")}, booktitle = {CIM 1998}, year = {1998}, abstract = {The EyesWeb project concerns the development of a system for real-time analysis of movement and gesture of one or more humans, with a particular focus to affect or emotion content. Such information is used to control and generate sound, music, visual media, and to control actuators (e.g., robots). The main goal is to explore extensions of music language toward gesture and visual languages. The paper describes the state of the artof the project, the design of the current EyesWeb system modules (hardware and software), their experimenting in public events, and dicusses ongoing developments. 1.Introduction The general domain scenario include dancers on stage, performers in a live electronics environment, actors in a theatre performance, or the public in a museum or art installation. One of the main requirements is to go beyond the common interaction metaphor of "hyper-instrument" (e.g. [5]; see also the interesting web page of M.Wanderley on gesture research in music http://,v~v~v.ircarn.fr/equipes/ar~alj~sesyntl~esd~~~ar~derldGestes/Erter~~dind/~tr~l) We are -interested in interaction metaphors like multimodal dialogue and social interaction including affect and emotional communication [1,2]. In [1,2] we also introduce our projects on r~llrltir~lodalenvirort~?lents and irlteractive da~lceh~~esic systenls as extensions of composition and performance environments, including inhabited virtual environments. The EjresWeb project is part of these projecls. A general goal is the modeling of composition and performance environments in terms of communities of agents. In this context, an agent is a computer system, possibly equipped with a physical "body" (e.g., a robot), embedding deliberative, emotional and reactive capabilities, and able to interact with the external world, including other agents [2]. An agent integrates different components: input processing from the surrounding world (e.g., motion capture and sensing), cognitive (or deliberative) processing, emotional processing, output processing (generate sound, music, visual media, control actuators). The external world can be a stage, a museal exhibit - real, virtual, or a mix of both - populated by artificial as well as human agents able to interact, dialogue, cooperate, compete, etc. each contributing to the performance. This focus may imply new perspectives on performance environments and live electronics [9], as well as on composition models, as discussed in [6,1, 21 and in the next section. The main goasl of the EyesWeb project is to develop a system able to analyse in real time movement and gesture of one or more humans, with a particular focus to affect or emotion communication. EyesWeb is based on multiple b&w (infrared) or color cameras, special electronics, and real-time multi-layered analysis software. We slarted experimenting with the interaction of gesture and music in 1985 with our system MANI (Music and Animation Interface) and camera-based sensors [3] (special purpose devices Costel,} } @inproceedings{c2000estimatingth, author = {Traube C. and Smith J. O.}, title = {Estimating the plucking point on a guitar string}, booktitle = {DAFx}, year = {2000}, url = {https://www.dafx.de/paper-archive/2000/pdf/Caroline_Traube.pdf}, abstract = {This paper presents a frequency-domain technique for estimating the plucking point on a guitar string from an acoustically recorded signal. It also includes an original method for detecting the fingering point, based on the plucking point information.} } @inproceedings{dees2025generativela, author = {Aaron Dees and Seán O'Leary}, title = {Generative Latent Spaces for Neural Synthesis of Audio Textures}, booktitle = {DAFx}, year = {2025}, url = {https://www.dafx.de/paper-archive/2025/DAFx25_paper_56.pdf}, abstract = {This paper investigates the synthesis of audio textures and the structure of generative latent spaces using Variational Autoencoders (VAEs) within two paradigms of neural audio synthesis: DSP-inspired and data-driven approaches. For each paradigm, we propose VAE-based frameworks that allow fine-grained temporal control. We introduce datasets across three categories of environmental sounds to support our investigations. We evaluate and compare the models’ reconstruction performance using objective metrics, and investigate their generative capabilities and latent space structure through latent space interpolations.} } @article{mcpherson2015buttonshandl, author = {Andrew McPherson}, title = {Buttons, Handles, and Keys: Advances in Continuous-Control Keyboard Instruments}, journal = {Computer Music Journal}, year = {2015}, volume = {39}, number = {2}, pages = {28--46}, doi = {10.1162/comj_a_00297}, abstract = {The keyboard is one of the most popular and enduring musical interfaces ever created. Today, the keyboard is most closely associated with the acoustic piano and the electronic keyboards inspired by it, which share the essential feature of being discrete: Notes are defined temporally by their onset and release only, with little control over each note beyond velocity and timing. Many keyboard instruments have been invented, however, that let the player continuously shape each note. This article provides a review of keyboards whose keys allow continuous control, from early mechanical origins to the latest digital controllers and augmented instruments. Two of the author’s own contributions will be described in detail: a portable optical scanner that can measure continuous key angle on any acoustic piano, and the TouchKeys capacitive multi-touch sensors, which measure the position of fingers on the key surfaces. These two instrument technologies share the trait that they transform the keys of existing keyboards into fully continuous controllers. In addition to their ability to shape the sound of a sustaining note, both technologies also give the keyboardist new dimensions of articulation beyond key velocity. Even in an era of new and imaginative musical interfaces, the keyboard is likely to remain with us for the foreseeable future, and the incorporation of continuous control can bring new levels of richness and nuance to a performance.} } @article{weitzner2013massmobileto, author = {Nathan Weitzner and Jason Freeman and Yan-Ling Chen and Stephen Garrett}, title = {massMobile: towards a flexible framework for large-scale participatory collaborations in live performances}, journal = {Organised Sound}, year = {2013}, volume = {18}, number = {1}, pages = {30--42}, doi = {10.1017/s1355771812000222}, abstract = {massMobile is a client-server system for large audience participation in live performances using mobile devices. It allows for rapid development, deployment and iterative experimentation in participatory design, while minimising technical and logistical overhead. It was designed to flexibly adapt to a variety of participatory performance needs and to a variety of performance venues. It allows for real-time bi-directional communication between performers and audiences utilising existing 3G, 4G or WiFi networks. Audience members access massMobile through a smartphone-optimised web application utilising common web standards. An offsite server passes data between the audience and the performer(s) and stores the data for later analysis. In this paper, we discuss the goals, design and implementation of the framework, and we describe several projects realised with massMobile.} } @article{wang2015chuckastrong, author = {Ge Wang and Perry R. Cook and Spencer Salazar}, title = {ChucK: A Strongly Timed Computer Music Language}, journal = {Computer Music Journal}, year = {2015}, volume = {39}, number = {4}, pages = {10--29}, doi = {10.1162/comj_a_00324}, abstract = {ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-based programming model that allows programmers to flexibly and precisely control the flow of time in code and use the keyword now as a time-aware control construct, and gives programmers the ability to use the timing mechanism to realize sample-accurate concurrent programming. Several case studies are presented that illustrate the workings, properties, and personality of the language. We also discuss applications of ChucK in laptop orchestras, computer music pedagogy, and mobile music instruments. Properties and affordances of the language and its future directions are outlined.} } @inproceedings{pachet2002playingwithv, author = {François Pachet}, title = {Playing with Virtual Musicians: the Continuator in Practice}, booktitle = {Journées d'Informatique Musicale}, year = {2002}, url = {https://hal.science/hal-02992804v1} } @article{kimboyle2010realtimescor, author = {David Kim-Boyle}, title = {Real-time Score Generation for Extensible Open Forms}, journal = {Contemporary Music Review}, year = {2010}, volume = {29}, number = {1}, pages = {3--15}, doi = {10.1080/07494467.2010.509588} } @inproceedings{kiliboz2024multimodallo, author = {Pelin Kiliboz and Cumhur Erkut}, title = {Multimodal Looper: A Live-Looping System for Gestural and Audio-visual Improvisation}, booktitle = {Proceedings of the 9th International Conference on Movement and Computing}, year = {2024}, pages = {1--8}, doi = {10.1145/3658852.3659068} } @article{rebelo2006hapticsensat, author = {Pedro Rebelo}, title = {Haptic sensation and instrumental transgression}, journal = {Contemporary Music Review}, year = {2006}, volume = {25}, number = {1-2}, pages = {27--35}, doi = {10.1080/07494460600647402} } @inproceedings{hemery2016atabletopins, author = {Edgar Hemery and Sotiris Manitsaris and Fabien Moutarde}, title = {A tabletop instrument for manipulation of sound morphologies with hands, fingertips and upper-body}, booktitle = {Proceedings of the 3rd International Symposium on Movement and Computing}, year = {2016}, pages = {1--8}, doi = {10.1145/2948910.2948946} } @inproceedings{jensenius2012astudyofthen, author = {Alexander Refsum Jensenius and Kristian Nymoen and Ståle A. Skogstad and Arve Voldsund}, title = {A Study of the Noise-level in Two Infrared Marker-based Motion Capture Systems}, booktitle = {9th Sound and Music Computing Conference}, year = {2012}, doi = {10.5281/zenodo.850038}, abstract = {(Abstract to follow)} } @inproceedings{sociais2009ivoidorealti, author = {Faculdade de Artes, Filosofia e Ciências Sociais and Av. João Naves de Ávila, 2121 – Bloco 1V – 38408-100 – Uberlândia – MG – Brazil}, title = {I/VOID/O: real-time sound synthesis and video processing in an interactive installation! Daniel Luís Barreiro1, Sandro Canavezzi de Abreu2, André Carlos Ponce de Leon Ferreira de Carvalho3}, booktitle = {SBCM 2009}, year = {2009}, abstract = {This paper presents some technical and aesthetic aspects involved in the conception of the interactive installation I/VOID/O concerning both the visual and sonic processes generated in real-time with Max/MSP/Jitter. It mentions the main characteristics of the installation and how the patches were implemented in order to provide coherent relationships between sound and image with the aim of offering an immersive experience for the people who visit and interact with the installation.} } @inproceedings{maestre2014abowedstring, author = {Esteban Maestre and Carlos Spa and Julius O. Smith III}, title = {A Bowed String Physical Model Including Finite-width Thermal Friction and Hair Dynamics}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850848}, abstract = {(Abstract to follow)} } @inproceedings{yamaguchi2023thedemonstra, author = {Yasumasa Yamaguchi and Taku Kawada and Toru Nagahama and Tatsuya Horita}, title = {The Demonstration of MVP Support System as an AR Realtime Pitch Feedback System}, booktitle = {The 16th International Symposium on Computer Music Multidisciplinary Research}, year = {2023}, doi = {10.5281/zenodo.10112585} } @inproceedings{lee2015livewritinga, author = {Sang Won Lee and Georg Essl}, title = {Live Writing: Asynchronous Playback of Live Coding and Writing}, booktitle = {First International Conference on Live Coding}, year = {2015}, doi = {10.5281/zenodo.19322}, abstract = {We introduce Live Writing, asynchronous playback of a live coding performance or, more generally, writing. The concept of Live Writing is realized in a web-based application which logs every keystroke that a writer makes and let the writing later playable by the audience or the readers in real-time. The goal of Live Writing is twofold. One, it aims to support collaboration between musicians by reproducing a live coding performance based on keystroke data logged in the platform. This offers a new way for a live coder to archive live coding music and to communicate with others in asynchronous fashion. Two, it aims to transform written communication into a real-time experience so that a writer can display a writing to readers in a real-time manner as if it is being typed in front of the readers. We explain the design and the implementation of the system and demonstrate two different use cases of the system: live coding and writing.} } @inproceedings{schwarz2006realtimecorp, author = {Diemo Schwarz and Grégory Beller and Bruno Verbrugghe and Sam Britton}, title = {Real-Time Corpus-Based Concatenative Synthesis with CataRT}, booktitle = {DAFx}, year = {2006}, url = {https://www.dafx.de/paper-archive/2006/papers/p_279.pdf}, abstract = {The concatenative real-time sound synthesis system CataRT plays grains from a large corpus of segmented and descriptor-analysed sounds according to proximity to a target position in the descriptor space. This can be seen as a content-based extension to granular synthesis providing direct access to specific sound characteristics. CataRT is implemented in Max/MSP using the FTM library and an SQL database. Segmentation and MPEG-7 descriptors are loaded from SDIF files or generated on-the-fly. CataRT allows to explore the corpus interactively or via a target sequencer, to resynthesise an audio file or live input with the source sounds, or to experiment with expressive speech synthesis and gestural control.} } @article{camurri2000expressivene, author = {Antonio Camurri and Paolo Coletta and Matteo Ricchetti and Gualtiero Volpe}, title = {Expressiveness and Physicality in Interaction*}, journal = {Journal of New Music Research}, year = {2000}, volume = {29}, number = {3}, pages = {187--198}, doi = {10.1076/jnmr.29.3.187.3094} } @inproceedings{gibson2026vritualavtac, author = {Steve Gibson}, title = {VRitual AV: Tactile Micro Interface. Embodied Energy in Gestural Audio-Visual Performance}, booktitle = {Adjunct Proceedings of the 14th Nordic Conference on Human-Computer Interaction}, year = {2026}, pages = {1--6}, doi = {10.1145/3821402.3830171} } @inproceedings{haugen2016evaluatingin, author = {Mari Romarheim Haugen and Kristian Nymoen}, title = {Evaluating Input Devices for Dance Research}, booktitle = {Lecture Notes in Computer Science Music, Mind, and Embodiment}, year = {2016}, doi = {10.1007/978-3-319-46282-0_4} } @inproceedings{geier2023asymmetricpe, author = {Leonard Geier and Paul Methfessel and Tom Beckmann and Robert Hirschfeld}, title = {Asymmetric Performance in Virtual Reality and Code}, booktitle = {7th International Conference on Live Coding}, year = {2023}, doi = {10.5281/zenodo.7843896}, abstract = {Virtual reality enables a rich 3D user experience where immediate feedback can yield lively interactions. For live coding, however, the rigid, text-based nature of source code is still a serious impediment to achieving such experience, as text input in virtual reality is significantly slower than on a physical keyboard. We present an asymmetric live-coding environment, in which a performance can benefit from both the fluid and flexible direct manipulation capabilities of virtual reality and the expressive power of text-based code. Here, one performer interacts with parameters and code blocks of the system using their hands in virtual reality, but is ultimately constrained by the code defined by another performer immersed in a dedicated programming and runtime environment with full access to the source of the system. We present a proof-of-concept implementation of such a system and describe future directions for its development.} } @inproceedings{parkinson2015deadmauderek, author = {Adam Parkinson and Renick Bell}, title = {Deadmau5, Derek Bailey, and the Laptop Instrument -- Improvisation, Composition, and Liveness in Live Coding}, booktitle = {First International Conference on Live Coding}, year = {2015}, doi = {10.5281/zenodo.19350}, abstract = {Dance music superstar Deadmau5 and the improvising guitarist Derek Bailey represent, through their writing and practice, two very different approaches to performing live. By critically considering the practice of live coding in relation to these divergent approaches, we discuss live coding with regards to where the liveness lies and how the laptop and soware are treated as a musical instrument. Each practice uses the laptop as a musical tool in a very different way. Live coding uses the laptop as an instrument in a manner that draws upon the techniques and strategies of free improvisation, in contrast to Deadmau5’s notion of laptop as playback device and the live performance as spectacle. We discuss Dead- mau5’s practice in relation to Francisco Lopez’s notion of the possibilities of electronic performance, and ideas about labour and liveness.} } @inproceedings{tillman2020realtimeopti, author = {Mitchell Tillman and Luke Dahl and Christopher B. Knowlton and Antonia Zaferiou}, title = {Real-Time Optical Motion Capture Balance Sonification System}, booktitle = {Proceedings of the 7th International Conference on Movement and Computing}, year = {2020}, pages = {1--4}, doi = {10.1145/3401956.3404244} } @inproceedings{young2015vibrotactile, author = {Gareth W. Young and Dave Murphy and Jeffrey Weeter}, title = {Vibrotactile Discrimination of Pure and Complex Waveforms}, booktitle = {12th Sound and Music Computing Conference}, year = {2015}, doi = {10.5281/zenodo.851057}, abstract = {(Abstract to follow)} } @inproceedings{ritter2014leapmotionas, author = {Martin Ritter and Alyssa Aska}, title = {Leap Motion as Expressive Gestural Interface}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850645}, abstract = {(Abstract to follow)} } @inproceedings{khallaghi2025squishysonic, author = {Trisha Khallaghi and Pete Bennett and Atau Tanaka}, title = {SquishySonics: A Deformable Interface for the Physical Control of Real-time AI Sound Generation Tools}, booktitle = {Proceedings of the Extended Abstracts of the CHI Conference on Human Factors in Computing Systems}, year = {2025}, pages = {1--5}, doi = {10.1145/3706599.3721175} } @inproceedings{pedersen2022playingthevi, author = {Astrid Pedersen and Morten Jørgensen and Halfdan Isaksen and Mikkel Riedel}, title = {Playing the Virtual Glass Armonica}, booktitle = {Sound and Music Computing}, year = {2022}, doi = {10.5281/zenodo.6800816}, abstract = {The continuation of research and technological advances within the field of virtual reality (VR) and haptics, further facilitates new interaction opportunities, which can be created for virtual reality musical instruments (VRMIs). Integrated in a museum setting, this can allow for new ways for both users and scholars to interact with, and learn about, musical artifacts, which otherwise would be contained behind glass cases. In this paper, the authors design and implement a virtual Glass Armonica, synthesized with the FAUST Physical Modeling ToolKit, to be played with the wearable haptic interface, WeArt TouchDiver; providing force-, temperature- and vibrotactile feedback to enhance playability. This is done with the purpose of providing an immersive cultural experience in a historically accurate virtual environment (VE), for the visitors at the Danish Music Museum in Copenhagen.} } @inproceedings{shrivastava2019directedness, author = {Abhishek Shrivastava and Anirudha Joshi}, title = {Directedness and persistence in audio-visual interface for emergent users}, booktitle = {Proceedings of the 10th Indian Conference on Human-Computer Interaction}, year = {2019}, pages = {1--12}, doi = {10.1145/3364183.3364191} } @inproceedings{camurri2004expressivegeb, author = {Antonio Camurri and Barbara Mazzarino and Gualtiero Volpe}, title = {Expressive Gestural Control of Sound and Visual Output in Multimodal Interactive Systems}, booktitle = {1st Sound and Music Computing Conference}, year = {2004}, doi = {10.5281/zenodo.849171}, abstract = {(Abstract to follow)} } @article{flossmann2010themagaloffp, author = {Sebastian Flossmann and Werner Goebl and Maarten Grachten and Bernhard Niedermayer and Gerhard Widmer}, title = {The Magaloff Project: An Interim Report}, journal = {Journal of New Music Research}, year = {2010}, volume = {39}, number = {4}, pages = {363--377}, doi = {10.1080/09298215.2010.523469} } @inproceedings{gelineck2015hapticandvis, author = {Steven Gelineck and Dan Overholt}, title = {Haptic and Visual feedback in 3D Audio Mixing Interfaces}, booktitle = {Proceedings of the Audio Mostly 2015 on Interaction With Sound}, year = {2015}, pages = {1--6}, doi = {10.1145/2814895.2814918} } @inproceedings{jap2019realtimemapp, author = {Lilian Jap and Andre Holzapfel}, title = {Real-time Mapping of Periodic Dance Movements to Control Tempo in Electronic Dance Music}, booktitle = {16th Sound and Music Computing Conference}, year = {2019}, doi = {10.5281/zenodo.3249343}, abstract = {(Abstract to follow)} } @inproceedings{correya2020essentiajsaj, author = {Albin Correya and Dmitry Bogdanov and Luis Joglar-Ongay and Xavier Serra}, title = {Essentia.js: A JavaScript Library for Music and Audio Analysis on the Web}, booktitle = {ISMIR}, year = {2020}, doi = {10.5281/zenodo.4245510} } @inproceedings{su2018procedurally, author = {Feng Su and Chris Joslin}, title = {Procedurally-Generated Audio for Soft-Body Animations}, booktitle = {Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion}, year = {2018}, pages = {1--8}, doi = {10.1145/3243274.3243285} } @inproceedings{m2000extendedperf, author = {Burtner M. and Serafin S.}, title = {Extended performance techniques for a virtual instrument}, booktitle = {DAFx}, year = {2000}, url = {https://www.dafx.de/paper-archive/2000/pdf/Burtner_Serafin_paper.pdf}, abstract = {In this paper we explore extended techniques for a physical model of a bowed string instrument controlled using the metasaxophone.} } @article{mcpherson2010themagneticr, author = {Andrew McPherson}, title = {The Magnetic Resonator Piano: Electronic Augmentation of an Acoustic Grand Piano}, journal = {Journal of New Music Research}, year = {2010}, volume = {39}, number = {3}, pages = {189--202}, doi = {10.1080/09298211003695587} } @article{xamb2024humanmachine, author = {Anna Xambó and Gerard Roma}, title = {Human–machine agencies in live coding for music performance}, journal = {Journal of New Music Research}, year = {2024}, volume = {53}, number = {1-2}, pages = {33--46}, doi = {10.1080/09298215.2024.2442355} } @article{spinellis1998palmtopprogr, author = {Diomidis Spinellis}, title = {Palmtop programmable appliance controls}, journal = {Personal Technologies}, year = {1998}, volume = {2}, number = {1}, pages = {11--17}, doi = {10.1007/bf01581842} } @inproceedings{jack2016navigationof, author = {Robert Jack and Tony Stockman and Andrew McPherson}, title = {Navigation of Pitch Space on a Digital Musical Instrument with Dynamic Tactile Feedback}, booktitle = {Proceedings of the TEI '16: Tenth International Conference on Tangible, Embedded, and Embodied Interaction}, year = {2016}, pages = {3--11}, doi = {10.1145/2839462.2839503} } @inproceedings{jacobsen2022inthezonecon, author = {Rune Møberg Jacobsen and Stine S Johansen and Niels van Berkel and Mikael B. Skov and Jesper Kjeldskov}, title = {In the Zone! — Controlling and Visualising Sound Zones}, booktitle = {CHI Conference on Human Factors in Computing Systems Extended Abstracts}, year = {2022}, pages = {1--4}, doi = {10.1145/3491101.3519898} } @inproceedings{almeida2013apreliminary, author = {Eduardo S. Silva¹, Jader Anderson O. de Abreu¹, Janiel Henrique P. de Almeida¹, and Veronica Teichrieb1, Geber L. Ramalho1}, title = {A Preliminary Evaluation of the Leap Motion Sensor as Controller of New Digital Musical Instruments}, booktitle = {SBCM 2013}, year = {2013}, abstract = {The introduction of new gesture interfaces has been expanding the possibilities of creating new Digital Musical Instruments (DMIs). Leap Motion Controller was recently launched promising fine-grained hand sensor capabilities. This paper proposes a preliminary study and evaluation of this new sensor for building new DMIs. Here, we list a series of gestures, recognized by the device, which could be theoretically used for playing a large number of musical instruments. Then, we present an analysis of precision and latency of these gestures as well as a first case study integrating Leap Motion with a virtual music keyboard.} } @article{serafin2016virtualrealib, author = {Stefania Serafin and Cumhur Erkut and Juraj Kojs and Niels C. Nilsson and Rolf Nordahl}, title = {Virtual Reality Musical Instruments: State of the Art, Design Principles, and Future Directions}, journal = {Computer Music Journal}, year = {2016}, volume = {40}, number = {3}, pages = {22--40}, doi = {10.1162/comj_a_00372}, abstract = {The rapid development and availability of low-cost technologies have created a wide interest in virtual reality. In the field of computer music, the term “virtual musical instruments” has been used for a long time to describe software simulations, extensions of existing musical instruments, and ways to control them with new interfaces for musical expression. Virtual reality musical instruments (VRMIs) that include a simulated visual component delivered via a head-mounted display or other forms of immersive visualization have not yet received much attention. In this article, we present a field overview of VRMIs from the viewpoint of the performer. We propose nine design guidelines, describe evaluation methods, analyze case studies, and consider future challenges.} } @inproceedings{cambourian2021understandin, author = {Paul Cambourian and Oscar Gal and Arthur Pate and Simon Benacchio and Jérôme Vasseur}, title = {Understanding the vibrotactile feedback of the electric guitar: Methodology for a physical and perceptual study}, booktitle = {Audio Mostly 2021}, year = {2021}, pages = {268--271}, doi = {10.1145/3478384.3478417} } @inproceedings{codai2017vivaceacolla, author = {Cod.ai and SC, Brazil}, title = {Vivace: a collaborative live coding language and platform Vilson Vieira1 , Guilherme Lunhani, Geraldo Magela de Castro Rocha Junior, Caleb Mascarenhas Luporini, Daniel Penalva, Ricardo Fabbri2 , Renato Fabbri3}, booktitle = {SBCM 2017}, year = {2017}, abstract = {Live coding is a performance and creative technique based on improvised and interactive coding. Many recent endeavors have focused in live coding both because of aesthetics and as a way to alleviate performance drawbacks when the musical instrument is a computer. This paper describes the principles and the design of Vivace, a live coding language and environment built with Web technologies to be executed on web browsers. The approach is compelling by 1) allowing many performers to code simultaneously; 2) the synthesis of audio and video; 3) a very simple syntax; 4) being a multiplatform software. We also strive to contextualize Vivace by means of historical and usage summaries including a live coding sub-genre.} } @inproceedings{steinmeier2018towardscreat, author = {Christine Steinmeier and Dominic Becking}, title = {Towards Creating an Augmented Handpan using Leap Motion}, booktitle = {15th Sound and Music Computing Conference}, year = {2018}, doi = {10.5281/zenodo.1422520}, abstract = {(Abstract to follow)} } @inproceedings{brazil2017livecodingco, author = {São João Del Rei, Minas Gerais, Brazil}, title = {Live Coding Console with Remote Audience into the web Guilherme Martins Lunhani1 , Flávio Luiz Schiavoni2 Rua Abolição 403 – 18044-070, Sorocaba, SP}, booktitle = {SBCM 2017}, year = {2017}, abstract = {Live coding is a (not so) novel form of performance based on computer programming languages. Since the emergence of Web Audio, several initiatives managed to create applications and programming environments on the web for music programming and, why not, live coding with music in web browsers. Even though running on the web, these environments run an individual live coding application without audience capability. This article describes the context, reflections and the development of a live coding web environment and three approaches to create a live coding environment on the web with audience including an initial implementation and some code development. These approaches are conceptual and can be applied on other tools and expand the live coding capability on the web.} } @inproceedings{bergsland2019vibratechnic, author = {Andreas Bergsland and Sigurd Saue and Pekka Stokke}, title = {VIBRA - Technical and Artistic Issues in an Interactive Dance Project}, booktitle = {16th Sound and Music Computing Conference}, year = {2019}, doi = {10.5281/zenodo.3249248}, abstract = {(Abstract to follow)} } @inproceedings{berdahl2011usingphysica, author = {Edgar Berdahl and Jean-Loup Florens and Claude Cadoz}, title = {Using Physical Models Is Necessary to Guarantee Stable Analog Haptic Feedback Control for Any User and Haptic Device}, booktitle = {8th Sound and Music Computing Conference}, year = {2011}, doi = {10.5281/zenodo.850016}, abstract = {(Abstract to follow)} } @inproceedings{filatriau2005instrumental, author = {Jehan-Julien Filatriau and Daniel Arfib}, title = {Instrumental Gestures and Sonic Textures}, booktitle = {2nd Sound and Music Computing Conference}, year = {2005}, doi = {10.5281/zenodo.849281}, abstract = {(Abstract to follow)} } @inproceedings{pannerden2014nlnliveanapp, author = {Than van Nispen Tot Pannerden}, title = {NLN-live, an Application for Live Non-linear and Interactive Instrumental Music}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850663}, abstract = {(Abstract to follow)} } @inproceedings{gregorio2017soundandinte, author = {Jeff Gregorio and Peter English and Youngmoo E. Kim}, title = {Sound and Interaction Design of an Augmented Drum System}, booktitle = {Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences}, year = {2017}, pages = {1--4}, doi = {10.1145/3123514.3123521} } @inproceedings{purvis2019cjingpractic, author = {Jack Purvis and Craig Anslow and James Noble}, title = {CJing Practice: Combining Live Coding and VJing}, booktitle = {International Conference on Live Coding 2019}, year = {2019}, doi = {10.5281/zenodo.3946156}, abstract = {Live coding has typically focused on textual interfaces to interact with code, but this reliance on typing text impairs the usability of live coding as a performance practice. VJing practice is limited by a lack of fine-grained content control and a number of audiovisual tools are limited by their ability to be reused or shared in new performances. We propose the code jo࠻ey practice (CJing), a new hybrid practice where a performer known as a code jo࠻ey (CJ) improvises, manipulates and composites code to generate procedural graphics. CJing combines elements from live coding and VJing by offering user interfaces that abstract upon the code and provide high level interactions. To illustrate CJing we introduce Visor, a live coding environment for producing graphics in audiovisual performances. We present a typical Visor performance scenario and discuss Visor’s underlying implementation details.} } @inproceedings{cherston2016sonification, author = {Juliana Cherston and Ewan Hill and Steven Goldfarb and Joseph A. Paradiso}, title = {Sonification Platform for Interaction with Real-Time Particle Collision Data from the ATLAS Detector}, booktitle = {Proceedings of the 2016 CHI Conference Extended Abstracts on Human Factors in Computing Systems}, year = {2016}, pages = {1647--1653}, doi = {10.1145/2851581.2892295} } @article{barrass1996sculptingaso, author = {STEPHEN BARRASS}, title = {Sculpting a sound space with information properties}, journal = {Organised Sound}, year = {1996}, volume = {1}, number = {2}, pages = {125--136}, doi = {10.1017/s1355771896000040} } @article{barbosa2005publicsoundo, author = {ALVARO BARBOSA}, title = {Public Sound Objects: a shared environment for networked music practice on the Web}, journal = {Organised Sound}, year = {2005}, volume = {10}, number = {3}, pages = {233--242}, doi = {10.1017/s135577180500097x}, abstract = {The Public Sound Objects (PSOs ) project consists of the development of a networked musical system, which is an experimental framework to implement and test new concepts for online music communication. The PSOs project approaches the idea of collaborative musical performances over the Internet by aiming to go beyond the concept of using computer networks as a channel to connect performing spaces. This is achieved by exploring the internet's shared nature in order to provide a public musical space where anonymous users can meet and be found performing in collective sonic art pieces. The system itself is an interface-decoupled musical instrument, in which a remote user interface and a sound processing engine reside with different hosts in an extreme scenario where a user can access the synthesizer from any place in the world using the World Wide Web. Specific software features were implemented in order to reduce the disruptive effects of network latency, such as dynamic adaptation of the musical tempo to communication latency measured in real time and consistent sound panning with the object's behaviour at the graphical user interface.} } @article{sallns2000supportingpr, author = {Eva-Lotta Sallnäs and Kirsten Rassmus-Gröhn and Calle Sjöström}, title = {Supporting presence in collaborative environments by haptic force feedback}, journal = {ACM Transactions on Computer-Human Interaction}, year = {2000}, volume = {7}, number = {4}, pages = {461--476}, doi = {10.1145/365058.365086}, abstract = {An experimental study of interaction in a collaborative desktop virtual environment is described. The aim of the experiment was to investigate if added haptic force feedback in such an environment affects perceived virtual presence, perceived social presence, perceived task performance, and task performance. A between-group design was employed, where seven pairs of subjects used an interface with graphic representation of the environment, audio connection, and haptic force feedback. Seven other pairs of subjects used an interface without haptic force feedback, but with identical features otherwise. The PHANToM, a one-point haptic device, was used for the haptic force feedback, and a program especially developed for the purpose provided the virtual environment. The program enables for two individuals placed in different locations to simultaneously feel and manipulate dynamic objects in a shared desktop virtual environment. Results show that haptic force feedback significantly improves task performance, perceived task performance, and pereceived virtual presence in the collaborative distributed environment. The results suggest that haptic force feedback increases perceived social presence, but the difference is not significant.} } @inproceedings{maglhaes2019combiningtex, author = {Eduardo Magãlhaes and Emil Rosenlund Høeg and Gilberto Bernardes and Jon Ram Bruun-Pedersen and Stefania Serafin and Rolf Nordahl}, title = {Combining Texture-Derived Vibrotactile Feedback, Concatenative Synthesis and Photogrammetry for Virtual Reality Rendering}, booktitle = {16th Sound and Music Computing Conference}, year = {2019}, doi = {10.5281/zenodo.3249378}, abstract = {(Abstract to follow)} } @inproceedings{willemsen2020realtimeimpl, author = {Silvin Willemsen and Stefania Serafin and Stefan Bilbao and Michele Ducceschi}, title = {Real-time implementation of a physical model of the tromba marina}, booktitle = {Sound and Music Computing}, year = {2020}, doi = {10.5281/zenodo.3898741}, abstract = {The tromba marina is a medieval bowed monochord instrument. The string of the instrument rests on a rattling bridge that, due to the collision with the body, creates a trumpetlike sound. This paper presents a real-time implementation of a physical model of the tromba marina. The goal of the simulation is to make the instrument accessible to a larger audience. The physical model is implemented using finitedifference time-domain (FDTD) methods and non-iterative collision methods. A real-time implementation of the instrument is also presented. The simulation exhibits brasslike qualities and sounds similar to a real tromba marina, but requires further testing to validate the realism. } } @article{malham1995dsoundspatia, author = {David G. Malham and Anthony Myatt}, title = {3-D Sound Spatialization using Ambisonic Techniques}, journal = {Computer Music Journal}, year = {1995}, volume = {19}, number = {4}, pages = {58}, doi = {10.2307/3680991} } @inproceedings{gupfinger2009interactivei, author = {Reinhard Gupfinger and Hideaki Ogawa and Christa Sommerer and Laurent Mignonneau}, title = {Interactive Infrasonic Environment: A New Type of Sound Installation for Controlling Infrasound}, booktitle = {6th Sound and Music Computing Conference}, year = {2009}, doi = {10.5281/zenodo.849631}, abstract = {(Abstract to follow)} } @inproceedings{burloiu2017structuredin, author = {Grigore Burloiu and Ştefan Damian and Bogdan Golumbeanu and Valentin Mihai}, title = {Structured interaction in the SoundThimble real-time gesture sonification framework}, booktitle = {Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences}, year = {2017}, pages = {1--4}, doi = {10.1145/3123514.3123543} } @inproceedings{usp2007arealtimeand, author = {Paulo (USP) and Av. Prof. Luciano Gualberto, travessa 3 nº 380 – 05508-900 – São Paulo – SP – Brazil}, title = {A Real Time and Interactive Music Spatialization System Leandro Ferrari Thomaz1, Regis Rossi Alves Faria1}, booktitle = {SBCM 2007}, year = {2007}, abstract = {This work involves the investigation on techniques for musical spatialization, and the development of a real time spatialization system, based on a multichannel auralization engine (AUDIENCE). The constructed system uses the Ambisonics technique, which allows the recreation of a threedimensional sound field. The system reproduces spatial music through an arrangement of loudspeakers around the listener where sound sources can assume some free positions, and also be put into motion. Results of experiments with a musical piece show that the system can be used by composers, conductors, and producers for the musical spatialization task.} } @inproceedings{drymonitis2025livelilythee, author = {Alexandros Drymonitis}, title = {Livelily: The Evolution of a Live Scoring / Live Sequencing Environment}, booktitle = {International Conference on Technologies for Music Notation and Representation}, year = {2025}, doi = {10.5281/zenodo.19181449}, abstract = {In this paper I focus on the development of the LiveLily Live Scoring and Live Coding system, since its initial release on 2023. This system has been developed for writing Western-music scores live. Its further development includes user defined functions, enhanced OSC communication, syntax highlighting and other features. Inspired by the Lilypond language, this system offers an intuitive textual language, simpler than Lilypond, for writing and playing music scores live. It provides the ability to use Python and the Pyo module to write DSP code to play scores or to control other software or hardware via OSC or MIDI communication, and communicating the score with human performers through an accompanying software that can display part of the full score. Being focused on Live Scoring, it is very responsive and takes minimal time to render a score, while it can play rendered scores in real-time.} } @inproceedings{sayer2015cognitionand, author = {Tim Sayer}, title = {Cognition and Improvisation: Some Implications for Live Coding}, booktitle = {First International Conference on Live Coding}, year = {2015}, doi = {10.5281/zenodo.19328}, abstract = {This paper explores the perception that live coding is a “real-time” improvisatory activity. It posits the notion that because live coding requires less complex motor skills than instrumental improvisation it may be less susceptible to the influence of mechanical modes of musical expression. This hypothesis will explore the concept of goal states, models of memory and the function of reflexes and reactions as a means of mapping this territory and will provide a framework to understand the various perceptual domains with which a coder engages during a live extemporised performance. This exploration will engage in a comparative discourse relating live coding to instrumental improvisation, as a point of departure for the understanding of cognitive functioning in this rapidly developing performance paradigm.} } @inproceedings{grant2013meuserecomme, author = {Maurice Grant and Adeesha Ekanayake and Douglas Turnbull}, title = {MeUse: Recommending Internet Radio Stations.}, booktitle = {ISMIR}, year = {2013}, doi = {10.5281/zenodo.1418027} } @inproceedings{jin2003individualiz, author = {C. Jin and N. van Schaik and V. Best and S. Carlile}, title = {Individualization in spatial-audio coding}, booktitle = {2003 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (IEEE Cat. No.03TH8684)}, year = {2003}, pages = {213--216}, doi = {10.1109/aspaa.2003.1285869} } @inproceedings{wilson2023mosaickstagi, author = {Elizabeth Wilson and Deva Schubert and Mika Satomi and Alex McLean and Juan Felipe Amaya Gozalez}, title = {MosAIck: Staging Contemporary AI Performance - Connecting Live Coding, E-Textiles and Movement}, booktitle = {7th International Conference on Live Coding}, year = {2023}, doi = {10.5281/zenodo.7843540}, abstract = {This paper introduces our collective work “Patterns in Between Intelligences”, a performance piece that builds an artistic practice between live coding sounds and coding through dance, mediated and shaped through e-textile sensors. This creates a networked system of which both live coded processes and human bodies are part. The paper describes in detail the implementations of technology used in the prototype performance performed at No Bounds Festival in Sheffield UK, October 2022, as well as discussions and concerns the team had related to the use of AI technology on stage. The paper concludes with a narrative reflection on the Sheffield performance, and reflections on it.} } @inproceedings{jylh2011sonicgesture, author = {Antti Jylhä}, title = {Sonic Gestures as Input in Human-computer Interaction: Towards a Systematic Approach}, booktitle = {8th Sound and Music Computing Conference}, year = {2011}, doi = {10.5281/zenodo.849990}, abstract = {(Abstract to follow)} } @inproceedings{ramalho2015computermusi, author = {Eduardo S. Silva1, Giordano R. E. Cabral1, Geber L. Ramalho1 and 50.740-560- Recife – PE – Brasil.}, title = {Computer Music: Beyond the frontiers of signal processing and computational models V-Conga: Um Estudo de Caso Para Avaliar as Capacidades de Captura de Nuances Gestuais do Leap Motion© em um Sistema Híbrido}, booktitle = {SBCM 2015}, year = {2015}, abstract = {Gesture interfaces have been expanding the possibilities of creating new Digital Musical Instruments (DMIs). The Leap Motion© Controller offers a fine-grained hand tracking capabilites. In this study, the gesture recognition precision and the system’s latency are evaluated by simulating a conga drum. In addition, we present an experiment done with a professional musician to investigate the sensor’s capabilities within the instrument’s context of use.} } @article{alves2023towardsconsc, author = {Tomás Alves and Daniel Nunes and Daniel Gonçalves and Joana Henriques-Calado and Sandra Gama}, title = {Towards conscientiousness-based graphical user interface design guidelines}, journal = {Personal and Ubiquitous Computing}, year = {2023}, volume = {27}, number = {2}, pages = {401--414}, doi = {10.1007/s00779-022-01693-x} } @article{bacot2016thecreativep, author = {Baptiste Bacot and François-Xavier Féron}, title = {The Creative Process of Sculpting the Air by Jesper Nordin: Conceiving and Performing a Concerto for Conductor with Live Electronics}, journal = {Contemporary Music Review}, year = {2016}, volume = {35}, number = {4-5}, pages = {450--474}, doi = {10.1080/07494467.2016.1257569} } @article{moore1982thecomputera, author = {F. Richard Moore}, title = {The Computer Audio Research Laboratory at UCSD}, journal = {Computer Music Journal}, year = {1982}, volume = {6}, number = {1}, pages = {18}, doi = {10.2307/3680355} } @inproceedings{deacon2017userexperien, author = {Thomas Deacon and Tony Stockman and Mathieu Barthet}, title = {User Experience in an Interactive Music Virtual Reality System: An Exploratory Study}, booktitle = {Lecture Notes in Computer Science Bridging People and Sound}, year = {2017}, doi = {10.1007/978-3-319-67738-5_12} } @article{luciani2009enactionandm, author = {Annie Luciani}, title = {Enaction and Music: Anticipating a New Alliance between Dynamic Instrumental Arts}, journal = {Journal of New Music Research}, year = {2009}, volume = {38}, number = {3}, pages = {211--214}, doi = {10.1080/09298210903325600} } @article{kela2006acceleromete, author = {Juha Kela and Panu Korpipää and Jani Mäntyjärvi and Sanna Kallio and Giuseppe Savino and Luca Jozzo and Sergio Di Marca}, title = {Accelerometer-based gesture control for a design environment}, journal = {Personal and Ubiquitous Computing}, year = {2006}, volume = {10}, number = {5}, pages = {285--299}, doi = {10.1007/s00779-005-0033-8} } @article{harley1994spatialsound, author = {Maria Anna Harley}, title = {Spatial sound movement in the instrumental music of Iannis Xenakis}, journal = {Journal of New Music Research}, year = {1994}, volume = {23}, number = {3}, pages = {291--314}, doi = {10.1080/09298219408570661} } @inproceedings{leng2017auserdefined, author = {Hoo Yong Leng and Noris Mohd Norowi and Azrul Hazri Jantan}, title = {A User-Defined Gesture Set for Music Interaction in Immersive Virtual Environment}, booktitle = {Proceedings of the 3rd International Conference on Human-Computer Interaction and User Experience in Indonesia}, year = {2017}, pages = {44--51}, doi = {10.1145/3077343.3077348} } @article{gamper1998aperformerco, author = {David Gamper and Pauline Oliveros}, title = {A Performer-Controlled Live Sound-Processing System: New Developments and Implementations of the Expanded Instrument System}, journal = {Leonardo Music Journal}, year = {1998}, volume = {8}, pages = {33}, doi = {10.2307/1513397} } @inproceedings{czyzewski2013multimodalhu, author = {Andrzej Czyzewski and Piotr Dalka and Lukasz Kosikowski and Bartosz Kunka and Adam Kupryjanow and Michal Lech and Piotr Odya}, title = {Multimodal human-computer interfaces based on advanced video and audio analysis}, booktitle = {2013 6th International Conference on Human System Interactions (HSI)}, year = {2013}, pages = {18--25}, doi = {10.1109/hsi.2013.6577797} } @inproceedings{costa2025dublangamult, author = {Joenio Marques Da Costa and Mari Nicácio de Moura}, title = {dublang: A Multi-Language Live Coding System}, booktitle = {9th International Conference on Live Coding}, year = {2025}, doi = {10.5281/zenodo.15527683}, abstract = {The dublang tool is a multi-language live coding system developed in Lua using the Neovim text editor. It supports languages such as TidalCycles, SuperCollider, FoxDot, Sardine, and some non-conventional tools such as, OBS Studio, MPV, eSpeak, and other free software tools. With dublang it is possible to do live coding of sounds and visuals from the same source code file, combining the power of multiple tools in an integrated environment.} } @inproceedings{gaudenzi2022interactivee, author = {Louis De Gaudenzi}, title = {Interactive Ear Training – Web Audio API}, booktitle = {Web Audio Conference 2022}, year = {2022}, doi = {10.5281/zenodo.6768935}, abstract = {Online video courses often lack interactions from the user. Yet, interactivity is a good way to engage people more in what they are learning. In the context of online courses that focus on audio, there are many tools that can be used to provide interactivity through the browser, one of them being the Web Audio API. This demo aims to show that the Web Audio API can be used for educational purposes, and more specifically making online courses more interactive and engaging for the user. This project was carried out as part of an internship to see what level of interactivity was achievable in a given time. It is written using the Vue front-end framework, and takes advantage of the JavaScript Canvas API, to facilitate the visual gamification of the exercises.} } @inproceedings{fontana2015renderingand, author = {Federico Fontana and Federico Avanzini and Hanna Järveläinen and Stefano Papetti and Giorgio Klauer and Lorenzo Malavolta}, title = {Rendering and Subjective Evaluation of Real vs. Synthetic Vibrotactile Cues on a Digital Piano Keyboard}, booktitle = {12th Sound and Music Computing Conference}, year = {2015}, doi = {10.5281/zenodo.851015}, abstract = {(Abstract to follow)} } @inproceedings{longdon2023visualisingf, author = {Joycelyn Longdon}, title = {Visualising Forest Sound: Justice-led Ecoacoustic Data Interaction}, booktitle = {Extended Abstracts of the 2023 CHI Conference on Human Factors in Computing Systems}, year = {2023}, pages = {1--5}, doi = {10.1145/3544549.3577039} } @inproceedings{mclean2019patterncodea, author = {Alex McLean and Renick Bell}, title = {Pattern, Code and Algorithmic Drumming Circles}, booktitle = {International Conference on Live Coding 2019}, year = {2019}, doi = {10.5281/zenodo.3946174}, abstract = {A report on Pattern + Code, a project working with primary school children to explore codes through both textiles and musical code, creating an audio/visual installation and live performance. The project came in three parts: Knot Coding, hiding messages in string, inspired by Andean Quipu, Algorithmic Drumming Circles, live coding percussive, cyclic music in groups of eight, and finally a live coding quartet performance. The paper concludes by considering how knot coding and live coding could be brought together in the future.} } @inproceedings{murphy2014mechatronick, author = {Jim Murphy and Ajay Kapur and Dale A. Carnegie}, title = {Mechatronic Keyboard Music: Design, Evaluation, and Use of a New Mechatronic Harmonium}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850651}, abstract = {(Abstract to follow)} } @inproceedings{mckinney2012yigthefather, author = {Chad McKinney and Nick Collins}, title = {Yig, the Father of Serpents: A Real-time Network Music Performance Environment}, booktitle = {9th Sound and Music Computing Conference}, year = {2012}, doi = {10.5281/zenodo.850180}, abstract = {(Abstract to follow)} } @inproceedings{smith2026youarethevis, author = {Angela D. R. Smith and Gabriella Thompson and Bethany Miatta Turay and Alexandra To}, title = {“You Are the Visuals, Baby”: Sonic Speculation and Interactive Afrofutures in Black Femme Musical Performance}, booktitle = {Proceedings of the 2026 Designing Interactive Systems Conference}, year = {2026}, pages = {1593--1607}, doi = {10.1145/3800645.3812792} } @inproceedings{andreasen2018navigateasab, author = {Anastassia Andreasen and Jelisaveta Zovnercuka and Kristians Konovalovs and Michele Geronazzo and Stefania Serafin and Razvan Paisa}, title = {Navigate as a Bat. Real-Time Echolocation System in Virtual Reality}, booktitle = {15th Sound and Music Computing Conference}, year = {2018}, doi = {10.5281/zenodo.1422555}, abstract = {(Abstract to follow)} } @article{fasciani2018vocalcontrol, author = {Stefano Fasciani and Lonce Wyse}, title = {Vocal Control of Sound Synthesis Personalized by Unsupervised Machine Listening and Learning}, journal = {Computer Music Journal}, year = {2018}, volume = {42}, number = {1}, pages = {37--59}, doi = {10.1162/comj_a_00450}, abstract = {Abstract In this article we describe a user-driven adaptive method to control the sonic response of digital musical instruments using information extracted from the timbre of the human voice. The mapping between heterogeneous attributes of the input and output timbres is determined from data collected through machine-listening techniques and then processed by unsupervised machine-learning algorithms. This approach is based on a minimum-loss mapping that hides any synthesizer-specific parameters and that maps the vocal interaction directly to perceptual characteristics of the generated sound. The mapping adapts to the dynamics detected in the voice and maximizes the timbral space covered by the sound synthesizer. The strategies for mapping vocal control to perceptual timbral features and for automating the customization of vocal interfaces for different users and synthesizers, in general, are evaluated through a variety of qualitative and quantitative methods.} } @inproceedings{gupta2026virtualplayi, author = {Shivang Gupta and Xinyi Yang and Emma Jane Pretty and Zhenxing Li and Juho Hamari and Nannan Xi}, title = {Virtual Playing, Real Touch: The Haptics of Musical Instruments}, booktitle = {Proceedings of the Extended Abstracts of the 2026 CHI Conference on Human Factors in Computing Systems}, year = {2026}, pages = {1--4}, doi = {10.1145/3772363.3799160} } @inproceedings{naveda2014topostoolkit, author = {Luiz Naveda and Ivani Santana}, title = {"Topos" Toolkit for Pure Data: Exploring the Spatial Features of Dance Gestures for Interactive Musical Applications}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850585}, abstract = {(Abstract to follow)} } @inproceedings{andre2019combiningeff, author = {Du Bois, Andre and Ribeiro, Rodrigo}, title = {Combining Effects in a Music Programming Language based on Patterns}, booktitle = {SBCM}, year = {2019}, url = {https://sol.sbc.org.br/index.php/sbcm/article/view/10430}, abstract = {HMusic is a domain specific language based on music patterns that can be used to write music and live coding. The main abstractions provided by the language are patterns and tracks. Code written in HMusic looks like patterns and multi-tracks available in music sequencers, drum machines and DAWs. HMusic provides primitives to design and combine patterns generating new patterns. The objective of this paper is to extend the original design of HMusic to allow effects on tracks. We describe new abstractions to add effects on individual tracks and in groups of tracks, and how they influence the combinators for track composition and multiplication. HMusic allows the live coding of music and, as it is embedded in the Haskell functional programming language, programmers can write functions to manipulate effects on the fly. The current implementation of the language is compiled into Sonic Pi [1], and we describe how the compiler’s back-end was modified to support the new abstractions for effects. HMusic can be and can be downloaded from [2].}, note = {Original title: Combining Effects in a Music Programming Language based on Patterns} } @inproceedings{zlatintsi2018awebbasedrea, author = {Athanasia Zlatintsi and Panagiotis P. Filntisis and Christos Garoufis and Antigoni Tsiami and Kosmas Kritsis and M. A. Kaliakatsos-Papakostas and Aggelos Gkiokas and Vassilis Katsouros and Petros Maragos}, title = {A Web-based Real-Time Kinect Application for Gestural Interaction with Virtual Musical Instruments}, booktitle = {Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion}, year = {2018}, pages = {1--6}, doi = {10.1145/3243274.3243297} } @inproceedings{fontana2011anexploratio, author = {Federico Fontana and Stefano Papetti and Valentina Del Bello and Marco Civolani and Balàzs Bank}, title = {An Exploration on the Influence of Vibrotactile Cues During Digital Piano Playing}, booktitle = {8th Sound and Music Computing Conference}, year = {2011}, doi = {10.5281/zenodo.849873}, abstract = {(Abstract to follow)} } @article{vets2017plxtrmpredic, author = {Tim Vets and Jonas Degrave and Luc Nijs and Federica Bressan and Marc Leman}, title = {PLXTRM: Prediction-Led eXtended-guitar Tool for Real-time Music applications and live performance}, journal = {Journal of New Music Research}, year = {2017}, volume = {46}, number = {2}, pages = {187--200}, doi = {10.1080/09298215.2017.1288747} } @inproceedings{giomi2020somaticsonif, author = {Andrea Giomi}, title = {Somatic Sonification in Dance Performances. From the Artistic to the Perceptual and Back}, booktitle = {Proceedings of the 7th International Conference on Movement and Computing}, year = {2020}, pages = {1--8}, doi = {10.1145/3401956.3404226} } @inproceedings{serafin2021singinginvir, author = {Stefania Serafin and Ali Adjorlu and Lars Andersen and Nicklas Andersen}, title = {Singing in Virtual Reality with the Danish National Children’s Choir}, booktitle = {Lecture Notes in Computer Science Perception, Representations, Image, Sound, Music}, year = {2021}, doi = {10.1007/978-3-030-70210-6_36} } @inproceedings{schwarz2008principlesan, author = {Diemo Schwarz and Roland Cahen and Sam Britton}, title = {Principles and Applications of Interactive Corpus-Based Concatenative Synthesis}, booktitle = {Journées d'Informatique Musicale (JIM)}, year = {2008}, url = {https://hal.science/hal-01161401v1}, abstract = {Corpus-based concatenative synthesis plays grains from a large corpus of segmented and descriptor-analysed sounds according to proximity to a target position in the descriptor space. This can be seen as a content-based extension to granular synthesis providing direct access to specific sound characteristics. The interactive concatenative sound synthesis system CataRT that realises real-time Corpus-based concatenative synthesis is implemented as a collection of Max/MSP patches using the FTM library. CataRT allows to explore the corpus interactively or via a written target score, to resynthesise an audio file or live input with the source sounds. We will show musical applications of pieces that explore the new concepts made possible by corpus-based concatenative synthesis.} } @inproceedings{hantrakul2014implementati, author = {Lamtharn Hantrakul and Konrad Kaczmarek}, title = {Implementations of the Leap Motion device in sound synthesis and interactive live performance}, booktitle = {Proceedings of the 2014 International Workshop on Movement and Computing}, year = {2014}, pages = {142--145}, doi = {10.1145/2617995.2618020} } @inproceedings{goulart2015livecodingth, author = {Antonio José Homsi Goulart and Miguel Diaz Antar}, title = {Live Coding the computer as part of a free improvisation orchestra of acoustic instruments}, booktitle = {First International Conference on Live Coding}, year = {2015}, doi = {10.5281/zenodo.19317}, abstract = {In this paper we present our experience of having a live coder amongst acoustic musicians in a free improvisation orchestra. The acoustic musicians in the orchestra had no previous experience with live coding. We will discuss all the difficulties we experienced and the process for overcoming them, illustrating our observations with audio excerpts from some of our recorded sessions. We will also go through a discussion about the nature of the instruments and raise the question of how deeply the musicians should understand code in order to effectively interact in the free improvisation context. Finally we propose a piece for live coder and orchestra that artificially explores the different dimensions of an orchestra session.} } @article{rantala2011fiberopticse, author = {Jyri Rantala and Jaana Hännikäinen and Jukka Vanhala}, title = {Fiber optic sensors for wearable applications}, journal = {Personal and Ubiquitous Computing}, year = {2011}, volume = {15}, number = {1}, pages = {85--96}, doi = {10.1007/s00779-010-0303-y} } @article{hsu2010strategiesfo, author = {William Hsu}, title = {Strategies for Managing Timbre and Interaction in Automatic Improvisation Systems}, journal = {Leonardo Music Journal}, year = {2010}, volume = {20}, pages = {33--39}, doi = {10.1162/lmj_a_00010}, abstract = {Earlier interactive improvisation systems have mostly worked with note-level musical events such as pitch, loudness and duration. Timbre is an integral component of the musical language of many improvisers; some recent systems use timbral information in a variety of ways to enhance interactivity. This article describes the timbre-aware ARHS improvisation system, designed in collaboration with saxophonist John Butcher, in the context of recent improvisation systems that incorporate timbral information. Common practices in audio feature extraction, performance state characterization and management, response synthesis and control of improvising agents are summarized and compared.} } @inproceedings{georgaki2005phonodeoncon, author = {Anastasia Georgaki and Ioannis Zannos and Nikolaos Valsmakis}, title = {Phonodeon: Controlling Synthetic Voices via MIDI-accordeon}, booktitle = {2nd Sound and Music Computing Conference}, year = {2005}, doi = {10.5281/zenodo.849301}, abstract = {(Abstract to follow)} } @inproceedings{barnard2023nightportsat, author = {Matthew Barnard and Adam Martin and Mark Slater}, title = {Nightports at Hull Minster: Physical, Hybrid and Virtualized Live Loudspeaker Array Spatialization of Electronic Music Performance}, booktitle = {2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2023}, pages = {1--7}, doi = {10.1109/i3da57090.2023.10289518} } @inproceedings{brandsttter2016gearsforaudi, author = {Ulrich Brandstätter and Marlene Brandstätter and Christa Sommerer}, title = {Gears for audio-visual composition}, booktitle = {Proceedings of the Audio Mostly 2016}, year = {2016}, pages = {170--177}, doi = {10.1145/2986416.2986423} } @inproceedings{mclean2014makingprogra, author = {Alex McLean}, title = {Making programming languages to dance to: Live Coding with Tidal}, booktitle = {2nd ACM SIGPLAN International Workshop on Functional Art, Music, Modelling and Design}, year = {2014}, doi = {10.5281/zenodo.7452894}, abstract = {Live coding of music has grown into a vibrant international community of research and practice over the past decade, providing a new research domain where computer science blends with the performing arts. In this paper the domain of live coding is described, with focus on the programming language design challenges involved, and the ways in which a functional approach can meet those challenges. This leads to the introduction of Tidal 0.4, a Domain Specific Language embedded in Haskell. This is a substantial restructuring of Tidal, which now represents musical pattern as functions from time to events, inspired by Functional Reactive Programming.} } @inproceedings{burattini2023theeffectofa, author = {Chiara Burattini and Fabio Bisegna and Giulia D’Aurizio and Giuseppe Curcio}, title = {The effect of an audio-video stimulation on emotions: a virtual reality study}, booktitle = {2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2023}, doi = {10.1109/i3da57090.2023.10289416} } @article{wu2017outofsightat, author = {Chi-Jui Wu and Aaron Quigley and David Harris-Birtill}, title = {Out of sight: a toolkit for tracking occluded human joint positions}, journal = {Personal and Ubiquitous Computing}, year = {2017}, volume = {21}, number = {1}, pages = {125--135}, doi = {10.1007/s00779-016-0997-6} } @inproceedings{camurri2004multimodalin, author = {Antonio Camurri}, title = {Multimodal Interfaces for Expressive Sound Control}, booktitle = {DAFx}, year = {2004}, abstract = {This paper introduces research issues on multimodal interaction and interfaces for expressive sound control. We introduce Multisensory Integrated Expressive Environments (MIEEs) as a framework for Mixed Reality applications in the performing arts. Paradigmatic contexts for applications of MIEEs are multimedia concerts, interactive dance / music / video installations, interactive museum exhibitions, distributed cooperative environments for theatre and artistic expression. MIEEs are user-centred systems able to interpret the high-level information conveyed by performers through their expressive gestures and to establish an effective multisensory experience taking into account expressive, emotional, affective content. The lecture discusses some main issues for MIEEs and presents the EyesWeb (www.eyesweb.org) open software platform which has been recently redesigned (version 4) in order to better address MIEE requirements. Short live demonstrations are also presented.} } @inproceedings{kocher2014polytemponet, author = {Philippe Kocher}, title = {Polytempo Network: A System for Technology-assisted Conducting}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850605}, abstract = {(Abstract to follow)} } @article{lee2013realtimemusi, author = {Sang Won Lee and Jason Freeman}, title = {Real-Time Music Notation in Mixed Laptop–Acoustic Ensembles}, journal = {Computer Music Journal}, year = {2013}, volume = {37}, number = {4}, pages = {24--36}, doi = {10.1162/comj_a_00202}, abstract = {SGLC is a recent set of extensions to LOLC, a text-based environment for collaborative improvisation for laptop ensembles. SGLC integrates acoustic musicians into the LOLC environment: Laptop musicians author short commands to generate real-time notation, and acoustic musicians sight-read it in performance. We describe the background and motivations of the project, outline the design of LOLC and SGLC, explain the use of SGLC in a musical composition by one of the authors, and evaluate the impact of real-time notation on a concert performance with the environment.} } @inproceedings{misgeld2019dancingdotsi, author = {Olof Misgeld and Andre Holzapfel and Sven Ahlbäck}, title = {Dancing Dots - Investigating the Link between Dancer and Musician in Swedish Folk Dance}, booktitle = {16th Sound and Music Computing Conference}, year = {2019}, doi = {10.5281/zenodo.3249455}, abstract = {(Abstract to follow)} } @inproceedings{jiang2024livejokingli, author = {Qihan Jiang and Alan Ren}, title = {Live Joking: Live Coding Algorithmic Comedy}, booktitle = {8th International Conference on Live Coding}, year = {2024}, doi = {10.5281/zenodo.11348471}, abstract = {This article explores the intersection between comedy and live coding by introducing our project Live Joking. This project examines the use of programming, as a medium and process, to create humorous or sarcastic effects analogous to that of a comedy performance. As an attempt to create theatrical effects, our project explores the process of decomposing comedy, constructing a system for live performances, as well as delivering stories and ideas through programmable actions or the programming language. By experimenting with the integration between theater, humor, and programming, Live Joking attempted to expand the expressiveness of live coding as an art form, while also shed light on the strategies of extending live coding to other theatrical performances.} } @article{beauchamp1992willtherealf, author = {James Beauchamp}, title = {Will the Real FM Equation Please Stand up}, journal = {Computer Music Journal}, year = {1992}, volume = {16}, number = {4}, pages = {6}, doi = {10.2307/3680460} } @inproceedings{kirkbride2017troopacollab, author = {Ryan Kirkbride}, title = {Troop: A Collaborative Tool for Live Coding}, booktitle = {14th Sound and Music Computing Conference}, year = {2017}, doi = {10.5281/zenodo.1401895}, abstract = {(Abstract to follow)} } @inproceedings{schlienger2016requirements, author = {Dominik Schlienger}, title = {Requirements on Kinaesthetic Interfaces for Spatially Interactive Sonic Art}, booktitle = {Proceedings of the Audio Mostly 2016}, year = {2016}, pages = {162--169}, doi = {10.1145/2986416.2986441} } @inproceedings{alessandretti2014neymainterac, author = {Stefano Alessandretti and Giovanni Sparano}, title = {NEYMA, Interactive Soundscape Composition Based on a Low Budget Motion Capture System}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850555}, abstract = {(Abstract to follow)} } @article{palumbo2020modularreali, author = {Michael Palumbo and Alexander Zonta and Graham Wakefield}, title = {Modular reality: Analogues of patching in immersive space}, journal = {Journal of New Music Research}, year = {2020}, volume = {49}, number = {1}, pages = {8--23}, doi = {10.1080/09298215.2019.1706583} } @inproceedings{lawson2022livecodingde, author = {Shawn Lawson}, title = {Live Coding Deep Neural Nets}, booktitle = {International Conference on Live Coding}, year = {2022}, doi = {10.5281/zenodo.5888394}, abstract = { This paper will describe the concept to completion process of live coding Pix2Pix and StyleGan2 neural nets for the generation of new visuals.  The following pages will describe real-time live coding neural net input data and live coding neural net tensor weights.} } @inproceedings{guauss2010analyzinglef, author = {Enric Guauss and Josep Llus Arcos}, title = {Analyzing Left Hand Fingering in Guitar Playing}, booktitle = {7th Sound and Music Computing Conference}, year = {2010}, doi = {10.5281/zenodo.849719}, abstract = {(Abstract to follow)} } @inproceedings{angel2019bellacodeloc, author = {Luis N. Del Angel and Marianne Teixido and Emilio Ocelotl and Ivanka Cotrina and David Ogborn}, title = {Bellacode: localized textual interfaces for live coding music}, booktitle = {International Conference on Live Coding 2019}, year = {2019}, doi = {10.5281/zenodo.4091446}, abstract = {In May 2018, the collective RGGTRN presented a series of live coding workshops focused on the development of localized live coding esolangs, targeting the underlying affordances of TidalCycles via the Estuary web-based environment. This paper focuses on the interpretation of the live coding esolangs La Calle and Sucixxx created during the workshops. We expose these languages here as they engage critically with both live coding practice and the specificity of the artist-programmer. This paper ends with a brief analysis of an anonymous survey deployed during the workshops and a brief discussion of future work. On the basis of this account, we suggest localization as an aspect to be further explored in live coding practice.} } @inproceedings{brandenburg2009wavefieldsyn, author = {Karl Heinz Brandenburg}, title = {Wave Field Synthesis: Basics and Applications}, booktitle = {DAFx}, year = {2009}, url = {https://www.dafx.de/paper-archive/2009/tutorials/brand.pdf} } @inproceedings{roth2021tempowatchaw, author = {Josef Roth and Jan Ehlers and Christopher Getschmann and Florian Echtler}, title = {TempoWatch: a Wearable Music Control Interface for Dance Instructors}, booktitle = {Proceedings of the Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction}, year = {2021}, pages = {1--6}, doi = {10.1145/3430524.3442461} } @inproceedings{dannenberg2014scalingupliv, author = {Roger B. Dannenberg and Tom Neuendorffer}, title = {Scaling Up Live Internet Performance With the Global Net Orchestra}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850669}, abstract = {(Abstract to follow)} } @inproceedings{qin2025querybasedco, author = {Xilin Qin and Dexiang Hong and Weidong Chen and Cheng Ye and Xinyan Liu and Peipei Song and Lei Zhang}, title = {Query-based Collaborative Multimodal Token Pruning for Audio-Visual Question Answering}, booktitle = {2025 4th International Conference on Artificial Intelligence, Human-Computer Interaction and Robotics (AIHCIR)}, year = {2025}, pages = {1--6}, doi = {10.1109/aihcir67580.2025.11405267} } @inproceedings{murphy2015articulatory, author = {Damian Murphy and Mátyás Jani and Sten Ternström}, title = {Articulatory vocal tract synthesis in Supercollider}, booktitle = {DAFx}, year = {2015}, url = {https://www.dafx.de/paper-archive/2015/DAFx-15_submission_32.pdf}, abstract = {The APEX system [1] enables vocal tract articulation using a reduced set of user controllable parameters by means of Principal Component Analysis of X-ray tract data. From these articulatory profiles it is then possible to calculate cross-sectional area function data that can be used as input to a number of articulatory based speech synthesis algorithms. In this paper the Kelly-Lochbaum 1-D digital waveguide vocal tract is used, and both APEX control and synthesis engine have been implemented and tested in SuperCollider. Accurate formant synthesis and real-time control are demonstrated, although for multi-parameter speech-like articulation a more direct mapping from tract-to-synthesizer tube sections is needed. SuperCollider provides an excellent framework for the further exploration of this work.} } @inproceedings{piao2025exploringhap, author = {Ziyue Piao}, title = {Exploring Haptics to Augment Kinesthetic Learning in Singing}, booktitle = {Proceedings of the Nineteenth International Conference on Tangible, Embedded, and Embodied Interaction}, year = {2025}, pages = {1--5}, doi = {10.1145/3689050.3704800} } @inproceedings{shimizu2018adancingrobo, author = {Hayato Shimizu and Satoshi Iwaki and Tetsushi Ikeda}, title = {A Dancing Robot Controlled by a Guitar Sound}, booktitle = {2018 11th International Conference on Human System Interaction (HSI)}, year = {2018}, pages = {465--470}, doi = {10.1109/hsi.2018.8431341} } @inproceedings{lan2022getreadycoll, author = {Qichao Lan and Alexander Refsum Jensenius}, title = {Get Ready: Collaborative Live Coding Performance with Glicol Music Programming Language}, booktitle = {Web Audio Conference 2022}, year = {2022}, doi = {10.5281/zenodo.6769800}, abstract = {Glicol is a computer music programming language that can run in web browsers for music live coding. It has its own audio engine written in Rust. The web app also comes with a unique collaborative music making mechanism called ‘get-ready’. In this performance, we will perform under this mechanism, and invite the participants from the potential Glicol workshop to join. The venue needs to have a stable internet connection and an audio interface that can connect to Apple MacBook’s USB-C port.} } @article{fitz2003cellutesandf, author = {Kelly Fitz and Lippold Haken and Susanne Lefvert and Corbin Champion and Mike O'Donnell}, title = {Cell-Utes and Flutter-Tongued Cats: Sound Morphing Using Loris and the Reassigned Bandwidth-Enhanced Model}, journal = {Computer Music Journal}, year = {2003}, volume = {27}, number = {3}, pages = {44--65}, doi = {10.1162/014892603322482529} } @inproceedings{yun2025realtimesema, author = {Gyeore Yun and Seungmoon Choi}, title = {Real-time Semantic Full-Body Haptic Feedback Converted from Sound for Virtual Reality Gameplay}, booktitle = {Proceedings of the 2025 CHI Conference on Human Factors in Computing Systems}, year = {2025}, pages = {1--17}, doi = {10.1145/3706598.3713355} } @article{greenspun1990theartofdigi, author = {Philip Greenspun and John Watkinson}, title = {The Art of Digital Audio}, journal = {Computer Music Journal}, year = {1990}, volume = {14}, number = {1}, pages = {80}, doi = {10.2307/3680121} } @article{strangio1990rootsoftheco, author = {Christopher E. Strangio}, title = {Roots of the Conductor Program}, journal = {Computer Music Journal}, year = {1990}, volume = {14}, number = {4}, pages = {10}, doi = {10.2307/3680786} } @article{lim2023anaccessible, author = {Monica Lim and Natalia Kotsani}, title = {An Accessible, Browser-Based Gestural Controller for Web Audio, MIDI, and Open Sound Control}, journal = {Computer Music Journal}, year = {2023}, volume = {47}, number = {3}, pages = {6--18}, doi = {10.1162/comj_a_00693}, abstract = {Abstract Handmate is a browser-based hand gestural controller for Web Audio, MIDI, and Open Sound Control (OSC), using open-source pose-estimation technology from Google MediaPipe. The Web browser was chosen as the platform to execute all computational processes so that users could access the latest computer vision technology for music-making without requiring any specialized hardware, software, or technical expertise. By combining preexisting technologies in a browser environment, we enable accessible, interactive sound-making using hand movement. Three controllers are described: (1) Handmate Effects, which receives microphone or user sound input and provides a choice of audio effects that can be controlled by hand movement; (2) Handmate MIDI, which outputs MIDI notes or control values; and (3) Handmate OSC, which outputs OSC messages for users to access hand-movement data in other applications.} } @article{wolfe2001perceptually, author = {Patrick J. Wolfe and Simon J. Godsill}, title = {Perceptually Motivated Approaches to Music Restoration}, journal = {Journal of New Music Research}, year = {2001}, volume = {30}, number = {1}, pages = {83--92}, doi = {10.1076/jnmr.30.1.83.7122} } @article{zaii2015onfreehandtv, author = {Ionuţ-Alexandru Zaiţi and Ştefan-Gheorghe Pentiuc and Radu-Daniel Vatavu}, title = {On free-hand TV control: experimental results on user-elicited gestures with Leap Motion}, journal = {Personal and Ubiquitous Computing}, year = {2015}, volume = {19}, number = {5-6}, pages = {821--838}, doi = {10.1007/s00779-015-0863-y} } @inproceedings{ciotti2026lineavivaasi, author = {Federica Ciotti and Patrick Hartono}, title = {Linea Viva: A Single-Line Live Score for Embodied Drawing-and-Sound Performance}, booktitle = {Proceedings of the 2026 Conference on Creativity and Cognition}, year = {2026}, pages = {1708--1712}, doi = {10.1145/3803784.3816885} } @article{kruger2020playingtechn, author = {A. B. Kruger and J. P. Jacobs}, title = {Playing technique classification for bowed string instruments from raw audio}, journal = {Journal of New Music Research}, year = {2020}, volume = {49}, number = {4}, pages = {320--333}, doi = {10.1080/09298215.2020.1784957} } @article{mcpherson2024onmappingasa, author = {Andrew McPherson and Landon Morrison and Matthew Davison and Marcelo M. Wanderley}, title = {On mapping as a technoscientific practice in digital musical instruments}, journal = {Journal of New Music Research}, year = {2024}, volume = {53}, number = {1-2}, pages = {110--125}, doi = {10.1080/09298215.2024.2442356} } @inproceedings{diapoulis2014tangibilitya, author = {Georgios Diapoulis and Ioannis Zannos}, title = {Tangibility and Low-level Live Coding}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850575}, abstract = {(Abstract to follow)} } @inproceedings{hashida2011renconworksh, author = {Mitsuyo Hashida and Keiji Hirata and Haruhiro Katayose}, title = {Rencon Workshop 2011 (Smc-Rencon): Performance Rendering Contest for Computer Systems}, booktitle = {8th Sound and Music Computing Conference}, year = {2011}, doi = {10.5281/zenodo.849984}, abstract = {(Abstract to follow)} } @inproceedings{kowalczyk2013soundacquisi, author = {Konrad Kowalczyk and Oliver Thiergart and Alexandra Craciun and Emanuel A. P. Habets}, title = {Sound acquisition in noisy and reverberant environments using virtual microphones}, booktitle = {2013 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics}, year = {2013}, pages = {1--4}, doi = {10.1109/waspaa.2013.6701869} } @inproceedings{hedges2024keepingyoure, author = {Jacob Hedges and Robert Sazdov and Andrew Johnston}, title = {Keeping your ears on the virtual ground: Expert insights on virtual reality audio techniques and challenges}, booktitle = {Audio Mostly 2024 - Explorations in Sonic Cultures}, year = {2024}, pages = {373--384}, doi = {10.1145/3678299.3678337} } @inproceedings{grani2016gesturalcont, author = {Francesco Grani and Diego Di Carlo and Jorge Madrid Portillo and Matteo Girardi and Razvan Paisa and Jian Stian Banas and Iakovos Vogiatzoglou and Dan Overholt and Stefania Serafin}, title = {Gestural Control of Wavefield Synthesis}, booktitle = {13th Sound and Music Computing Conference}, year = {2016}, doi = {10.5281/zenodo.851223}, abstract = {(Abstract to follow)} } @inproceedings{masu2020designingint, author = {Raul Masu and Nuno N. Correia and Stephan Jurgens and Jochen Feitsch and Teresa Romão}, title = {Designing interactive sonic artefacts for dance performance}, booktitle = {Proceedings of the 15th International Audio Mostly Conference}, year = {2020}, pages = {122--129}, doi = {10.1145/3411109.3412297} } @article{mountain2005theinternett, author = {Rosemary Mountain}, title = {The internet: The untended garden}, journal = {Contemporary Music Review}, year = {2005}, volume = {24}, number = {6}, pages = {551--559}, doi = {10.1080/07494460500296219} } @inproceedings{ablart2019usingultraso, author = {Damien Ablart and William Frier and Hannah Limerick and Orestis Georgiou and Marianna Obrist}, title = {Using Ultrasonic Mid-air Haptic Patterns in Multi-Modal User Experiences}, booktitle = {2019 IEEE International Symposium on Haptic, Audio and Visual Environments and Games (HAVE)}, year = {2019}, pages = {1--6}, doi = {10.1109/have.2019.8920969} } @inproceedings{dobrian2019expressivege, author = {Christopher Dobrian}, title = {Expressive Gesture : A technique for the use of gesture descriptors in algorithmic improvisation}, booktitle = {JIM 2019 Journées d'Informatique Musicale}, year = {2019}, url = {https://hal.science/hal-03111481v1}, note = {Original title: Expressive Gesture : A technique for the use of gesture descriptors in algorithmic improvisation} } @inproceedings{tenorioforns2025scrawlinkliv, author = {Ámbar Tenorio-Fornés}, title = {Scrawlink: Live Sharing of Live Coding Scores Using QR Codes}, booktitle = {9th International Conference on Live Coding}, year = {2025}, doi = {10.5281/zenodo.15530137}, abstract = {Live coding is a performance technique using programming languages to produce sounds and visuals, among others. Typically, the code is programmed live. Sharing this code is often encouraged, and it is considered a key element of live coding performances. However, this often happens only through the sharing of the performer’s screen. Using, studying, sharing, and improving these programs (the four free software freedoms) is therefore a challenge, as access to the code is lost after it changes or the performance finishes. This paper introduces Scrawlink, a software that enables sharing the performance’s code in working live coding environments using QR codes. The proposal aims to provide affordable and culturally appropriate ways to store, share, and reproduce live coding “scores” to support the open values of the community, and enable new ways of collaboration, composition and inclusion. Scrawlink supports different web-based languages, such as Strudel (audio), Hydra (visuals), or WebPD (web Pure Data instruments). It is performance oriented, as the scores are automatically shared as the performer changes the code, and supports directly playing the scores in working live coding environments. The tool facilitates live sharing of live coding scores, a practice that could be a key to transform live coding, facilitating code sharing, collaboration and publishing practices.} } @inproceedings{diapoulis2025thelivenesso, author = {Georgios Diapoulis}, title = {The Liveness of Live Coding: A Musical Perspective on the Many Livenesses}, booktitle = {9th International Conference on Live Coding}, year = {2025}, doi = {10.5281/zenodo.15530233}, abstract = {What is the liveness of live coding and why should we care about it? In this article I discuss how we came to use the term in live coding and how the term is framed across different research areas and artistic practices. This discussion forefronts some tensions but also shared understandings. I provide an interpretation of liveness in the context of musical live coding and discuss how it converses with the many interpretations of the liveness(-es). A shared understanding emerges among electronic musicians about the different qualities of liveness that extends beyond the technical aspects of it.} } @inproceedings{fiebrink2008supportformi, author = {Rebecca Fiebrink and Ge Wang and Perry R. Cook}, title = {Support for MIR Prototyping and Real-Time Applications in the ChucK Programming Language.}, booktitle = {ISMIR}, year = {2008}, doi = {10.5281/zenodo.1415268} } @inproceedings{natsiou2023interpretabl, author = {Anastasia Natsiou and Luca Longo and Sean O'Leary}, title = {Interpretable timbre synthesis using variational autoencoders regularized on timbre descriptors}, booktitle = {DAFx}, year = {2023}, url = {https://www.dafx.de/paper-archive/2023/DAFx23_paper_72.pdf}, abstract = {Controllable timbre synthesis has been a subject of research for several decades, and deep neural networks have been the most successful in this area. Deep generative models such as Variational Autoencoders (VAEs) have the ability to generate a high-level representation of audio while providing a structured latent space. Despite their advantages, the interpretability of these latent spaces in terms of human perception is often limited. To address this limitation and enhance the control over timbre generation, we propose a regularized VAE-based latent space that incorporates timbre descriptors. Moreover, we suggest a more concise representation of sound by utilizing its harmonic content, in order to minimize the dimensionality of the latent space.} } @inproceedings{nabi2024embodiedexpl, author = {Sarah Nabi and Philippe Esling and Geoffroy Peeters and Frédéric Bevilacqua}, title = {Embodied exploration of deep latent spaces in interactive dance-music performance}, booktitle = {Proceedings of the 9th International Conference on Movement and Computing}, year = {2024}, pages = {1--9}, doi = {10.1145/3658852.3659072} } @inproceedings{deliyiannis2007advancedsoun, author = {Yannis Deliyiannis and Andreas Floros and Christos Tsakostas}, title = {Advanced Sound Manipulation in Interactive Multimedia Environments}, booktitle = {4th Sound and Music Computing Conference}, year = {2007}, doi = {10.5281/zenodo.849381}, abstract = {(Abstract to follow)} } @inproceedings{couturier2006amodelforgra, author = {Jean-Michel Couturier}, title = {A MODEL FOR GRAPHICAL INTERACTION APPLIED TO GESTURAL CONTROL OF SOUND}, booktitle = {Sound Music Computing}, year = {2006}, url = {https://hal.science/hal-03013658v1}, abstract = {This paper is about the use of an interaction model to describe digital musical instruments which have a graphical interface. Interaction models have been developed into the Human-Computer Interaction (HCI) field to provide a framework for guiding designers and developers to design interactive systems. But digital musical instruments are very specific interactive systems: the user is totally in charge of the action and has to control simultaneously multiple continuous parameters. First, this paper introduces the specificities of digital musical instruments and how graphical interfaces are used in some of these instruments. Then, an interaction model called Instrumental Interaction is presented; this model is then refined to take into account the musical context. Finally, some examples of digital musical instruments are introduced and described with this model.} } @inproceedings{amano2022livecodingfo, author = {Noriki Amano}, title = {Live Coding for Lighting Control and Musical Expression with Lighting}, booktitle = {International Conference on Live Coding}, year = {2022}, doi = {10.5281/zenodo.5888264}, abstract = {We are studying live coding and are exploring its potential. As part of this, we designed and developed a system that controls the lighting equipment for stage production, and made it possible to link with Sonic Pi, a live coding system for music. Furthermore, we tried to express music by lighting (light irradiation) of lighting equipment. This research is unique not only in that it introduces a new domain of control systems to conventional live coding, which is mainly concerned with real-time generation of music and video, but also in that it integrates them. This research will enable live coders in the music field to perform music and at the same time create their own stage effects with lighting equipment. This means that the performer of the music can simultaneously perform and direct the stage. It is very significant to be able to stage performances that directly reflect the intentions of the performers. } } @article{behrman1991designingint, author = {David Behrman}, title = {Designing interactive computer-based music installations}, journal = {Contemporary Music Review}, year = {1991}, volume = {6}, number = {1}, pages = {139--142}, doi = {10.1080/07494469100640131} } @inproceedings{wilkins2018vocalsetasin, author = {Julia Wilkins and Prem Seetharaman and Alison Wahl and Bryan Pardo}, title = {VocalSet: A Singing Voice Dataset}, booktitle = {ISMIR}, year = {2018}, doi = {10.5281/zenodo.1492453}, abstract = {We present VocalSet, a singing voice dataset of a capella singing. Existing singing voice datasets either do not capture a large range of vocal techniques, have very few singers, or are single-pitch and devoid of musical context. VocalSet captures not only a range of vowels, but also a diverse set of voices on many different vocal techniques, sung in contexts of scales, arpeggios, long tones, and excerpts. VocalSet has recordings of 10.1 hours of 20 professional singers (11 male, 9 female) performing 17 different different vocal techniques. This data will facilitate the development of new machine learning models for singer identification, vocal technique identification, singing generation and other related applications. To illustrate this, we establish baseline results on vocal technique classification and singer identification by training convolutional network classifiers on VocalSet to perform these tasks.} } @inproceedings{willemsen2019physicalmode, author = {Silvin Willemsen and Stefan Bilbao and Nikolaj Andersson and Stefania Serafin}, title = {Physical Models and Real-Time Control with the Sensel Morph}, booktitle = {16th Sound and Music Computing Conference}, year = {2019}, doi = {10.5281/zenodo.3249276}, abstract = {(Abstract to follow)} } @inproceedings{putnam2014gammaacsound, author = {Lance Putnam}, title = {Gamma: A C++ Sound Synthesis Library Further Abstracting the Unit Generator}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850870}, abstract = {(Abstract to follow)} } @article{rubine1991thevideoharp, author = {Dean Rubine and Paul McAvinney}, title = {The videoharp: an optical scanning MIDI controller}, journal = {Contemporary Music Review}, year = {1991}, volume = {6}, number = {1}, pages = {31--46}, doi = {10.1080/07494469100640041} } @inproceedings{temprano2021atmranglesen, author = {Adan L. Benito Temprano and Andrew McPherson}, title = {A TMR Angle Sensor for Gesture Acquisition and Disambiguation on the Electric Guitar}, booktitle = {Audio Mostly 2021}, year = {2021}, pages = {256--263}, doi = {10.1145/3478384.3478427} } @inproceedings{kritsis2018designandint, author = {Kosmas Kritsis and Aggelos Gkiokas and Quentin Lamerand and Robert Piéchaud and Carlos Acosta and Maximos Kaliakatsos-Papakostas and Vassilis Katsouros}, title = {Design and Interaction of 3D Virtual Music Instruments for STEAM Education Using Web Technologies}, booktitle = {15th Sound and Music Computing Conference}, year = {2018}, doi = {10.5281/zenodo.1422593}, abstract = {(Abstract to follow)} } @inproceedings{wang2016fauckhybridi, author = {Ge Wang and Romain Michon}, title = {FaucK!! Hybridizing the Faust and ChucK Audio Programming Languages}, booktitle = {13th Sound and Music Computing Conference}, year = {2016}, doi = {10.5281/zenodo.851265}, abstract = {(Abstract to follow)} } @inproceedings{baba2012amultitimeli, author = {Takashi Baba and Mitsuyo Hashida and Haruhiro Katayose}, title = {A Multi-timelines Scheduler and a Rehearsal Function for Improving Users' Sensation of Orchestral Conducting With a Conducting System}, booktitle = {9th Sound and Music Computing Conference}, year = {2012}, doi = {10.5281/zenodo.850034}, abstract = {(Abstract to follow)} } @inproceedings{sanfilippo2017environmentm, author = {Dario Sanfilippo and Agostino Di Scipio}, title = {Environment-Mediated Coupling of Autonomous Sound-Generating Systems in Live Performance: An Overview of the Machine Milieu Project}, booktitle = {14th Sound and Music Computing Conference}, year = {2017}, doi = {10.5281/zenodo.1401871}, abstract = {(Abstract to follow)} } @inproceedings{magnusson2015codescoresin, author = {Thor Magnusson}, title = {Code scores in Live Coding}, booktitle = {International Conference on Technologies for Music Notation and Representation}, year = {2015}, doi = {10.5281/zenodo.923835}, abstract = {This paper explores the idea of live coding programming environments as notational systems. The improvisational practice of live coding as combining both composition and performance is introduced and selected systems are discussed. The author's Threnoscope system is then intro- duced, but this is a system that contains both descriptive and prescriptive scores that can be changed in real-time.} } @inproceedings{magnusson2015codescoresinb, author = {Thor Magnusson}, title = {Code scores in Live Coding}, booktitle = {International Conference on Technologies for Music Notation and Representation}, year = {2015}, doi = {10.5281/zenodo.1289616}, abstract = {This paper explores the idea of live coding programming environments as notational systems. The improvisational practice of live coding as combining both composition and performance is introduced and selected systems are discussed. The author's Threnoscope system is then intro- duced, but this is a system that contains both descriptive and prescriptive scores that can be changed in real-time.} } @inproceedings{hespanhol2013evaluatingth, author = {Luke Hespanhol and Oliver Bown and Jingwen Cao and Martin Tomitsch}, title = {Evaluating the effectiveness of audio-visual cues in immersive user interfaces}, booktitle = {Proceedings of the 25th Australian Computer-Human Interaction Conference: Augmentation, Application, Innovation, Collaboration}, year = {2013}, pages = {569--572}, doi = {10.1145/2541016.2541094} } @inproceedings{roberts2025screamerahig, author = {Charlie Roberts}, title = {Screamer: A High-Level Language for Live Coding Ray Marchers}, booktitle = {9th International Conference on Live Coding}, year = {2025}, doi = {10.5281/zenodo.15527465}, abstract = {I describe Screamer, a high-level language for live coding performances using ray marching. My motivation for Screamer was enabling faster iteration of three-dimensional scenes, especially in comparison with my prior work, the live coding environment marching.js. I discuss the underlying rendering engine of Screamer and its language features, and compare its notation with other live coding systems to help explain my design decisions. I conclude by discussing performances given using Screamer and future research directions.} } @inproceedings{lee2023anovelmethod, author = {Wo Jae Lee and Emanuele Coviello}, title = {A Novel Method to Detect Instrumental Music in a Large Scale Music Catalog}, booktitle = {2023 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA)}, year = {2023}, pages = {1--5}, doi = {10.1109/waspaa58266.2023.10248164} } @inproceedings{wersnyi2010auditoryrepr, author = {György Wersényi}, title = {Auditory Representations of a Graphical User Interface for a Better Human-Computer Interaction}, booktitle = {Lecture Notes in Computer Science Auditory Display}, year = {2010}, doi = {10.1007/978-3-642-12439-6_5} } @inproceedings{rosapujazn2013conductingav, author = {A. Rosa-Pujazón and I. Barbancho and L. J. Tardón and A. M. Barbancho}, title = {Conducting a Virtual Ensemble With a Kinect Device}, booktitle = {10th Sound and Music Computing Conference}, year = {2013}, doi = {10.5281/zenodo.850249}, abstract = {(Abstract to follow)} } @article{luciani2009ergoticsound, author = {Annie Luciani and Jean-Loup Florens and Damien Couroussé and Julien Castet}, title = {Ergotic Sounds: A New Way to Improve Playability, Believability and Presence of Virtual Musical Instruments}, journal = {Journal of New Music Research}, year = {2009}, volume = {38}, number = {3}, pages = {309--323}, doi = {10.1080/09298210903359187} } @inproceedings{fontana2014perceptionof, author = {Federico Fontana and Federico Avanzini and Hanna Järveläinen and Stefano Papetti and Francesco Zanini and Valerio Zanini}, title = {Perception of Interactive Vibrotactilecues on the Acoustic Grand and Upright Piano}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850735}, abstract = {(Abstract to follow)} } @article{garcia2017interactivec, author = {Jérémie Garcia and Thibaut Carpentier and Jean Bresson}, title = {Interactive-compositional Authoring of Sound Spatialization}, journal = {Journal of New Music Research}, year = {2017}, volume = {46}, number = {1}, pages = {74--86}, doi = {10.1080/09298215.2016.1230632} } @inproceedings{penha2013spatiumtools, author = {Rui Penha and João Pedro Oliveira}, title = {Spatium, Tools for Sound Spatialization}, booktitle = {10th Sound and Music Computing Conference}, year = {2013}, doi = {10.5281/zenodo.850403}, abstract = {(Abstract to follow)} } @inproceedings{genova1995theharpnscop, author = {Via Opera Pia 13 - 16145 Genova}, title = {The HARPNscope Interactive Dance Music System Antonio Camum, Roberto Chimetto, Alberto Massari, Riccardo Rossi}, booktitle = {CIM 1995}, year = {1995}, abstract = {This paper describes an interactive system for the real time acquisition of human movement (e.g., dance), for the "intelligent", high-level control of sound, music, visual media, and actuators in general (e.g.. mobile robots for on-stage applications like theatre, dance, museums, and entertainment). The sensor system utilized is an evolution of the V-scope system, developed by Lip Ltd. The supervision software is based on the HARP hybrid agent architecture.} } @inproceedings{schramm2016cmsaninterac, author = {Rodrigo Schramm and Helena de Souza Nunes and Leonardo de Assis Nunes and Federico Visi and Eduardo R. Miranda}, title = {3CMS: An Interactive Decision System for Live Performance}, booktitle = {Lecture Notes in Computer Science Music, Mind, and Embodiment}, year = {2016}, doi = {10.1007/978-3-319-46282-0_12} } @inproceedings{fontana2018evidenceofla, author = {Federico Fontana and Federico Avanzini and Stefano Papetti}, title = {Evidence of Lateralization Cues in Grand and Upright Piano Sounds}, booktitle = {15th Sound and Music Computing Conference}, year = {2018}, doi = {10.5281/zenodo.1422510}, abstract = {(Abstract to follow)} } @inproceedings{munoz2020livecodingin, author = {Alvaro Caceres Munoz}, title = {Live coding in Western classical music}, booktitle = {International Conference on Live Coding 2020}, year = {2020}, doi = {10.5281/zenodo.3939165}, abstract = {This research project explores how to maximize the usability of live coding tools (which allow improvising music with programming) for classical musicians.   To do so, two goals are set for the project: understanding how live coding can be used in traditional composition, and understanding how do classical musicians feel when live coding. These goals have been achieved using a prototype for a live coding system, which is specifically designed for classical musicians.   Current literature and technologies have been studied to think of potential target users and their skills and needs. Based on this, the prototype has been designed (both from HCI and programming language design perspectives), implemented, and evaluated by classical musicians.   Results show that experienced composers may benefit the most from live coding systems, provided they offer enough expressiveness, responsiveness and feedback, and that their grammar is aligned with musical language.      } } @article{turchet2021touchingthea, author = {Luca Turchet and Travis West and Marcelo M. Wanderley}, title = {Touching the audience: musical haptic wearables for augmented and participatory live music performances}, journal = {Personal and Ubiquitous Computing}, year = {2021}, volume = {25}, number = {4}, pages = {749--769}, doi = {10.1007/s00779-020-01395-2} } @inproceedings{music1995graphicaldis, author = {'school of Engineering 1 Department of Music and Durham, UK}, title = {Graphical Display of Musical Information i: Durham Music Technology i:}, booktitle = {CIM 1995}, year = {1995}, abstract = {This paper examines the graphical display of musical audio, and gives examples of graphical outputs used in developing a music analysis system. It is argued that graphical display is a vital tool for analysis and also has much to offer for synthesis.} } @article{oleksik2014touchandgest, author = {Gerard Oleksik and Natasa Milic-Frayling and Rachel Jones}, title = {Touch and gesture: mediating content display, inscriptions, and gestures across multiple devices}, journal = {Personal and Ubiquitous Computing}, year = {2014}, volume = {18}, number = {5}, pages = {1243--1257}, doi = {10.1007/s00779-013-0724-5} } @inproceedings{waycott2022supportingcr, author = {Jenny Waycott and Jane Davidson and Felicity Baker and Shuai Yuan}, title = {Supporting Creativity in Aged Care: Lessons from Group Singing, Music Therapy, and Immersive Virtual Reality Programs}, booktitle = {Proceedings of the 34th Australian Conference on Human-Computer Interaction}, year = {2022}, pages = {272--282}, doi = {10.1145/3572921.3572940} } @inproceedings{purvis2020visorinpract, author = {Jack Purvis and Craig Anslow and James Noble}, title = {Visor in Practice: Live Performance and Evaluation}, booktitle = {International Conference on Live Coding 2020}, year = {2020}, doi = {10.5281/zenodo.3939275}, abstract = {Visor is a new environment for live visual performance that was developed to demonstrate code jockey practice (CJing), a new hybrid performance practice that combines live coding and VJing to harness the strengths of both practices. CJing draws on live coding for the ability to improvise content at a low level by coding in textual interfaces. VJing is drawn on for its ability to manipulate content at a high level by interacting with GUIs and hardware controllers. Combining these aspects of both practices enables flexible performances where content can be controlled at both low and high levels. We build on previous work by reflecting on the use of Visor in live performances and evaluating feedback gathered from creative coders, live coders, and VJs who experimented with the environment. We conclude by discussing Visor's effectiveness and whether CJing effectively combines live coding and VJing along with areas for future work.} } @inproceedings{gus2025mbrirsasynth, author = {Enric Gusó and Joanna Luberadzka and Umut Sayin and Xavier Serra}, title = {MB-RIRs: a Synthetic Room Impulse Response Dataset with Frequency-Dependent Absorption Coefficients}, booktitle = {2025 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA)}, year = {2025}, pages = {1--5}, doi = {10.1109/waspaa66052.2025.11230959} } @article{katayose1989thekanseimus, author = {Haruhiro Katayose and Seiji Inokuchi}, title = {The Kansei Music System}, journal = {Computer Music Journal}, year = {1989}, volume = {13}, number = {4}, pages = {72}, doi = {10.2307/3679555} } @inproceedings{janer2005morphingtech, author = {Jordi Janer and Alex Loscos}, title = {Morphing techniques for enhanced scat singing}, booktitle = {DAFx}, year = {2005}, url = {https://www.dafx.de/paper-archive/2005/P_190.pdf}, abstract = {In jazz, scat singing is a phonetic improvisation that imitates instrumental sounds. In this paper, we propose a system that aims to transform singing voice into real instrument sounds, extending the possibilities for scat singers. Analysis algorithms in the spectral domain extract voice parameters, which drive the resulting instrument sound. A small database contains real instrument samples that have been spectrally analyzed offline. Two different prototypes are introduced, producing sounds of a trumpet and a bass guitar respectively.} } @inproceedings{capua2006aselfcalibra, author = {C. De Capua and D. Grillo and B. Piccolo and E. Romeo}, title = {A self-calibrating Virtual Instrument for THD Measurements}, booktitle = {2006 IEEE Symposium on Virtual Environments, Human-Computer Interfaces and Measurement Systems}, year = {2006}, pages = {80--84}, doi = {10.1109/vecims.2006.250795} } @inproceedings{armstrong2023realtimepian, author = {Kit Armstrong and Ji-Xuan Huang and Tzu-Ching Hung and Jing-Heng Huang and Yi-Wen Liu}, title = {Real-Time Piano Accompaniment Using Kuramoto Model for Human-Like Synchronization}, booktitle = {The 16th International Symposium on Computer Music Multidisciplinary Research}, year = {2023}, doi = {10.5281/zenodo.10113439} } @inproceedings{blackwell2025livewritingt, author = {Alan Frank Blackwell and Geoffrey Cox and Sang Won Lee}, title = {Live Writing the Live Coding Book}, booktitle = {International Conference on Live Coding}, year = {2025}, doi = {10.5281/zenodo.15650266}, abstract = {This paper is a speculation on the relationship between coding and writing, and the ways in which technical innovations and capabilities enable us to rethink each in terms of the other. As a case study, we draw on recent experiences of preparing a book on live coding, which integrates a wide range of personal, historical, technical and critical perspectives. This book project has been both experimental and reflective, in a manner that allows us to draw on critical understanding of both code and writing, and point to the potential for new practices in the future.} } @inproceedings{troiano2015deformablein, author = {Giovanni Maria Troiano and Esben Warming Pedersen and Kasper Hornbæk}, title = {Deformable Interfaces for Performing Music}, booktitle = {Proceedings of the 33rd Annual ACM Conference on Human Factors in Computing Systems}, year = {2015}, pages = {377--386}, doi = {10.1145/2702123.2702492} } @inproceedings{bak2015motorsmusica, author = {Jakob Bak and William Verplank and David Gauthier}, title = {Motors, Music and Motion}, booktitle = {Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction}, year = {2015}, pages = {367--374}, doi = {10.1145/2677199.2680590} } @inproceedings{rottier2024progressrepo, author = {Otto Rottier and Benjamin Matuszewski}, title = {Progress report on the Rust/Node.js Web Audio API implementation}, booktitle = {Web Audio Conference 2024}, year = {2024}, doi = {10.5281/zenodo.10851782}, abstract = {At the Web Audio Conference 2022 we presented a novel implementation of the Web Audio API that can be used outside of the web browser. With this library, one can build audio graphs with Node.js or Rust, for e.g. command line interfaces or native applications, using the well documented and familiar Web Audio API. Since then we have made progress on feature completeness, performance and correctness. These objectives have been driven by results from independent web audio benchmark suites and the web- platform-tests project. This talk provides a brief overview of the relevant developments and future plans with the project.} } @article{weinberg1999themusicalpl, author = {Gil Weinberg}, title = {The Musical Playpen: An immersive digital musical instrument}, journal = {Personal Technologies}, year = {1999}, volume = {3}, number = {3}, pages = {132--136}, doi = {10.1007/bf01305338} } @inproceedings{zhao2024designofanin, author = {Qinqin Zhao and Yanting Tong and Yi Zhang and Ziqin Chen}, title = {Design of an interactive installation for Chu music and dance based on image recognition}, booktitle = {Third International Conference on Intelligent Mechanical and Human-Computer Interaction Technology (IHCIT 2024)}, year = {2024}, pages = {61}, doi = {10.1117/12.3049610} } @article{hikichi2004shosoincontr, author = {Takafumi Hikichi and Naotoshi Osaka and Fumitada Itakura}, title = {Sho-So-In: Control of a Physical Model of the Sho by Means of Automatic Feature Extraction from Real Sounds}, journal = {Journal of New Music Research}, year = {2004}, volume = {33}, number = {4}, pages = {355--365}, doi = {10.1080/0929821052000343831} } @article{keane1987pourenfinira, author = {David Keane and Bernard Parmegiani}, title = {Pour en finir avec le pouvoir d'orphee/Dedans, dehors}, journal = {Computer Music Journal}, year = {1987}, volume = {11}, number = {4}, pages = {56}, doi = {10.2307/3680247} } @inproceedings{bosman2024soundtrekavi, author = {Isak de Villiers Bosman and Ross Tordiffe and Tianyou 'Jackie' Huang and Oğuz 'Oz' Buruk and Kristine Jørgensen and Juho Hamari}, title = {SoundTrek: A Virtual Reality Audio Perspective-Switching Game}, booktitle = {Companion Proceedings of the 2024 Annual Symposium on Computer-Human Interaction in Play}, year = {2024}, pages = {352--358}, doi = {10.1145/3665463.3678824} } @inproceedings{maltsman2024livecodingdy, author = {Yoni Maltsman}, title = {Live Coding Dynamical Systems}, booktitle = {8th International Conference on Live Coding}, year = {2024}, doi = {10.5281/zenodo.11350187}, abstract = {We present a method for live coding dynamical systems (LCDS), mathematical equations for complex, self regulating systems ubiquitous in science and engineering. Live coding dynamical systems provides opportunities for students to learn dynamical systems in a fun and creative way, create striking visual effects, explore unconventional dynamical systems such as those over tori, and introduce novel challenges for performative live coding.} } @inproceedings{lee2015mirexgrandch, author = {Jin Ha Lee and Xiao Hu and Kahyun Choi and J. Stephen Downie}, title = {MIREX Grand Challenge 2014 User Experience: Qualitative Analysis of User Feedback.}, booktitle = {ISMIR}, year = {2015}, doi = {10.5281/zenodo.1417103} } @inproceedings{bosman2022theroleofaud, author = {Isak de Villiers Bosman}, title = {The Role of Audio in the Diegesis of Virtual Reality Games}, booktitle = {CHI Conference on Human Factors in Computing Systems Extended Abstracts}, year = {2022}, pages = {1--4}, doi = {10.1145/3491101.3503810} } @inproceedings{alonso2008evaluatingge, author = {Miguel Alonso and Simon Shelley and Dik Hermes and Armin Kohlrausch}, title = {Evaluating geometrical properties of virtual shapes using interactive sonification}, booktitle = {2008 IEEE International Workshop on Haptic Audio visual Environments and Games}, year = {2008}, pages = {154--159}, doi = {10.1109/have.2008.4685316} } @inproceedings{burnett2023userexpectat, author = {Benjamin Burnett and Annika Neidhardt and Zoran Cvetković and Hüseyin Hacıhabiboğlu and Enzo De Sena}, title = {User Expectation of Room Acoustic Parameters in Virtual Reality Environments}, booktitle = {2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2023}, pages = {1--10}, doi = {10.1109/i3da57090.2023.10289314} } @article{chonchir2008theenchantin, author = {Mórna Ní Chonchúir and John McCarthy}, title = {The enchanting potential of technology: a dialogical case study of enchantment and the Internet}, journal = {Personal and Ubiquitous Computing}, year = {2008}, volume = {12}, number = {5}, pages = {401--409}, doi = {10.1007/s00779-007-0157-0} } @inproceedings{keenan2017amechanicalm, author = {Fiona Keenan and Sandra Pauletto}, title = {A Mechanical Mapping Model for Real-time Control of a Complex Physical Modelling Synthesis Engine with a Simple Gesture}, booktitle = {DAFx}, year = {2017}, url = {https://www.dafx.de/paper-archive/2017/papers/DAFx17_paper_42.pdf}, abstract = {This paper describes the design and control of a digital synthesis engine developed to imitate the sound of an acoustic wind machine, a historical theatre sound effect first designed in the nineteenth century. This work is part of an exploration of the potential of historical theatre sound effects as a resource for Sonic Interaction Design (SID). The synthesis engine is based on a physical model of friction and is programmed using the Sound Designer’s Toolkit (SDT) suite of physical modelling objects in Max/MSP. The program is controlled in real-time with a single stream of rotation data from a rotary encoder and Arduino, with complexity achieved through a mapping strategy that recreates the mechanical process at the heart of the acoustic wind machine’s sound production. The system is outlined, along with a discussion of the possible application of this approach to the modeling of other historical theatre sound effects.} } @inproceedings{amento2002thesoundofon, author = {Brian Amento and Will Hill and Loren Terveen}, title = {The sound of one hand}, booktitle = {CHI '02 extended abstracts on Human factors in computer systems - CHI '02}, year = {2002}, doi = {10.1145/506558.506566} } @inproceedings{michon2014ahybridguita, author = {Romain Michon and Julius Orion III Smith}, title = {A Hybrid Guitar Physical Model Controller: The BladeAxe}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850619}, abstract = {(Abstract to follow)} } @inproceedings{bettens2009realtimedtwb, author = {Frederic Bettens and Todor Todoroff}, title = {Real-time DTW-based Gesture Recognition External Object for Max/MSP and Puredata}, booktitle = {6th Sound and Music Computing Conference}, year = {2009}, doi = {10.5281/zenodo.849667}, abstract = {(Abstract to follow)} } @inproceedings{manesh2024sharpexplori, author = {Daniel Manesh and Douglas Bowman Jr. and Sang Won Lee}, title = {SHARP: Exploring Version Control Systems in Live Coding Music}, booktitle = {Creativity and Cognition}, year = {2024}, pages = {426--437}, doi = {10.1145/3635636.3656195} } @article{wall2010experimentin, author = {Tim Wall and Andrew Dubber}, title = {Experimenting with Fandom, Live Music, and the Internet: Applying Insights from Music Fan Culture to New Media Production}, journal = {Journal of New Music Research}, year = {2010}, volume = {39}, number = {2}, pages = {159--169}, doi = {10.1080/09298215.2010.489645} } @inproceedings{men2021designingpri, author = {Liang Men and Danqi Zhao}, title = {Designing Privacy for Collaborative Music Making in Virtual Reality}, booktitle = {Audio Mostly 2021}, year = {2021}, pages = {93--100}, doi = {10.1145/3478384.3478392} } @inproceedings{forment2022howliveisliv, author = {Raphaël Maurice Forment and Alex McLean}, title = {How Live is Live Coding? The case of Tidal's Longest Night.}, booktitle = {Sound and Music Computing}, year = {2022}, doi = {10.5281/zenodo.6797573}, abstract = {From the 21st to the 23rd of December 2021, more than one hundred live coders from the TidalCycles community and beyond coordinated to produce non-stop algorithmic audiovisual performances broadcasted openly on streaming platforms. For the analyst or software designer, this event represents an extraordinary opportunity in that it allows to study a wide and diverse range of performers incorporating live coding techniques in their work from around the world. In this article, we present a discussion about the particular liveness of live coding based on our observations of these performances. We focus on code editing practices and on the general approach to the medium – the text editor and the source code – to better understand how live coders from the event approached the performing act and how they designed live performances through the mediation of code. More specifically, this article explores the reasons that could explain why, despite the fact that live coding libraries such as TidalCycles are built to encourage free improvisation and free exploration of musical patterns, the majority of live coders do not start their performance from scratch.} } @inproceedings{caetano2021morphingmusi, author = {Marcelo Caetano}, title = {Morphing Musical Instrument Sounds with the Sinusoidal Model in the Sound Morphing Toolbox}, booktitle = {Lecture Notes in Computer Science Perception, Representations, Image, Sound, Music}, year = {2021}, doi = {10.1007/978-3-030-70210-6_31} } @inproceedings{li2023exploringthe, author = {Ziming Li and Kristen Shinohara and Roshan L Peiris}, title = {Exploring the Use of the SoundVizVR Plugin with Game Developers in the Development of Sound-Accessible Virtual Reality Games}, booktitle = {Extended Abstracts of the 2023 CHI Conference on Human Factors in Computing Systems}, year = {2023}, pages = {1--7}, doi = {10.1145/3544549.3585750} } @inproceedings{didakis2007thecubeanaud, author = {Stavros Didakis}, title = {The Cube: An Audiovisual Interactive Installation}, booktitle = {4th Sound and Music Computing Conference}, year = {2007}, doi = {10.5281/zenodo.849387}, abstract = {(Abstract to follow)} } @inproceedings{johnson2019oscxratoolki, author = {David Johnson and Daniela Damian and George Tzanetakis}, title = {OSC-XR: A Toolkit for Extended Reality Immersive Music Interfaces}, booktitle = {16th Sound and Music Computing Conference}, year = {2019}, doi = {10.5281/zenodo.3249319}, abstract = {(Abstract to follow)} } @article{kimura1996computersfor, author = {Mari Kimura}, title = {Computers for Performers: Crossing the Boundaries for the Future}, journal = {Computer Music Journal}, year = {1996}, volume = {20}, number = {4}, pages = {25}, doi = {10.2307/3680413} } @article{bischoff1978musicforanin, author = {John Bischoff and Rich Gold and Jim Horton}, title = {Music for an Interactive Network of Microcomputers}, journal = {Computer Music Journal}, year = {1978}, volume = {2}, number = {3}, pages = {24}, doi = {10.2307/3679453} } @inproceedings{mcpherson2011designandapp, author = {Andrew McPherson and Youngmoo Kim}, title = {Design and Applications of a Multi-touch Musical Keyboard}, booktitle = {8th Sound and Music Computing Conference}, year = {2011}, doi = {10.5281/zenodo.849909}, abstract = {(Abstract to follow)} } @inproceedings{mclean2015reflectionso, author = {Alex McLean}, title = {Reflections on live coding collaboration}, booktitle = {Live Coding and Collaboration Symposium}, year = {2015}, doi = {10.5281/zenodo.16317}, abstract = {rough my practice as a live coder of music, I have enjoyed varied collaborations with percussionists, live artists, performance artists, dancers and choreographers, as well as other live coders. In the following short paper I will reflect on a number of these collaborations, including with/within algorave, live Jazz improv, performance art and choreography practice. Some focus will be on the role of time and language, as core themes embedded in “live coding”, but I will also consider wider cultural issues, and of the role of collaboration in making live coding meaningful. I conclude by considering how technology could beer support close collaboration in the future. roughout, informal reports by collaborators and audience members are drawn from, as well as reflections as a live coding performer. is is not intended as a research output, or practice-led research, but as reflections on practice which could inform later research hypotheses.} } @inproceedings{wang1997virtuallouds, author = {P.Y. Wang and S.F. Hsieh}, title = {Virtual-loudspeakers-based multichannel sound system}, booktitle = {Proceedings of 1997 Workshop on Applications of Signal Processing to Audio and Acoustics}, year = {1997}, pages = {4 pp.}, doi = {10.1109/aspaa.1997.625595} } @inproceedings{2015computermusi, author = {Núcleo Interdisciplinar de Comunicação Sonora – and Rua da Reitoria, 165 – 13.083-872 – Campinas – SP – Brasil}, title = {Computer Music: Beyond the frontiers of signal processing and computational models Metaflauta: design e performance de instrumento aumentado via suporte computacional Gabriel Rimoldi1, Jônatas Manzolli1}, booktitle = {SBCM 2015}, year = {2015}, abstract = {This article describes the design, development and performance of Metaflauta, an augmented instrument based on a hybrid system of gestural capture. We explore both direct and indirect gestural acquisition of flutist as potential controls in multimodal environments. First we present the state of art on the use of sensors and gestural acquisition of flute and then discuss the criteria applied in the design and implementation of the computational system. Finally, we demonstrate the use of the system by means of sound synthesis and sound and visual processing modules developed.} } @article{nelson1997theupicsyste, author = {PETER NELSON}, title = {The UPIC system as an instrument of learning}, journal = {Organised Sound}, year = {1997}, volume = {2}, number = {1}, pages = {35--42}, doi = {10.1017/s1355771897000083}, abstract = {The conceptual basis of the UPIC system is described and discussed, in particular its relation to the work of its orginator, Iannis Xenakis, to the science of acoustics and to the development of an intuitive graphic imagery. A possible pedagogical approac h to musical creation using the resources of the UPIC is developed, and the particular pedagogical ethos of the system is emphasised. There follows a detailed description of the practical arrangements for a number of different workshop situations using the UPIC system in which the author has participated, and an evaluation of the outcomes of using the system in this way.} } @inproceedings{mizutani2017vorpalanexte, author = {Wilson Kazuo Mizutani and Fabio Kon}, title = {VORPAL: An Extensible and Flexible Middleware for Real-Time Soundtracks in Digital Games}, booktitle = {Lecture Notes in Computer Science Bridging People and Sound}, year = {2017}, doi = {10.1007/978-3-319-67738-5_13} } @article{feldbusch2003thebtrcbluet, author = {Fridtjof Feldbusch and Alexander Paar and Manuel Odendahl and Ivan Ivanov}, title = {The BTRC Bluetooth remote control system}, journal = {Personal and Ubiquitous Computing}, year = {2003}, volume = {7}, number = {2}, pages = {102--112}, doi = {10.1007/s00779-003-0235-x} } @article{shapiro2017tangibledist, author = {R. Benjamin Shapiro and Annie Kelly and Matthew Ahrens and Ben Johnson and Heather Politi and Rebecca Fiebrink}, title = {Tangible Distributed Computer Music for Youth}, journal = {Computer Music Journal}, year = {2017}, volume = {41}, number = {2}, pages = {52--68}, doi = {10.1162/comj_a_00420}, abstract = {Computer music research realizes a vision of performance by means of computational expression, linking body and space to sound and imagery through eclectic forms of sensing and interaction. This vision could dramatically influence computer science education, simultaneously modernizing the field and drawing in diverse new participants. In this article, we describe our work creating an interactive computer music toolkit for youth called BlockyTalky. This toolkit enables users to create networks of sensing devices and synthesizers, and to program the musical and interactive behaviors of these devices. We also describe our work with two middle-school teachers to codesign and deploy a curriculum for 11- to 13-year-old students. We draw on work with these students to evidence how computer music can support learning about computer science concepts and change students' perceptions of computing. We conclude by outlining some remaining questions around how computer music and computer science may best be linked to provide transformative educational experiences.} } @inproceedings{robinson2015gesturalcont, author = {Frederic Robinson and Cedric Spindler and Volker Böhm and Erik Oña}, title = {Gestural control in electronic music performance}, booktitle = {Proceedings of the Audio Mostly 2015 on Interaction With Sound}, year = {2015}, pages = {1--6}, doi = {10.1145/2814895.2814901} } @inproceedings{espinosa2014fusingaffect, author = {Humberto Pérez Espinosa and Hugo Jair Escalante and Luis Villaseñor-Pineda and Manuel Montes-y-Gómez and David Pinto-Avedaño and Veronica Reyez-Meza}, title = {Fusing Affective Dimensions and Audio-Visual Features from Segmented Video for Depression Recognition}, booktitle = {Proceedings of the 4th International Workshop on Audio/Visual Emotion Challenge}, year = {2014}, pages = {49--55}, doi = {10.1145/2661806.2661815} } @inproceedings{hurley2007performanceo, author = {Neil J. Hurley and Félix Balado and Elizabeth P. McCarthy and Guenole C. M. Silvestre}, title = {Performance of Philips Audio Fingerprinting under Desynchronisation.}, booktitle = {ISMIR}, year = {2007}, doi = {10.5281/zenodo.1416068} } @inproceedings{wilson2022livecodingin, author = {Scott Wilson and Konstantinos Vasilakos and Serkan Sevilgen}, title = {Live Coding in the Time of COVID}, booktitle = {International Conference on Live Coding}, year = {2022}, doi = {10.5281/zenodo.5885652}, abstract = {The COVID-19 pandemic has created both challenges and opportunities for live coding ensembles. These are particularly acute for ensemble which make use of networked live coding systems, such as the Birmingham Ensemble for Electroacoustic Research (BEER), and the Istanbul Coding Ensemble (ICE). This paper looks at two local area network works developed by BEER, and how they were adapted for internet presentation during lockdown, and discusses some possible future directions for collaborative work. } } @inproceedings{ciufo2019theeighthner, author = {Thomas Ciufo}, title = {The Eighth Nerve Guitar}, booktitle = {Proceedings of the Thirteenth International Conference on Tangible, Embedded, and Embodied Interaction}, year = {2019}, pages = {559--564}, doi = {10.1145/3294109.3301261} } @inproceedings{uk2000musicviamoti, author = {Leeds, UK}, title = {Music via Motion Interdisciplinary Centre for Scientific Research in Music (ICSRiM) Department of Music School of Computer Studies}, booktitle = {CIM 2000}, year = {2000}, abstract = {This paper presents an ongoing research prototype - Music via Motion (MvM), which aims to create an interactive audio-visual augmented environment to provide the users real-time control of musical events using their physical movements.} } @inproceedings{bouillot2023audiodiceano, author = {Nicolas Bouillot and Thomas Piquet and Pierre Gilbert}, title = {Audiodice: an open hardware design of a distributed dodecahedron loudspeaker orchestra}, booktitle = {Proceedings of the 18th International Audio Mostly Conference}, year = {2023}, pages = {154--160}, doi = {10.1145/3616195.3616208} } @inproceedings{anon2017adomainspeci, title = {A Domain Specific Language For Drum Beat Programming André Rauber Du Bois1 , Rodrigo Ribeiro12}, booktitle = {SBCM 2017}, year = {2017}, abstract = {This paper describes HDrum, a Domain Specific Language for writing drum patterns. Programs written in HDrum look similar to the grids, available in sequencers and drum machines, used to program drum beats, but as the language has an inductive definition we can write abstractions to manipulate drum patterns. HDrum is embedded in the Haskell functional programming language, hence it is possible to implement Haskell functions that manipulate patterns generating new patterns. The paper also presents a case study using HDrum, an implementation of The Clapping Music, a minimalistic music written by Steve Reich in 1972. The HDrum language is currently compiled into midi files.} } @inproceedings{dahl2018rhythmicrecu, author = {Sofia Dahl and George Sioros}, title = {Rhythmic recurrency in dance to music with ambiguous meter}, booktitle = {Proceedings of the 5th International Conference on Movement and Computing}, year = {2018}, pages = {1--6}, doi = {10.1145/3212721.3212885} } @article{sicchio2014hackingchore, author = {Kate Sicchio}, title = {Hacking Choreography: Dance and Live Coding}, journal = {Computer Music Journal}, year = {2014}, volume = {38}, number = {1}, pages = {31--39}, doi = {10.1162/comj_a_00218}, abstract = {This article explores the intersection of live coding and choreography, discussing the “practice as research” project Hacking Choreography. It examines the use of computer programming languages within dance scores, the creation of scores in real time, and the transparency of these scores to the audience during performance. Four pieces created by the author are discussed in terms of these elements and compared to live-coding practices for computer music. Through this, not only does live coding emerge as a performance practice related to sound or visuals, but it also continues its trajectory as a transdisciplinary approach to live performance events.} } @inproceedings{potetsianakis2016streamingofk, author = {Emmanouil Potetsianakis and Jean Le Feuvre}, title = {Streaming of Kinect Data for Interactive In-Browser Audio Performances}, booktitle = {Proceedings of the Audio Mostly 2016}, year = {2016}, pages = {258--265}, doi = {10.1145/2986416.2986438} } @inproceedings{ilsar2020anewaudiovis, author = {Alon Ilsar and Matthew Hughes}, title = {A New Audio-Visual Gestural Instrument for Unlocking Creativity}, booktitle = {Extended Abstracts of the 2020 CHI Conference on Human Factors in Computing Systems}, year = {2020}, pages = {1--4}, doi = {10.1145/3334480.3383160} } @inproceedings{garoufis2018acollaborati, author = {Christos Garoufis and Athanasia Zlatintsi and Petros Maragos}, title = {A Collaborative System for Composing Music via Motion Using a Kinect Sensor and Skeletal Data}, booktitle = {15th Sound and Music Computing Conference}, year = {2018}, doi = {10.5281/zenodo.1422627}, abstract = {(Abstract to follow)} } @article{chu2015designofamot, author = {Shaowei Chu and Jiro Tanaka}, title = {Design of a motion-based gestural menu-selection interface for a self-portrait camera}, journal = {Personal and Ubiquitous Computing}, year = {2015}, volume = {19}, number = {2}, pages = {415--424}, doi = {10.1007/s00779-014-0776-1} } @inproceedings{cavez2025euterpenunle, author = {Vincent Cavez and Catherine Letondal and Caroline Appert and Emmanuel Pietriga}, title = {EuterPen: Unleashing Creative Expression in Music Score Writing}, booktitle = {Proceedings of the 2025 CHI Conference on Human Factors in Computing Systems}, year = {2025}, pages = {1--16}, doi = {10.1145/3706598.3713488} } @inproceedings{zcan2010audiovisuali, author = {Elif Özcan and René van Egmond}, title = {Audio-visual interactions in product sound design}, booktitle = {SPIE Proceedings}, year = {2010}, volume = {7527}, pages = {75270P}, doi = {10.1117/12.856312} } @inproceedings{kessous2004gesturalcont, author = {Loic Kessous}, title = {Gestural Control of Singing Voice, a Musical Instrument}, booktitle = {1st Sound and Music Computing Conference}, year = {2004}, doi = {10.5281/zenodo.849177}, abstract = {(Abstract to follow)} } @inproceedings{tiago2019computermusi, author = {Tavares, Tiago and Masiero, Bruno}, title = {Computer Music research at FEEC/Unicamp: a snapshot of 2019}, booktitle = {SBCM}, year = {2019}, url = {https://sol.sbc.org.br/index.php/sbcm/article/view/10438}, abstract = {This is a lab report paper about the state of affairs in the computer music research group at the School of Electrical and Computer Engineering of the University of Campinas (FEEC/Unicamp). This report discusses the people involved in the group, the efforts in teaching and the current research work performed. Last, it provides some discussions on the lessons learned from the past few years and some pointers for future work.}, note = {Original title: Computer Music research at FEEC/Unicamp: a snapshot of 2019} } @inproceedings{kessous2004gesturalcontb, author = {Loïc Kessous}, title = {Gestural control of singing voice, a musical instrument}, booktitle = {Journées d'Informatique Musicale - Sound and Music Computing}, year = {2004}, url = {https://hal.science/hal-00105739v1} } @inproceedings{tnnermann2010surfaceinter, author = {René Tünnermann and Lukas Kolbe and Till Bovermann and Thomas Hermann}, title = {Surface Interactions for Interactive Sonification}, booktitle = {Lecture Notes in Computer Science Auditory Display}, year = {2010}, doi = {10.1007/978-3-642-12439-6_9} } @inproceedings{mariadimitra2008towardsadeco, author = {Baveli Maria-Dimitra and Georgaki Anastasia}, title = {Towards a Decodification of the Graphical Scores of Anestis Logothetis (1921-1994). The Graphical Space of Odysee(1963)}, booktitle = {5th Sound and Music Computing Conference}, year = {2008}, doi = {10.5281/zenodo.849565}, abstract = {(Abstract to follow)} } @article{shah2022exploringthe, author = {Muhammad Umair Shah and Umair Rehman and Farkhund Iqbal and Hassan Ilahi}, title = {Exploring the human factors in moral dilemmas of autonomous vehicles}, journal = {Personal and Ubiquitous Computing}, year = {2022}, volume = {26}, number = {5}, pages = {1321--1331}, doi = {10.1007/s00779-022-01685-x} } @inproceedings{oxnard2013roomimpulser, author = {Stephen Oxnard and Damian Murphy}, title = {Room impulse response synthesis based on a 2D multi-plane FDTD hybrid acoustic model}, booktitle = {2013 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics}, year = {2013}, pages = {1--4}, doi = {10.1109/waspaa.2013.6701887} } @inproceedings{savery2022distractedap, author = {Anna Savery}, title = {Distracted - A piece for Violin and an Audio-Visual Interface}, booktitle = {Sound and Music Computing}, year = {2022}, doi = {10.5281/zenodo.6800823}, abstract = {This is an extended abstract for a demo of an audio-visual interface for a violin bow demonstrated through a composition called Distracted.} } @inproceedings{dilger2013gasprgraphic, author = {Thierry Dilger}, title = {GASPR GRAPHICAL AUDIO SPATIALIZATION PROGRAM WITH REAL TIME INTERACTIONS}, booktitle = {Journées d'Informatique Musicale}, year = {2013}, url = {https://hal.science/hal-03112220v1} } @inproceedings{boem2014sculptonamal, author = {Alberto Boem}, title = {SculpTon: A Malleable Tangible Interface for Sound Sculpting}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850671}, abstract = {(Abstract to follow)} } @inproceedings{castro2025audiovisuald, author = {Daniel Castro and Mark Thompson}, title = {Audiovisual Digital Twins of Acoustics Spaces Using Multisource Ambisonics Impulse Responses in Virtual Reality: A Case Study}, booktitle = {2025 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2025}, pages = {1--11}, doi = {10.1109/i3da65421.2025.11202068} } @article{rothgeb1980simulatingmu, author = {John Rothgeb}, title = {Simulating Musical Skills by Digital Computer}, journal = {Computer Music Journal}, year = {1980}, volume = {4}, number = {2}, pages = {36}, doi = {10.2307/3680081} } @inproceedings{astrinaki2013puredataexte, author = {Maria Astrinaki and Alexis Moinet and Nicolas d'Alessandro and Thierry Dutoit}, title = {Pure Data External for Reactive HMM-Based Speech and Singing Synthesis}, booktitle = {DAFx}, year = {2013}, url = {https://www.dafx.de/paper-archive/2013/papers/13.dafx2013_submission_17.pdf}, abstract = {In this paper, we present the recent progress in the M AGE project. M AGE is a library for reactive HMM-based speech and singing synthesis. Here, it is integrated as a Pure Data external, called mage~, which provides reactive voice quality, prosody and identity manipulation combined with contextual control. mage~ brings together the high-quality, natural and expressive speech of HMMbased speech synthesis with high flexibility and reactive control over the speech production level. Such an object provides a basis for further research in gesturally-controlled speech synthesis. It is an object that can “listen” and reactively adjust itself to its environment. Further in this work, based on mage~ we create different interfaces and controllers in order to explore the realtime, expressive and interactive nature of speech.} } @inproceedings{kimboyle2005soundspatial, author = {David Kim-Boyle}, title = {Sound Spatialization with Particle Systems}, booktitle = {DAFx}, year = {2005}, url = {https://www.dafx.de/paper-archive/2005/P_065.pdf} } @inproceedings{liu2021sonichoopusi, author = {Wanyu Liu and Artem Dementyev and Diemo Schwarz and Emmanuel Flety and Wendy E. Mackay and Michel Beaudouin-Lafon and Frederic Bevilacqua}, title = {SonicHoop: Using Interactive Sonification to Support Aerial Hoop Practices}, booktitle = {Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems}, year = {2021}, pages = {1--16}, doi = {10.1145/3411764.3445539} } @inproceedings{santana2023interdiscipl, author = {Charles de Paiva Santana and Vincent Tiffon and Mylène Gioffredo and Micael Antunes and Javier Elipe Gimeno and Samuel Poirot and Sølvi Ystad}, title = {Interdisciplinary Analysis of Instrumental Synthesis:}, booktitle = {Journées d'Informatique Musicale 2023}, year = {2023}, url = {https://hal.science/hal-04275831v1}, note = {Original title: Analyse Interdisciplinaire de la Synthèse Instrumentale} } @article{guthrie1995zipistandard, author = {Jim Guthrie}, title = {ZIPI Standard Too Generous with Tractors on the Freeway}, journal = {Computer Music Journal}, year = {1995}, volume = {19}, number = {3}, pages = {6}, doi = {10.2307/3680644} } @inproceedings{georgaki2004virtualvoice, author = {Anastasia Georgaki}, title = {VIRTUAL VOICES ON HANDS: PROMINENT APPLICATIONS ON THE SYNTHESIS AND CONTROL OF THE SINGING VOICE}, booktitle = {Journées d'informatique musicale}, year = {2004}, url = {https://hal.science/hal-03354297v1} } @inproceedings{bernreiter2024evaluatingde, author = {Björn Bernreiter and Gross-Vogt Katharina and Marian Weger}, title = {Evaluating Dextoria - A modular, embedded system to control electric guitar effects via sound-producing gestures}, booktitle = {Audio Mostly 2024 - Explorations in Sonic Cultures}, year = {2024}, pages = {421--428}, doi = {10.1145/3678299.3678342} } @article{jones2005creatingvisu, author = {Randy Jones and Ben Nevile}, title = {Creating Visual Music in Jitter: Approaches and Techniques}, journal = {Computer Music Journal}, year = {2005}, volume = {29}, number = {4}, pages = {55--70}, doi = {10.1162/014892605775179900} } @article{groberg1980rosenboomand, author = {Grant Groberg and Rosenboom and Buchla}, title = {Rosenboom and Buchla: Collaboration and Performance}, journal = {Computer Music Journal}, year = {1980}, volume = {4}, number = {1}, pages = {82}, doi = {10.2307/3679443} } @article{hiller1981composingwit, author = {Lejaren Hiller}, title = {Composing with Computers: A Progress Report}, journal = {Computer Music Journal}, year = {1981}, volume = {5}, number = {4}, pages = {7}, doi = {10.2307/3679501} } @article{carlson2020dancetoyouro, author = {Emily Carlson and Pasi Saari and Birgitta Burger and Petri Toiviainen}, title = {Dance to your own drum: Identification of musical genre and individual dancer from motion capture using machine learning}, journal = {Journal of New Music Research}, year = {2020}, volume = {49}, number = {2}, pages = {162--177}, doi = {10.1080/09298215.2020.1711778} } @inproceedings{brown2016gesturechord, author = {Dom Brown and Chris Nash and Tom Mitchell}, title = {GestureChords: Transparency in Gesturally Controlled Digital Musical Instruments Through Iconicity and Conceptual Metaphor}, booktitle = {13th Sound and Music Computing Conference}, year = {2016}, doi = {10.5281/zenodo.851193}, abstract = {(Abstract to follow)} } @article{brown2023livecodingpa, author = {Andrew R. Brown}, title = {Live Coding Patterns and a Toolkit for Pure Data}, journal = {Organised Sound}, year = {2023}, volume = {28}, number = {2}, pages = {264--275}, doi = {10.1017/s1355771823000365}, abstract = {Creative activities often involve specific processes and techniques that reflect the unique nature of the activity. For live coders, these processes and techniques can be expressed as algorithms and functions in live coding languages. In many fields, these idiomatic processes are referred to as design patterns. Design patterns are important to understand because they can structure thought and direct users towards particular outcomes. This article examines the design patterns in live coding practices and languages, specifically focusing on the Live Coding Toolkit for Pure Data. Pure Data is a visual programming language, but few live coders have traditionally used it. This article explains how the Live Coding Toolkit allows Pure Data to effectively express the patterns of practice required for successful music live coding performance.} } @inproceedings{petersen2008towardenabli, author = {Klaus Petersen and Jorge Solis and Atsuo Takanishi}, title = {Toward enabling a natural interaction between human musicians and musical performance robots: Implementation of a real-time gestural interface}, booktitle = {RO-MAN 2008 - The 17th IEEE International Symposium on Robot and Human Interactive Communication}, year = {2008}, pages = {340--345}, doi = {10.1109/roman.2008.4600689} } @inproceedings{nistal2020drumgansynth, author = {Javier Nistal and Stefan Lattner and Gaël Richard}, title = {DRUMGAN: SYNTHESIS OF DRUM SOUNDS WITH TIMBRAL FEATURE CONDITIONING USING GENERATIVE ADVERSARIAL NETWORKS}, booktitle = {ISMIR}, year = {2020}, doi = {10.5281/zenodo.4245504} } @inproceedings{kantan2024developingan, author = {Prithvi Ravi Kantan and Ana Rojo and Tania Olmo-Fajardo and Lydia Martin Matas and Erika G. Spaich and Sofia Dahl and Juan C. Moreno}, title = {Developing an Integrated VR + Musical Feedback System for Stationary Biking in Endurance Training}, booktitle = {Proceedings of the 9th International Conference on Movement and Computing}, year = {2024}, pages = {1--6}, doi = {10.1145/3658852.3659086} } @inproceedings{fujihara2009anovelframew, author = {Hiromasa Fujihara and Masataka Goto and Hiroshi G. Okuno}, title = {A novel framework for recognizing phonemes of singing voice in polyphonic music}, booktitle = {2009 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics}, year = {2009}, pages = {17--20}, doi = {10.1109/aspaa.2009.5346497} } @article{verfaille2006mappingstrat, author = {Vincent Verfaille and Marcelo M. Wanderley and Philippe Depalle}, title = {Mapping strategies for gestural and adaptive control of digital audio effects}, journal = {Journal of New Music Research}, year = {2006}, volume = {35}, number = {1}, pages = {71--93}, doi = {10.1080/09298210600696881} } @article{darreg1978axenharmonis, author = {Ivor Darreg}, title = {[A Xenharmonist's Message to the Computer Musicians]}, journal = {Computer Music Journal}, year = {1978}, volume = {2}, number = {2}, pages = {2}, doi = {10.2307/3680213} } @article{johnson2009exploringmin, author = {Daniel Johnson and John Gardner}, title = {Exploring mindlessness as an explanation for the media equation: a study of stereotyping in computer tutorials}, journal = {Personal and Ubiquitous Computing}, year = {2009}, volume = {13}, number = {2}, pages = {151--163}, doi = {10.1007/s00779-007-0193-9} } @inproceedings{de2021webartemtemp, author = {Paulo, Avner Maximiliano de and Sousa, Luiz Gustavo Colzani Monti and Silva, José Mauro da and Schiavoni, Flávio Luiz}, title = {Web Art em tempos de HTML5}, booktitle = {SBCM}, year = {2021}, url = {https://sol.sbc.org.br/index.php/sbcm/article/view/19455}, abstract = {This article aims to explore how was the beginning of digital art, how web art came about, how web art is produced today and what technologies developed from the artistic ideal offer possibilities for art and other areas.}, note = {Original title: Web Art em tempos de HTML5} } @article{oliveros1995acousticandv, author = {Pauline Oliveros}, title = {Acoustic and Virtual Space as a Dynamic Element of Music}, journal = {Leonardo Music Journal}, year = {1995}, volume = {5}, pages = {19}, doi = {10.2307/1513156} } @inproceedings{maggio2026tesiatoolkit, author = {Francesco Di Maggio and Bart Hengeveld and Mathias Funk and Rebecca Fiebrink}, title = {TESI: A Toolkit for Tangible and Embodied Sound Interaction}, booktitle = {Proceedings of the Twentieth International Conference on Tangible, Embedded, and Embodied Interaction}, year = {2026}, pages = {1--5}, doi = {10.1145/3731459.3779334} } @inproceedings{tseng2016prototypinga, author = {Yu-Chung Tseng and Bo-Ting Li and Tsung-Hua Wang}, title = {Prototyping a Wireless Integrated Wearable Interactive Music System: Musfit}, booktitle = {13th Sound and Music Computing Conference}, year = {2016}, doi = {10.5281/zenodo.851319}, abstract = {(Abstract to follow)} } @article{hugill2005fromonlinesy, author = {Andrew Hugill}, title = {From online symphonies to MusiMOO: Some creative uses of the internet in music and education}, journal = {Contemporary Music Review}, year = {2005}, volume = {24}, number = {6}, pages = {527--540}, doi = {10.1080/07494460500296193} } @inproceedings{georgaki2004virtualvoiceb, author = {Anastasia Georgaki}, title = {Virtual Voices on Hands: Prominent Applications on the Synthesis and Control of the Singing Voice}, booktitle = {1st Sound and Music Computing Conference}, year = {2004}, doi = {10.5281/zenodo.849243}, abstract = {(Abstract to follow)} } @inproceedings{salvati2011soundspatial, author = {Daniele Salvati and Sergio Canazza and Antonio Rodà}, title = {Sound Spatialization Control by Means of Acoustic Source Localization System}, booktitle = {8th Sound and Music Computing Conference}, year = {2011}, doi = {10.5281/zenodo.849994}, abstract = {(Abstract to follow)} } @article{sprake2014crowdscitize, author = {Juliet Sprake and Peter Rogers}, title = {Crowds, citizens and sensors: process and practice for mobilising learning}, journal = {Personal and Ubiquitous Computing}, year = {2014}, volume = {18}, number = {3}, pages = {753--764}, doi = {10.1007/s00779-013-0715-6} } @inproceedings{passalenti2018hapticintera, author = {Andrea Passalenti and Federico Fontana}, title = {Haptic Interaction with Guitar and Bass Virtual Strings}, booktitle = {15th Sound and Music Computing Conference}, year = {2018}, doi = {10.5281/zenodo.1422635}, abstract = {(Abstract to follow)} } @inproceedings{santini2019composingspa, author = {Giovanni Santini}, title = {Composing Space in the Space: An augmented and Virtual Reality Sound Spatialization System}, booktitle = {16th Sound and Music Computing Conference}, year = {2019}, doi = {10.5281/zenodo.3249329}, abstract = {(Abstract to follow)} } @inproceedings{aso2010speakbysingi, author = {Shimpei Aso and Takeshi Saitou and Masataka Goto and Katsutoshi Itoyama and Toru Takahashi and Kazunori Komatani and Tetsuya Ogata and Hiroshi Okuno}, title = {SpeakBySinging: Converting Singing Voices to Speaking Voices While Retaining Voice Timbre}, booktitle = {DAFx}, year = {2010}, url = {https://www.dafx.de/paper-archive/2010/DAFx10/AsoSaitouGotoItoyamaTakahashiKomataniOgataOkuno_DAFx10_P71.pdf}, abstract = {This paper describes a singing-to-speaking synthesis system called “SpeakBySinging” that can synthesize a speaking voice from an input singing voice and the song lyrics. The system controls three acoustic features that determine the difference between speaking and singing voices: the fundamental frequency (F0), phoneme duration, and power (volume). By changing these features of a singing voice, the system synthesizes a speaking voice while retaining the timbre of the singing voice. The system first analyzes the singing voice to extract the F0 contour, the duration of each phoneme of the lyrics, and the power. These features are then converted to target values that are obtained by feeding the lyrics into a traditional text-to-speech (TTS) system. The system finally generates a speaking voice that preserves the timbre of the singing voice but has speech-like features. Experimental results show that SpeakBySinging can convert singing voices into speaking voices whose timbre is almost the same as the original singing voices.} } @article{yamanaka2020necessaryand, author = {Shota Yamanaka and Wolfgang Stuerzlinger}, title = {Necessary and Unnecessary Distractor Avoidance Movements Affect User Behaviors in Crossing Operations}, journal = {ACM Transactions on Computer-Human Interaction}, year = {2020}, volume = {27}, number = {6}, pages = {1--31}, doi = {10.1145/3418413}, abstract = {The “crossing time” to pass between objects in lassoing tasks is predicted by Fitts’ law. When an unwanted object, or obstacle , intrudes into the user’s path, users curve the stroke to avoid hitting that obstacle. We empirically show that, in the presence of an obstacle, modified Fitts models for pointing with obstacle avoidance can significantly improve the prediction accuracy of movement time compared with standard Fitts’ law. Yet, we also found that when an object is (only) close to the crossing path, i.e., a distractor , users still curve their stroke, even though the object does not intrude. We tested the effects of distractor proximity and length. While the crossing motion is modified by a nearby distractor, our results also identify that overall its effect on crossing times was small, and thus Fitts’ law can still be applied safely with distractors.} } @inproceedings{huang2026exploringges, author = {Xintao Huang and Tianhao Guan and Yixiao Wang}, title = {Exploring Gestural and Vocal Interactions for an Intuitive and Embodied Human-AI Music Co-production Process}, booktitle = {Proceedings of the Twentieth International Conference on Tangible, Embedded, and Embodied Interaction}, year = {2026}, pages = {1--13}, doi = {10.1145/3731459.3773330} } @inproceedings{mauro2013binauralspat, author = {Davide A. Mauro and Rufael Mekuria and Michele Sanna}, title = {Binaural spatialization for 3D immersive audio communication in a virtual world}, booktitle = {Proceedings of the 8th Audio Mostly Conference}, year = {2013}, pages = {1--8}, doi = {10.1145/2544114.2544115} } @inproceedings{fazekas2014novelmethods, author = {György Fazekas and Mathieu Barthet and Mark B. Sandler}, title = {Novel Methods in Facilitating Audience and Performer Interaction Using the Mood Conductor Framework}, booktitle = {Lecture Notes in Computer Science Sound, Music, and Motion}, year = {2014}, doi = {10.1007/978-3-319-12976-1_8} } @article{camurri2005themegaproje, author = {Antonio Camurri and Giovanni De Poli and Anders Friberg and Marc Leman and Gualtiero Volpe}, title = {The MEGA Project: Analysis and Synthesis of Multisensory Expressive Gesture in Performing Art Applications}, journal = {Journal of New Music Research}, year = {2005}, volume = {34}, number = {1}, pages = {5--21}, doi = {10.1080/09298210500123895} } @inproceedings{shakhovskaia2017obrazovaniec, author = {Larisa Semenovna Shakhovskaia and Kseniia Olegovna Klimkova}, title = {Obrazovanie cherez vsiu zhizn' kak instrument bor'by s bednost'iu v RF}, booktitle = {Designing the mechanisms for the implementation of educational initiatives}, year = {2017}, pages = {62--68}, doi = {10.31483/r-141} } @inproceedings{klauer2017sonicinterac, author = {Giorgio Klauer and Annalisa Metus and Pietro Polotti}, title = {Sonic Interaction Design for Paper Wearables}, booktitle = {Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences}, year = {2017}, pages = {1--7}, doi = {10.1145/3123514.3123533} } @inproceedings{david2026feelingsnotf, author = {Kristian Paolo David and Mikkel Dominic Gamboa and Tyrone Justin Sta. Maria and Jordan Aiko Deja}, title = {Feelings, Not Feel: Affective Audio-Visual Pseudo-Haptics in Hand-Tracked XR}, booktitle = {Proceedings of the Extended Abstracts of the 2026 CHI Conference on Human Factors in Computing Systems}, year = {2026}, pages = {1--5}, doi = {10.1145/3772363.3798401} } @inproceedings{lavastre2023interactions, author = {Benjamin Lavastre and Marcelo M. Wanderley}, title = {Interaction Strategies in Composition for Karlax and Acoustic Instruments}, booktitle = {Lecture Notes in Computer Science Music in the AI Era}, year = {2023}, doi = {10.1007/978-3-031-35382-6_13} } @inproceedings{probst2024totouchornot, author = {Kathrin Probst and Daniel Beinmonyu Ockiya}, title = {To Touch, or Not to Touch: Evaluating Manual Page Turning Modalities for Digital Sheet Music During Piano Play}, booktitle = {26th International Conference on Mobile Human-Computer Interaction}, year = {2024}, pages = {1--7}, doi = {10.1145/3640471.3680242} } @inproceedings{zhang2020agesturallyc, author = {Meng Zhang and Jiawan Zhang}, title = {A Gesturally Controlled Virtual Musical Instruments for Chinese Guqin}, booktitle = {2020 International Conference on Intelligent Computing and Human-Computer Interaction (ICHCI)}, year = {2020}, pages = {95--100}, doi = {10.1109/ichci51889.2020.00028} } @inproceedings{kalampratsidou2019bodilysignal, author = {Vilelmini Kalampratsidou and Elizabeth B. Torres}, title = {Bodily Signals Entrainment in the Presence of Music}, booktitle = {Proceedings of the 6th International Conference on Movement and Computing}, year = {2019}, pages = {1--8}, doi = {10.1145/3347122.3347125} } @inproceedings{kitahara2015loopsequence, author = {Tetsuro Kitahara and Kosuke Iijima and Misaki Okada and Yuji Yamashita and Ayaka Tsuruoka}, title = {Loop Sequencer That Selects Music Loops Based on the Degree of Excitement}, booktitle = {12th Sound and Music Computing Conference}, year = {2015}, doi = {10.5281/zenodo.851065}, abstract = {(Abstract to follow)} } @inproceedings{courribet2006composingaud, author = {Benoît Courribet}, title = {Composing Audio-visual Art: The Issue of Time and the Concept of Transduction}, booktitle = {3rd Sound and Music Computing Conference}, year = {2006}, doi = {10.5281/zenodo.849327}, abstract = {(Abstract to follow)} } @inproceedings{miranda2018dervishsound, author = {Eduardo Miranda and Hedy Hurban and Edward Braund}, title = {Dervish Sound Dress; a Development of a Musical Interface Garment which explores Wearable Technology using Sound and Haptic Feedback for Performance and Interaction}, booktitle = {15th Sound and Music Computing Conference}, year = {2018}, doi = {10.5281/zenodo.1422599}, abstract = {(Abstract to follow)} } @article{blaine2003collaborativ, author = {Tina Blaine and Sidney Fels}, title = {Collaborative Musical Experiences for Novices}, journal = {Journal of New Music Research}, year = {2003}, volume = {32}, number = {4}, pages = {411--428}, doi = {10.1076/jnmr.32.4.411.18850} } @inproceedings{vetter2019tangiblesign, author = {Jens Vetter}, title = {Tangible Signals - Physical Representation of Sound and Haptic Control Feedback}, booktitle = {Proceedings of the Thirteenth International Conference on Tangible, Embedded, and Embodied Interaction}, year = {2019}, pages = {741--744}, doi = {10.1145/3294109.3302958} } @article{naveda2009acrossmodalh, author = {Luiz Naveda and Marc Leman}, title = {A Cross-modal Heuristic for Periodic Pattern Analysis of Samba Music and Dance}, journal = {Journal of New Music Research}, year = {2009}, volume = {38}, number = {3}, pages = {255--283}, doi = {10.1080/09298210903105432} } @article{ogborn2012composingfor, author = {David Ogborn}, title = {Composing for a Networked, Pulse-Based, Laptop Orchestra}, journal = {Organised Sound}, year = {2012}, volume = {17}, number = {1}, pages = {56--61}, doi = {10.1017/s1355771811000513}, abstract = {Guided by the idea of participatory culture, networked pulse synchronisation and live coding have been core approaches in the activity of the Cybernetic Orchestra, an electronic performance ensemble at McMaster University in Hamilton, Canada. Following general discussion of the way in which networked pulse-based music and live coding work within this orchestra, there is specific discussion of a number of compositional models and practices that have been found effective, including code-sharing, instruction-scores, code as material, and physical performance.} } @inproceedings{obrist2010userexperien, author = {Marianna Obrist and Daniela Wurhofer and Elke Beck and Amela Karahasanovic and Manfred Tscheligi}, title = {User experience (UX) patterns for audio-visual networked applications}, booktitle = {Proceedings of the 6th Nordic Conference on Human-Computer Interaction: Extending Boundaries}, year = {2010}, pages = {343--352}, doi = {10.1145/1868914.1868955} } @inproceedings{overholt2014embeddedaudi, author = {Dan Overholt and Nikolaj "DZL" Møbius}, title = {Embedded audio without beeps}, booktitle = {Proceedings of the 8th International Conference on Tangible, Embedded and Embodied Interaction}, year = {2014}, pages = {361--364}, doi = {10.1145/2540930.2567904} } @article{farmer1985thedigitaldo, author = {Roscoe Farmer and Elliot Mazer and Loren Rush}, title = {The Digital Domain: A Demonstration}, journal = {Computer Music Journal}, year = {1985}, volume = {9}, number = {4}, pages = {72}, doi = {10.2307/3679630} } @inproceedings{ingebritsen2022andshewillso, author = {Ryan Ingebritsen and Christopher Knowlton}, title = {And She Will Sound The Alarm: Performance and Demo of the Body Sample Player}, booktitle = {Proceedings of the 8th International Conference on Movement and Computing}, year = {2022}, pages = {1--4}, doi = {10.1145/3537972.3538019} } @article{ciciliani2020virtualdenvi, author = {Marko Ciciliani}, title = {Virtual 3D environments as composition and performance spaces}, journal = {Journal of New Music Research}, year = {2020}, volume = {49}, number = {1}, pages = {104--113}, doi = {10.1080/09298215.2019.1703013} } @inproceedings{mchugh2021towardsinclu, author = {Thomas Barlow McHugh and Abir Saha and David Bar-El and Marcelo Worsley and Anne Marie Piper}, title = {Towards Inclusive Streaming: Building Multimodal Music Experiences for the Deaf and Hard of Hearing}, booktitle = {Extended Abstracts of the 2021 CHI Conference on Human Factors in Computing Systems}, year = {2021}, pages = {1--7}, doi = {10.1145/3411763.3451690} } @article{sayer2006aconceptualt, author = {Tim Sayer}, title = {A conceptual tool for improvisation}, journal = {Contemporary Music Review}, year = {2006}, volume = {25}, number = {1-2}, pages = {163--172}, doi = {10.1080/07494460600647634} } @article{dyson1994radioartinwa, author = {Frances Dyson}, title = {Radio Art in Waves}, journal = {Leonardo Music Journal}, year = {1994}, volume = {4}, pages = {9}, doi = {10.2307/1513174} } @inproceedings{hahn2023timedomainlo, author = {Nara Hahn and Frank Schultz and Sascha Spors}, title = {Time-Domain Local Wave Field Synthesis of Virtual Point Sources}, booktitle = {2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2023}, pages = {1--10}, doi = {10.1109/i3da57090.2023.10289499} } @inproceedings{thomas2021desoutilspou, author = {Denez Thomas}, title = {Des outils pour la création sonore in situ}, booktitle = {Journées d'Informatique Musicale 2021}, year = {2021}, url = {https://hal.science/hal-03313606v1} } @inproceedings{fbio2019computermusi, author = {Gorodscy, Fábio and Feulo, Guilherme and Figueiredo, Nicolas and Itaboraí, Paulo Vitor and Bodo, Roberto and Borges, Rodrigo and Moura, Shayenne}, title = {Computer Music Research Group - IME/USP Report for SBCM 2019}, booktitle = {SBCM}, year = {2019}, url = {https://sol.sbc.org.br/index.php/sbcm/article/view/10443}, abstract = {The following report presents some of the ongoing projects that are taking place in the group’s laboratory. One of the noteable characteristics of this group is the extensive research spectrum, the plurality of research areas that are being studied by it’s members, such as Music Information Retrieval, Signal Processing and New Interfaces for Musical Expression.}, note = {Original title: Computer Music Research Group - IME/USP Report for SBCM 2019} } @inproceedings{huang2026mosoundanint, author = {Jialin Huang and Prem Seetharaman and Timothy Richard Langlois and Li-Yi Wei and Rubaiat Habib Kazi and Yotam Gingold}, title = {MoSound: An Interactive Tool for Generative Sound Design in Motion Graphics}, booktitle = {Proceedings of the 2026 CHI Conference on Human Factors in Computing Systems}, year = {2026}, pages = {1--13}, doi = {10.1145/3772318.3791162} } @inproceedings{walker1997acomputerpar, author = {William F. Walker}, title = {A computer participant in musical improvisation}, booktitle = {Proceedings of the ACM SIGCHI Conference on Human factors in computing systems}, year = {1997}, pages = {123--130}, doi = {10.1145/258549.258629} } @inproceedings{sagesser2023mediatingpla, author = {Marcel Zaes Sagesser}, title = {Mediating Place as Staging Time in “Setting”: Sonic Interactive Mobile Technology as an Art Performance}, booktitle = {Designing Interactive Systems Conference}, year = {2023}, pages = {60--63}, doi = {10.1145/3563703.3596806} } @inproceedings{bainbridge2004greenstoneas, author = {David Bainbridge and Sally Jo Cunningham and J. Stephen Downie}, title = {GREENSTONE as a Music Digital Library Toolkit.}, booktitle = {ISMIR}, year = {2004}, doi = {10.5281/zenodo.1417573} } @article{langheinrich2009asurveyofrfi, author = {Marc Langheinrich}, title = {A survey of RFID privacy approaches}, journal = {Personal and Ubiquitous Computing}, year = {2009}, volume = {13}, number = {6}, pages = {413--421}, doi = {10.1007/s00779-008-0213-4} } @article{zoran2011thechameleon, author = {Amit Zoran and Joseph A. Paradiso}, title = {The Chameleon Guitar—Guitar with a Replaceable Resonator}, journal = {Journal of New Music Research}, year = {2011}, volume = {40}, number = {1}, pages = {59--74}, doi = {10.1080/09298215.2011.554609} } @inproceedings{lidy2006visuallyprof, author = {Thomas Lidy and Andreas Rauber}, title = {Visually Profiling Radio Stations.}, booktitle = {ISMIR}, year = {2006}, doi = {10.5281/zenodo.1418079} } @article{laske1984definitionso, author = {Otto Laske}, title = {Definitions of Computer Art}, journal = {Computer Music Journal}, year = {1984}, volume = {8}, number = {4}, pages = {9}, doi = {10.2307/3679768} } @article{hamman2004ontechnology, author = {Michael Hamman}, title = {On Technology and Art: Xenakis at Work}, journal = {Journal of New Music Research}, year = {2004}, volume = {33}, number = {2}, pages = {115--123}, doi = {10.1080/0929821042000310595} } @inproceedings{alessandrini2023creatinganin, author = {Patricia Alessandrini and Constantin Basica and Prateek Verma}, title = {Creating an interactive and accessible remote performance system with the Piano Machine}, booktitle = {The 16th International Symposium on Computer Music Multidisciplinary Research}, year = {2023}, doi = {10.5281/zenodo.10112819} } @inproceedings{brtch2021thedeafmusic, author = {Sylvain Brétéché}, title = {The Deaf Musical Experience}, booktitle = {Lecture Notes in Computer Science Perception, Representations, Image, Sound, Music}, year = {2021}, doi = {10.1007/978-3-030-70210-6_28} } @inproceedings{villafuerte2012acquisitiono, author = {Lilia Villafuerte and Milena Markova and Sergi Jorda}, title = {Acquisition of social abilities through musical tangible user interface}, booktitle = {CHI '12 Extended Abstracts on Human Factors in Computing Systems}, year = {2012}, pages = {745--760}, doi = {10.1145/2212776.2212847} } @article{pozzati2000genalispmusi, author = {Guillermo Pozzati}, title = {Gen: A Lisp Music Environment}, journal = {Computer Music Journal}, year = {2000}, volume = {24}, number = {3}, pages = {42--47}, doi = {10.1162/014892600559443} } @inproceedings{hasegawa2012realtimesoni, author = {Shoichi Hasegawa and Seiichiro Ishijima and Fumihiro Kato and Hironori Mitake and Makoto Sato}, title = {Realtime sonification of the center of gravity for skiing}, booktitle = {Proceedings of the 3rd Augmented Human International Conference}, year = {2012}, pages = {1--4}, doi = {10.1145/2160125.2160136} } @article{ghani2020theeffectofi, author = {Izham Ghani and Ahmad Rafi and Peter Woods}, title = {The effect of immersion towards place presence in virtual heritage environments}, journal = {Personal and Ubiquitous Computing}, year = {2020}, volume = {24}, number = {6}, pages = {861--872}, doi = {10.1007/s00779-019-01352-8} } @article{springel1999thenewmediap, author = {Sharon Springel}, title = {The new media paradigm: Users as creators of content}, journal = {Personal Technologies}, year = {1999}, volume = {3}, number = {3}, pages = {153--159}, doi = {10.1007/bf01305341} } @article{cummings1986slowdanceona, author = {Conrad Cummings and Stephen Montague}, title = {Slow Dance on a Burial Ground}, journal = {Computer Music Journal}, year = {1986}, volume = {10}, number = {1}, pages = {102}, doi = {10.2307/3680305} } @article{cceres2010jacktripunde, author = {Juan-Pablo Cáceres and Chris Chafe}, title = {JackTrip: Under the Hood of an Engine for Network Audio}, journal = {Journal of New Music Research}, year = {2010}, volume = {39}, number = {3}, pages = {183--187}, doi = {10.1080/09298215.2010.481361} } @inproceedings{marcelo2019lcmufrgsrese, author = {Pimenta, Marcelo and Schramm, Rodrigo and Johann, Marcelo}, title = {LCM-Ufrgs Research Group Report: What are we doing in Computer Music?}, booktitle = {SBCM}, year = {2019}, url = {https://sol.sbc.org.br/index.php/sbcm/article/view/10442}, abstract = {In this paper, we present a historical overview and a brief report of the main recent activities at LCM (Laboratório de Computação Musical) of UFRGS (Universidade Federal do Rio Grande do Sul).}, note = {Original title: LCM-Ufrgs Research Group Report: What are we doing in Computer Music?} } @inproceedings{lffler2018multimodalex, author = {Diana Löffler and Nina Schmidt and Robert Tscharn}, title = {Multimodal Expression of Artificial Emotion in Social Robots Using Color, Motion and Sound}, booktitle = {Proceedings of the 2018 ACM/IEEE International Conference on Human-Robot Interaction}, year = {2018}, pages = {334--343}, doi = {10.1145/3171221.3171261} } @inproceedings{olsen2025investigatin, author = {Alvaro F Olsen}, title = {Investigating the Affective Quality of Audio Designs in Virtual Reality}, booktitle = {Proceedings of the 20th International Audio Mostly Conference}, year = {2025}, pages = {41--57}, doi = {10.1145/3771594.3771599} } @inproceedings{s2000digitalwaveg, author = {Bilbao S.}, title = {Digital waveguide networks for inhomogeneous media}, booktitle = {DAFx}, year = {2000}, url = {https://www.dafx.de/paper-archive/2000/pdf/Bilbao_paper2.pdf} } @article{ogborn2014livecodingin, author = {David Ogborn}, title = {Live Coding in a Scalable, Participatory Laptop Orchestra}, journal = {Computer Music Journal}, year = {2014}, volume = {38}, number = {1}, pages = {17--30}, doi = {10.1162/comj_a_00217}, abstract = {Live coding (Collins et al. 2003 and other articles in this special issue of Computer Music Journal) is the central performance practice of the Cybernetic Orchestra, a laptop orchestra at McMaster University in Hamilton, Ontario, Canada. Inspired by the idea of participatory culture, the ensemble has been made open to a diverse and ever changing roster of participants, and may be likened to a human laboratory exploring this question: How is live coding scalable onto larger groups of people coming from diverse backgrounds? This article presents the practices that have developed during the first three years of the Cybernetic Orchestra's existence, starting with a summary of our human organization and physical infrastructure. The EspGrid software, developed for enhanced network synchronization and sharing, is reviewed before a final section presents the live coding practices that have crystallized around this specific collective of people, equipment, and code.} } @article{amemiya2009locationfree, author = {Tomohiro Amemiya and Taro Maeda and Hideyuki Ando}, title = {Location-free haptic interaction for large-area social applications}, journal = {Personal and Ubiquitous Computing}, year = {2009}, volume = {13}, number = {5}, pages = {379--386}, doi = {10.1007/s00779-008-0198-z} } @inproceedings{kawahara2023morphingofdr, author = {Mizuki Kawahara and Tomoo Kouzai and Tetsuro Kitahara}, title = {Morphing of Drum Loop Sound Sources Using CNN-VAE}, booktitle = {The 16th International Symposium on Computer Music Multidisciplinary Research}, year = {2023}, doi = {10.5281/zenodo.10113394} } @inproceedings{vaillant2021improvingsyn, author = {Gwendal Le Vaillant and Thierry Dutoit and Sebastien Dekeyser}, title = {Improving Synthesizer Programming From Variational Autoencoders Latent Space}, booktitle = {2021 24th International Conference on Digital Audio Effects (DAFx)}, year = {2021}, pages = {276--283}, doi = {10.23919/dafx51585.2021.9768218} } @inproceedings{deacon2023invokeacolla, author = {Thomas Deacon and Mathieu Barthet}, title = {Invoke: A Collaborative Virtual Reality Tool for Spatial Audio Production Using Voice-Based Trajectory Sketching}, booktitle = {Proceedings of the 18th International Audio Mostly Conference}, year = {2023}, pages = {161--168}, doi = {10.1145/3616195.3616211} } @inproceedings{perezcarrillo2016estimationof, author = {Alfonso Perez-Carrillo and Josep-Lluis Arcos and Marcelo Wanderley}, title = {Estimation of Guitar Fingering and Plucking Controls Based on Multimodal Analysis of Motion, Audio and Musical Score}, booktitle = {Lecture Notes in Computer Science Music, Mind, and Embodiment}, year = {2016}, doi = {10.1007/978-3-319-46282-0_5} } @inproceedings{buys2018realtimebowe, author = {Kurijn Buys and Andrew McPherson}, title = {Real-time Bowed String Feature Extraction for Performance Applications}, booktitle = {15th Sound and Music Computing Conference}, year = {2018}, doi = {10.5281/zenodo.1422597}, abstract = {(Abstract to follow)} } @inproceedings{choi2024awayfordeafa, author = {Youjin Choi and Junryeol Jeon and ChungHa Lee and Yeo-Gyeong Noh and Jin-Hyuk Hong}, title = {A Way for Deaf and Hard of Hearing People to Enjoy Music by Exploring and Customizing Cross-modal Music Concepts}, booktitle = {Proceedings of the CHI Conference on Human Factors in Computing Systems}, year = {2024}, pages = {1--17}, doi = {10.1145/3613904.3642665} } @inproceedings{yadati2014detectingdro, author = {Karthik Yadati and Martha Larson and Cynthia C. S. Liem and Alan Hanjalic}, title = {Detecting Drops in Electronic Dance Music: Content based approaches to a socially significant music event.}, booktitle = {ISMIR}, year = {2014}, doi = {10.5281/zenodo.1417081} } @inproceedings{mclean2010tidalpattern, author = {Alex McLean and Geraint Wiggins}, title = {Tidal - Pattern Language for Live Coding of Music}, booktitle = {7th Sound and Music Computing Conference}, year = {2010}, doi = {10.5281/zenodo.849841}, abstract = {(Abstract to follow)} } @article{tahirolu2024musicalintra, author = {Koray Tahiroğlu}, title = {Musical intra-actions with digital musical instruments}, journal = {Journal of New Music Research}, year = {2024}, volume = {53}, number = {1-2}, pages = {126--138}, doi = {10.1080/09298215.2024.2442350} } @inproceedings{otsu2021enhancingmul, author = {Kouyou Otsu and Jinglong Yuan and Hisato Fukuda and Yoshinori Kobayashi and Yoshinori Kuno and Keiichi Yamazaki}, title = {Enhancing Multimodal Interaction Between Performers and Audience Members During Live Music Performances}, booktitle = {Extended Abstracts of the 2021 CHI Conference on Human Factors in Computing Systems}, year = {2021}, pages = {1--6}, doi = {10.1145/3411763.3451584} } @inproceedings{phonamnuaisuk2004logicalrepre, author = {Somnuk Phon-Amnuaisuk}, title = {Logical Representation of Musical Concepts (for Analysis and Composition Tasks Using Computers)}, booktitle = {1st Sound and Music Computing Conference}, year = {2004}, doi = {10.5281/zenodo.849191}, abstract = {(Abstract to follow)} } @inproceedings{robson2024thinkingwith, author = {Nicole Robson and Andrew McPherson and Nick Bryan-Kinns}, title = {Thinking with Sound: Exploring the Experience of Listening to an Ultrasonic Art Installation}, booktitle = {Proceedings of the CHI Conference on Human Factors in Computing Systems}, year = {2024}, pages = {1--14}, doi = {10.1145/3613904.3642616} } @article{afridi2021triggersandc, author = {Ahmad Hassan Afridi and Fatma Outay}, title = {Triggers and connection-making for serendipity via user interface in recommender systems}, journal = {Personal and Ubiquitous Computing}, year = {2021}, volume = {25}, number = {1}, pages = {77--92}, doi = {10.1007/s00779-020-01371-w} } @inproceedings{turchet2019haptificatio, author = {Luca Turchet and Mathieu Barthet}, title = {Haptification of performer's control gestures in live electronic music performance}, booktitle = {Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound}, year = {2019}, pages = {244--247}, doi = {10.1145/3356590.3356629} } @article{eastley1996futureapplic, author = {Max Eastley}, title = {Future applications of sound art and design to architectural and natural environments}, journal = {Contemporary Music Review}, year = {1996}, volume = {15}, number = {3-4}, pages = {143--150}, doi = {10.1080/07494469600640641} } @inproceedings{pra2014infraredvsul, author = {Yuri De Pra and Federico Fontana and Linmi Tao}, title = {Infrared vs. Ultrasonic Finger Detection on a Virtual Piano Keyboard}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850643}, abstract = {(Abstract to follow)} } @inproceedings{schaffert2010asounddesign, author = {Nina Schaffert and Klaus Mattes and Alfred O. Effenberg}, title = {A Sound Design for Acoustic Feedback in Elite Sports}, booktitle = {Lecture Notes in Computer Science Auditory Display}, year = {2010}, doi = {10.1007/978-3-642-12439-6_8} } @article{zhou2014innovativewe, author = {Yun Zhou and Tao Xu and Bertrand David and René Chalon}, title = {Innovative wearable interfaces: an exploratory analysis of paper-based interfaces with camera-glasses device unit}, journal = {Personal and Ubiquitous Computing}, year = {2014}, volume = {18}, number = {4}, pages = {835--849}, doi = {10.1007/s00779-013-0697-4} } @inproceedings{kurth2005syncplayeran, author = {Frank Kurth and Meinard Müller and David Damm and Christian Fremerey and Andreas Ribbrock and Michael Clausen}, title = {Syncplayer - An Advanced System for Multimodal Music Access.}, booktitle = {ISMIR}, year = {2005}, doi = {10.5281/zenodo.1416496} } @inproceedings{hermann2010sonicinterac, author = {Thomas Hermann}, title = {Sonic Interaction Design: New Applications and Challenges for Interactive Sonification}, booktitle = {DAFx}, year = {2010}, url = {https://www.dafx.de/paper-archive/2010/DAFx10/Hermann_DAFx10_K1.pdf} } @inproceedings{jackowski2014computergame, author = {Dariusz Jackowski and Francho Melendez and Andrzej Bauer and Paweł Hendrich and Cezary Duchnowski}, title = {Computer Game Piece: Exploring Video Games as Means for Controlled Improvisation}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850469}, abstract = {(Abstract to follow)} } @inproceedings{arfib2009prototypingm, author = {Daniel Arfib and Jean-Julien Filatriau and Loïc Kessous}, title = {Prototyping Musical Experiments for Tangisense, a Tangible and Traceable Table}, booktitle = {6th Sound and Music Computing Conference}, year = {2009}, doi = {10.5281/zenodo.849661}, abstract = {(Abstract to follow)} } @inproceedings{rafailidis2009musicalvoice, author = {Dimitris Rafailidis and Emilios Cambouropoulos and Yannis Manolopoulos}, title = {Musical Voice Integration/Segregation: VISA Revisited}, booktitle = {6th Sound and Music Computing Conference}, year = {2009}, doi = {10.5281/zenodo.849649}, abstract = {(Abstract to follow)} } @inproceedings{eduard1998smscomposera, author = {Resina Bertran, Eduard}, title = {SMS Composer and SMS Conductor: Applications for Spectral Modeling Synthesis Composition and Performance}, booktitle = {DAFx}, year = {1998}, url = {https://www.dafx.de/paper-archive/1998/RES43.PS.pdf}, abstract = {SMS Composer and SMS Conductor are Windows applications designed to take musical advantage of both the flexibility and potential of SMS sound transformations and its current capability for real-time synthesis. SMS Composer offers a powerful compositional environment for SMS score generation, editing and synthesis. SMS Conductor is a real-time SMS controller, mainly focused on the problem of tracking and translating conductors’ queues into time-stretch synthesis fluctuations.} } @inproceedings{ivanyi2023duorhythmode, author = {Balazs Andras Ivanyi and Truls Bendik Tjemsland and Christian Vasileios Tsalidis de Zabala and Lilla Julia Toth and Marcus Alexander Dyrholm and Scott James Naylor and Ann Paradiso and Dwayne Lamb and Jarnail Chudge and Ali Adjorlu and Stefania Serafin}, title = {DuoRhythmo: Design and remote user experience evaluation (UXE) of a collaborative accessible digital musical interface (CADMI) for people with ALS (PALS)}, booktitle = {Proceedings of the 2023 CHI Conference on Human Factors in Computing Systems}, year = {2023}, pages = {1--13}, doi = {10.1145/3544548.3581285} } @article{bongers2007towardsamult, author = {Bert Bongers and Gerrit C. van der Veer}, title = {Towards a Multimodal Interaction Space: categorisation and applications}, journal = {Personal and Ubiquitous Computing}, year = {2007}, volume = {11}, number = {8}, pages = {609--619}, doi = {10.1007/s00779-006-0138-8} } @inproceedings{hahn2015synthesisofa, author = {Nara Hahn and Sascha Spors}, title = {Synthesis of a sound field scattered by a virtual object using near-field compensated higher-order Ambisonics}, booktitle = {2015 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA)}, year = {2015}, pages = {1--5}, doi = {10.1109/waspaa.2015.7336893} } @article{kerrebroeck2023thevirtualdr, author = {Bavo Van Kerrebroeck and Kristel Crombé and Stéphane M. de Leymarie and Marc Leman and Pieter-Jan Maes}, title = {The virtual drum circle: polyrhythmic music interactions in mixed reality}, journal = {Journal of New Music Research}, year = {2023}, volume = {52}, number = {4}, pages = {316--336}, doi = {10.1080/09298215.2024.2339244} } @inproceedings{twu2010lithiumnioba, author = {Ruey-Ching Twu and Hong-Yao Hou and Yi-Huan Lee}, title = {Lithium niobate optical sensing chip for portable instrument}, booktitle = {2010 International Symposium on Micro-NanoMechatronics and Human Science}, year = {2010}, pages = {252--257}, doi = {10.1109/mhs.2010.5669550} } @article{amc2020audiofirstvr, author = {Anıl Çamcı and Rob Hamilton}, title = {Audio-first VR: New perspectives on musical experiences in virtual environments}, journal = {Journal of New Music Research}, year = {2020}, volume = {49}, number = {1}, pages = {1--7}, doi = {10.1080/09298215.2019.1707234} } @inproceedings{roda2009virtualperfo, author = {A. Roda and S. Canazza}, title = {Virtual performance, Actual gesture: A Web 2.0 system for expressive performance of music contents}, booktitle = {2009 2nd Conference on Human System Interactions}, year = {2009}, pages = {474--480}, doi = {10.1109/hsi.2009.5091025} } @article{collins2003generativemu, author = {Nick Collins}, title = {Generative Music and Laptop Performance}, journal = {Contemporary Music Review}, year = {2003}, volume = {22}, number = {4}, pages = {67--79}, doi = {10.1080/0749446032000156919} } @inproceedings{brown2013factorsaffec, author = {Andrew R. Brown and Toby Gifford and Bradley Voltz}, title = {Factors affecting audience perceptions of agency in human computer musical partnerships}, booktitle = {Proceedings of the 9th ACM Conference on Creativity & Cognition}, year = {2013}, pages = {296--299}, doi = {10.1145/2466627.2466661} } @inproceedings{nakamura2014mergedoutput, author = {Eita Nakamura and Nobutaka Ono and Shigeki Sagayama}, title = {Merged-Output HMM for Piano Fingering of Both Hands.}, booktitle = {ISMIR}, year = {2014}, doi = {10.5281/zenodo.1415152} } @inproceedings{gillet2006enstdrumsane, author = {Olivier Gillet and Gaël Richard}, title = {ENST-Drums: an extensive audio-visual database for drum signals processing.}, booktitle = {ISMIR}, year = {2006}, doi = {10.5281/zenodo.1415902} } @inproceedings{r1998towardtheper, author = {Cook, Perry R.}, title = {Toward the Perfect Audio Morph? Singing Voice Synthesis and Processing}, booktitle = {DAFx}, year = {1998}, url = {https://www.dafx.de/paper-archive/1998/COO62.PS.pdf}, abstract = {This paper reviews the popular methods and models used for the synthesis of the singing voice, discussing strengths and weaknesses of each technique. Then a brief review is given of research on cross-modal visual/auditory perception of the human voice. The paper concludes with comments related to the singing synthesis systems discussed, addressing multi-modal perception, audio morphing, and the categorical perception of sound.} } @article{dack2013instrumentsf, author = {John Dack}, title = {Instruments from an Instrument: Schaefferian ‘Instrumental Analysis’ and Berio'sSequenza Vfor Solo Trombone}, journal = {Contemporary Music Review}, year = {2013}, volume = {32}, number = {5}, pages = {437--445}, doi = {10.1080/07494467.2013.849872} } @inproceedings{je2007handgesturer, author = {Hongmo Je and Jiman Kim and Daijin Kim}, title = {Hand Gesture Recognition To Understand Musical Conducting Action}, booktitle = {RO-MAN 2007 - The 16th IEEE International Symposium on Robot and Human Interactive Communication}, year = {2007}, pages = {163--168}, doi = {10.1109/roman.2007.4415073} } @inproceedings{goodman2020evaluatingsm, author = {Steven Goodman and Susanne Kirchner and Rose Guttman and Dhruv Jain and Jon Froehlich and Leah Findlater}, title = {Evaluating Smartwatch-based Sound Feedback for Deaf and Hard-of-hearing Users Across Contexts}, booktitle = {Proceedings of the 2020 CHI Conference on Human Factors in Computing Systems}, year = {2020}, pages = {1--13}, doi = {10.1145/3313831.3376406} } @inproceedings{martin2011atoolkitford, author = {Aengus Martin and Craig T. Jin and Oliver Bown}, title = {A toolkit for designing interactive musical agents}, booktitle = {Proceedings of the 23rd Australian Computer-Human Interaction Conference}, year = {2011}, pages = {194--197}, doi = {10.1145/2071536.2071567} } @inproceedings{kolykhalova2016aseriousgame, author = {Ksenia Kolykhalova and Paolo Alborno and Antonio Camurri and Gualtiero Volpe}, title = {A serious games platform for validating sonification of human full-body movement qualities}, booktitle = {Proceedings of the 3rd International Symposium on Movement and Computing}, year = {2016}, pages = {1--5}, doi = {10.1145/2948910.2948962} } @inproceedings{hunter2019usingpartici, author = {Trevor Hunter and Peter Worthy and Ben Matthews and Stephen Viller}, title = {Using Participatory Design in the Development of a New Musical Interface}, booktitle = {Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound}, year = {2019}, pages = {268--271}, doi = {10.1145/3356590.3356635} } @inproceedings{wong2021sharedspaces, author = {Matthew Wong and Ramani Duraiswami}, title = {Shared-Space: Spatial Audio and Video Layouts for Videoconferencing in a Virtual Room}, booktitle = {2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2021}, pages = {1--6}, doi = {10.1109/i3da48870.2021.9610974} } @inproceedings{anon2021spatialaudio, author = { and Leischner Vojtěch and Míkovec Zdeněk and }, title = {Spatial audio music player for web}, booktitle = {RoCHI - International Conference on Human-Computer Interaction}, year = {2021}, pages = {125--129}, doi = {10.37789/rochi.2021.1.1.19} } @inproceedings{camurri2007aplatformfor, author = {Antonio Camurri and Paolo Coletta and Mirko Demurtas and Massimiliano Peri and Andrea Ricci and Roberto Sagoleo and Marzia Simonetti and Giovanna Varni and Gualtiero Volpe}, title = {A Platform for Real-Time Multimodal Processing}, booktitle = {4th Sound and Music Computing Conference}, year = {2007}, doi = {10.5281/zenodo.849487}, abstract = {(Abstract to follow)} } @inproceedings{feitsch2014tangibleandb, author = {Jochen Feitsch and Marco Strobel and Stefan Meyer and Christian Geiger}, title = {Tangible and body-related interaction techniques for a singing voice synthesis installation}, booktitle = {Proceedings of the 8th International Conference on Tangible, Embedded and Embodied Interaction}, year = {2014}, pages = {157--164}, doi = {10.1145/2540930.2540962} } @article{schindler1984dynamictimbr, author = {Keith W. Schindler}, title = {Dynamic Timbre Control for Real-Time Digital Synthesis}, journal = {Computer Music Journal}, year = {1984}, volume = {8}, number = {1}, pages = {28}, doi = {10.2307/3679895} } @article{abbott1987controlofrea, author = {Curtis Abbott}, title = {Control of Real-Time Synthesizers}, journal = {Computer Music Journal}, year = {1987}, volume = {11}, number = {1}, pages = {13}, doi = {10.2307/3680168} } @inproceedings{wallace2021learningembo, author = {Benedikte Wallace and Charles P. Martin and Jim Tørresen and Kristian Nymoen}, title = {Learning Embodied Sound-Motion Mappings: Evaluating AI-Generated Dance Improvisation}, booktitle = {Creativity and Cognition}, year = {2021}, pages = {1--9}, doi = {10.1145/3450741.3465245} } @inproceedings{wang2026soothemindex, author = {Kun Wang and Miaomiao Ke and Jinghua Huang and Ning Zou}, title = {SootheMind: Exploring Body-Site-Specific Vibrotactile and Thermatactile Stimuli for Music-guided Emotion Modulation}, booktitle = {Proceedings of the 2026 CHI Conference on Human Factors in Computing Systems}, year = {2026}, pages = {1--22}, doi = {10.1145/3772318.3791768} } @article{cmara2022mappingtimin, author = {Guilherme Schmidt Câmara and George Sioros and Anne Danielsen}, title = {Mapping timing and intensity strategies in drum-kit performance of a simple back-beat pattern}, journal = {Journal of New Music Research}, year = {2022}, volume = {51}, number = {1}, pages = {3--26}, doi = {10.1080/09298215.2022.2150649} } @article{mccombe2006videomusicvi, author = {Christine McCombe}, title = {Videomusicvideo—composing across media}, journal = {Contemporary Music Review}, year = {2006}, volume = {25}, number = {4}, pages = {299--310}, doi = {10.1080/07494460600760973} } @article{valiquet2018amanagedrisk, author = {Patrick Valiquet}, title = {A Managed Risk: Mediated Musicianships in a Networked Laptop Orchestra}, journal = {Contemporary Music Review}, year = {2018}, volume = {37}, number = {5-6}, pages = {646--665}, doi = {10.1080/07494467.2017.1402458} } @inproceedings{pajalaassefa2019astudyofmove, author = {Hanna Pajala-Assefa and Cumhur Erkut}, title = {A Study of Movement-Sound within Extended Reality}, booktitle = {Proceedings of the 6th International Conference on Movement and Computing}, year = {2019}, pages = {1--4}, doi = {10.1145/3347122.3359604} } @inproceedings{zhang2010animprovedul, author = {Yan Zhang and Yuanyuan Wang}, title = {An improved ultrasound field simulation of photoacoustic tomography}, booktitle = {2010 International Conference on Audio, Language and Image Processing}, year = {2010}, pages = {1233--1237}, doi = {10.1109/icalip.2010.5685133} } @inproceedings{davis2007gesturalcont, author = {Tom Davis and Orestis Karamanlis}, title = {Gestural Control of Sonic Swarms: Composing With Grouped Sound Objects}, booktitle = {4th Sound and Music Computing Conference}, year = {2007}, doi = {10.5281/zenodo.849427}, abstract = {(Abstract to follow)} } @article{chadabe1984interactivec, author = {Joel Chadabe}, title = {Interactive Composing: An Overview}, journal = {Computer Music Journal}, year = {1984}, volume = {8}, number = {1}, pages = {22}, doi = {10.2307/3679894} } @article{roberts1991steinbergjon, author = {Arthur Roberts}, title = {Steinberg-Jones CUBASE Sequencer for Atari Computers}, journal = {Computer Music Journal}, year = {1991}, volume = {15}, number = {4}, pages = {128}, doi = {10.2307/3681095} } @inproceedings{havryliv2006metrisagamee, author = {Mark Havryliv and Terumi Narushima}, title = {Metris: A Game Environment for Music Performance}, booktitle = {Lecture Notes in Computer Science Computer Music Modeling and Retrieval}, year = {2006}, doi = {10.1007/11751069_9} } @article{papa2001broadbandcel, author = {Filomena Papa and Sandra Spedaletti}, title = {Broadband Cellular Radio Telecommunication Technologies in Distance Learning: A Human Factors Field Study}, journal = {Personal and Ubiquitous Computing}, year = {2001}, volume = {5}, number = {4}, pages = {231--242}, doi = {10.1007/s007790170002} } @inproceedings{toppano2019movingacross, author = {Elio Toppano and Sveva Toppano and Alessandro Basiaco}, title = {Moving across Sonic Atmospheres}, booktitle = {Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound}, year = {2019}, pages = {139--146}, doi = {10.1145/3356590.3356612} } @inproceedings{mizutani2019thresholdsof, author = {Saya Mizutani and Masahiro Fujiwara and Yasutoshi Makino and Hiroyuki Shinoda}, title = {Thresholds of Haptic and Auditory Perception in Midair Facial Stimulation}, booktitle = {2019 IEEE International Symposium on Haptic, Audio and Visual Environments and Games (HAVE)}, year = {2019}, pages = {1--6}, doi = {10.1109/have.2019.8920999} } @inproceedings{squibbs1996imagesofsoun, author = {Ronald Squibbs}, title = {Images of Sound in Xenakis's Mycenae-Alpha}, booktitle = {Journées d'Informatique Musicale}, year = {1996}, url = {https://hal.science/hal-02986061v1}, abstract = {Mycenae-Alpha (1978), composed by iannis Xenakis on the UPIC system, presents an example of the relationship between graphic image and sonic structure in electroacoustic music. The graphic score of Mycenae-Alpha provides a basis for an analysis of the work's form and a guide to its characteristic sonic features.} } @inproceedings{schoeffler2013anexperiment, author = {Michael Schoeffler and Fabian-Robert Stöter and Harald Bayerlein and Bernd Edler and Jürgen Herre}, title = {An Experiment about Estimating the Number of Instruments in Polyphonic Music: A Comparison Between Internet and Laboratory Results.}, booktitle = {ISMIR}, year = {2013}, doi = {10.5281/zenodo.1417943} } @article{moura2025posturaladap, author = {Nádia Moura and Pedro Fonseca and Bárbara Magalhães and Marc Vidal and Sofia Serra and João Paulo Vilas-Boas}, title = {Postural adaptations of saxophone players during music performance}, journal = {Journal of New Music Research}, year = {2025}, volume = {54}, number = {2-3}, pages = {200--215}, doi = {10.1080/09298215.2026.2648821} } @inproceedings{thiebaut2013multidimensi, author = {Jean-Baptiste Thiebaut and Sean Soraghan and Lauren Ianni}, title = {MULTI-DIMENSIONAL CONTROLLERS, EXPRESSIVITY, SOFTWARE: AN INTEGRATION PROBLEM}, booktitle = {Journées d'Informatique Musicale}, year = {2013}, url = {https://hal.science/hal-03112228v1} } @article{lewis2006improvisatio, author = {George E. Lewis}, title = {Improvisation and the orchestra: A composer reflects}, journal = {Contemporary Music Review}, year = {2006}, volume = {25}, number = {5-6}, pages = {429--434}, doi = {10.1080/07494460600989812} } @article{gehlhaar1991soundspacean, author = {Rolf Gehlhaar}, title = {SOUND = SPACE: an interactive musical environment}, journal = {Contemporary Music Review}, year = {1991}, volume = {6}, number = {1}, pages = {59--72}, doi = {10.1080/07494469100640061} } @inproceedings{lostanlen2021energyeffici, author = {Vincent Lostanlen and Antoine Bernabeu and Jean-Luc Béchennec and Mikaël Briday and Sébastien Faucou and Mathieu Lagrange}, title = {Energy Efficiency is Not Enough:Towards a Batteryless Internet of Sounds}, booktitle = {Audio Mostly 2021}, year = {2021}, pages = {147--155}, doi = {10.1145/3478384.3478408} } @article{graves1999midivisualis, author = {ALAN GRAVES and CHRIS HAND and ANDREW HUGILL}, title = {MidiVisualiser: interactive music visualisation using VRML}, journal = {Organised Sound}, year = {1999}, volume = {4}, number = {1}, pages = {15--23}, doi = {10.1017/s135577189900103x} } @inproceedings{dcomp2017webaudioappl, author = {Computer Science Department - DCOMP and São João Del Rei, MG – Brazil}, title = {Web Audio application development with Mosaicode Flávio Luiz Schiavoni1 , Luan Luiz Gonçalves1∗, André Lucas Nascimento Gomes1}, booktitle = {SBCM 2017}, year = {2017}, abstract = {The development of audio application demands a high knowledge about this application domain, traditional programming logic and programming language. It is possible to use a Visual Programming Language to ease the application development, including experimentations and creative exploration of the Language. In this paper we present a Visual Programming Environment to create Web Audio applications called Mosaicode. Different from other audio creation platforms that use visual approach, our environment is a source code generator based on code snippets to create complete applications.} } @article{hayes2013hapticaugmen, author = {Lauren Hayes}, title = {Haptic Augmentation of the Hybrid Piano}, journal = {Contemporary Music Review}, year = {2013}, volume = {32}, number = {5}, pages = {499--509}, doi = {10.1080/07494467.2013.849877} } @inproceedings{adams2013surveyofaudi, author = {Alexander T. Adams and Celine Latulipe}, title = {Survey of audio programming tools}, booktitle = {CHI '13 Extended Abstracts on Human Factors in Computing Systems}, year = {2013}, pages = {781--786}, doi = {10.1145/2468356.2468495} } @article{johannsen1995oscdeckandtr, author = {Jens Johannsen}, title = {OSC Deck 2 and 8-Track Tool for MacOS-Compatible Computers}, journal = {Computer Music Journal}, year = {1995}, volume = {19}, number = {3}, pages = {68}, doi = {10.2307/3680661} } @article{sakurai2009avisibilityc, author = {Satoshi Sakurai and Yoshifumi Kitamura and Sriram Subramanian and Fumio Kishino}, title = {A visibility control system for collaborative digital table}, journal = {Personal and Ubiquitous Computing}, year = {2009}, volume = {13}, number = {8}, pages = {619--632}, doi = {10.1007/s00779-009-0243-6} } @article{campbell2015catchinganea, author = {Stephanie McCullough Campbell and Elizabeth Hellmuth Margulis}, title = {Catching an Earworm Through Movement}, journal = {Journal of New Music Research}, year = {2015}, volume = {44}, number = {4}, pages = {347--358}, doi = {10.1080/09298215.2015.1084331} } @inproceedings{gelineck2013towardsamore, author = {Steven Gelineck and Morten Büchert and Jesper Andersen}, title = {Towards a more flexible and creative music mixing interface}, booktitle = {CHI '13 Extended Abstracts on Human Factors in Computing Systems}, year = {2013}, pages = {733--738}, doi = {10.1145/2468356.2468487} } @inproceedings{baird2018theperceived, author = {Alice Baird and Emilia Parada-Cabaleiro and Cameron Fraser and Simone Hantke and Björn Schuller}, title = {The Perceived Emotion of Isolated Synthetic Audio}, booktitle = {Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion}, year = {2018}, pages = {1--8}, doi = {10.1145/3243274.3243277} } @inproceedings{rimoldi2017dynamicmappi, author = {Gabriel Rimoldi and Jônatas Manzolli}, title = {Dynamic Mapping Strategies Using Content-Based Classification: A Proposed Method for an Augmented Instrument}, booktitle = {Lecture Notes in Computer Science Bridging People and Sound}, year = {2017}, doi = {10.1007/978-3-319-67738-5_21} } @inproceedings{bohm2023evaluatingai, author = {Niklas Bohm and Christian M. Fischer and Manuel Richardt}, title = {Evaluating AI as an Assisting Tool to Create Electronic Dance Music}, booktitle = {Lecture Notes in Computer Science Music in the AI Era}, year = {2023}, doi = {10.1007/978-3-031-35382-6_6} } @article{cuzzucoli1999aphysicalmod, author = {Giuseppe Cuzzucoli and Vincenzo Lombardo}, title = {A Physical Model of the Classical Guitar, Including the Player's Touch}, journal = {Computer Music Journal}, year = {1999}, volume = {23}, number = {2}, pages = {52--69}, doi = {10.1162/014892699559751} } @article{cook1996singingvoice, author = {Perry R. Cook}, title = {Singing Voice Synthesis: History, Current Work, and Future Directions}, journal = {Computer Music Journal}, year = {1996}, volume = {20}, number = {3}, pages = {38}, doi = {10.2307/3680822} } @inproceedings{selfridge2017realtimephys, author = {Rod Selfridge and David Moffat and Joshua D. Reiss}, title = {Real-Time Physical Model for Synthesis of Sword Sounds}, booktitle = {14th Sound and Music Computing Conference}, year = {2017}, doi = {10.5281/zenodo.1401947}, abstract = {(Abstract to follow)} } @inproceedings{jaimovich2013emotioninmot, author = {Javier Jaimovich and Niall Coghlan and R. Benjamin Knapp}, title = {Emotion in Motion: A Study of Music and Affective Response}, booktitle = {Lecture Notes in Computer Science From Sounds to Music and Emotions}, year = {2013}, doi = {10.1007/978-3-642-41248-6_2} } @inproceedings{hunter2025frominstalla, author = {Trevor Hunter and Eve Klein and Stephen Viller}, title = {From Installation to Instrument: A Qualitative Inquiry into Gesture, Expression, and Composition with Soundscape}, booktitle = {Proceedings of the 20th International Audio Mostly Conference}, year = {2025}, pages = {326--336}, doi = {10.1145/3771594.3771627} } @article{armstrong1991theairplayer, author = {Sara Garden Armstrong and Robert Ross}, title = {The "Airplayer" Series: Manipulation of Light, Sound and Space through Technology}, journal = {Leonardo Music Journal}, year = {1991}, volume = {1}, number = {1}, pages = {25}, doi = {10.2307/1513117} } @inproceedings{weldon2006audiotoolsfo, author = {Matt Weldon}, title = {Audio tools for sports fan interaction}, booktitle = {CHI '06 Extended Abstracts on Human Factors in Computing Systems}, year = {2006}, pages = {1511--1516}, doi = {10.1145/1125451.1125728} } @inproceedings{miyagawa2018placingmusic, author = {Shoki Miyagawa and Yuki Koyama and Jun Kato and Masataka Goto and Shigeo Morishima}, title = {Placing Music in Space}, booktitle = {Proceedings of the 2018 ACM Conference Companion Publication on Designing Interactive Systems}, year = {2018}, pages = {39--43}, doi = {10.1145/3197391.3205409} } @article{li2024feasibilitya, author = {Ziming Li and Yiming Luo and Jialin Wang and Yushan Pan and Lingyun Yu and Hai-Ning Liang}, title = {Feasibility and performance enhancement of collaborative control of unmanned ground vehicles via virtual reality}, journal = {Personal and Ubiquitous Computing}, year = {2024}, volume = {28}, number = {3-4}, pages = {579--595}, doi = {10.1007/s00779-024-01799-4} } @inproceedings{voran1997perceptionba, author = {S. Voran}, title = {Perception-based bit-allocation algorithms for audio coding}, booktitle = {Proceedings of 1997 Workshop on Applications of Signal Processing to Audio and Acoustics}, year = {1997}, pages = {4 pp.}, doi = {10.1109/aspaa.1997.625586} } @inproceedings{ni2006applicationo, author = {Liya Ni and Marek Krzeminski and Kevin Tuer}, title = {Application of haptic, visual and audio integration in astronomy education}, booktitle = {2006 IEEE International Workshop on Haptic Audio Visual Environments and their Applications (HAVE 2006)}, year = {2006}, pages = {152--156}, doi = {10.1109/have.2006.283790} } @inproceedings{shimizu2023gennydesigni, author = {Junichi Shimizu and Rebecca Fiebrink}, title = {Genny: Designing and Exploring a Live Coding Interface for Generative Models}, booktitle = {7th International Conference on Live Coding}, year = {2023}, doi = {10.5281/zenodo.7843500}, abstract = {We present Genny, a live coding interface for interacting with generative models. By implementing a streamlined generative model API within a Web-based live coding environment, we explore possibilities for how generative models can support live coding. We describe the implementation of our interface components and the backend system for working with generative models, show several design patterns with template code, and describe use of a practical generation method for live coding performance. The system currently enables the generation of two-bar rhythm patterns using lightweight models that support near-instantaneous inference, which are able to suggest and display alternative rhythm patterns based on live coders’ own inputs. Finally, we discuss reflections on this implementation approach, its current limitations, and further possibilities.} } @article{oppens2002beingexpress, author = {Ursula Oppens}, title = {Being expressive of what's there}, journal = {Contemporary Music Review}, year = {2002}, volume = {21}, number = {1}, pages = {61--69}, doi = {10.1080/07494460216641} } @article{cheng2023visualsalien, author = {Shiwei Cheng and Jing Fan and Yilin Hu}, title = {Visual saliency model based on crowdsourcing eye tracking data and its application in visual design}, journal = {Personal and Ubiquitous Computing}, year = {2023}, volume = {27}, number = {3}, pages = {613--630}, doi = {10.1007/s00779-020-01463-7} } @inproceedings{vergez2006thebrassproj, author = {Christophe Vergez and Patrice Tisserand}, title = {The BRASS Project, from Physical Models to Virtual Musical Instruments: Playability Issues}, booktitle = {Lecture Notes in Computer Science Computer Music Modeling and Retrieval}, year = {2006}, doi = {10.1007/11751069_2} } @inproceedings{liang2009crosstreeadj, author = {Ke Liang and Roger Zimmermann}, title = {Cross-tree adjustment for spatialized audio streaming over networked virtual environments}, booktitle = {Proceedings of the 18th international workshop on Network and operating systems support for digital audio and video}, year = {2009}, pages = {73--78}, doi = {10.1145/1542245.1542262} } @article{goldstein2002themediaequa, author = {Mikael Goldstein and Gunilla Alsio¨ and Jost Werdenhoff}, title = {The Media Equation Does Not Always Apply: People are not Polite Towards Small Computers}, journal = {Personal and Ubiquitous Computing}, year = {2002}, volume = {6}, number = {2}, pages = {87--96}, doi = {10.1007/s007790200008} } @article{thomas2002wheredoesthe, author = {B. Thomas and K. Grimmer and J. Zucco, and S. Milanese}, title = {Where Does the Mouse Go? An Investigation into the Placement of a Body-Attached TouchPad Mouse for Wearable Computers}, journal = {Personal and Ubiquitous Computing}, year = {2002}, volume = {6}, number = {2}, pages = {97--112}, doi = {10.1007/s007790200009} } @article{duringer1997theevolution, author = {Jacob Duringer}, title = {The Evolution of the Musical Keyboard}, journal = {Leonardo Music Journal}, year = {1997}, volume = {7}, pages = {96}, doi = {10.2307/1513252} } @article{varan2006interactivel, author = {Duan Varan and Andrew Turk and Sam Bucolo and Deb Polson and Margot Brereton and Jared Donovan and Kim Montgomery and Gael McIndoe}, title = {Interactive lounge: an interdisciplinary approach to the design of a gestural interaction device}, journal = {Personal and Ubiquitous Computing}, year = {2006}, volume = {10}, number = {2-3}, pages = {166--169}, doi = {10.1007/s00779-005-0010-2} } @inproceedings{reichmann2025movementsoni, author = {Michael Reichmann and Vincent van Rheden and Antoni Rayzhekov and Thomas Grah and Oliver Jung and Alexander Meschtscherjakov}, title = {Movement Sonification Toolkit: Enabling Non-Sound Experts to Create Movement Data Sonifications}, booktitle = {Proceedings of the First Annual Conference on Human-Computer Interaction and Sports}, year = {2025}, pages = {1--6}, doi = {10.1145/3749385.3749410} } @article{mclean2024livenotation, author = {Alex McLean and Kate Sicchio}, title = {Live Notation for Patterns of Movement}, journal = {International Conference on Live Coding}, year = {2024}, doi = {10.1017/s1054204323000576}, abstract = {If computer programming languages can be used to control the movement of robots, they can therefore be used as choreographic notations. Weaving, dance, and musical forms can be taken as places of inspiration for this, bringing together patterns, computation, movement, and notation in live telematic performance involving live coding of both audience and robots.} } @article{castellsrufas2022continuousto, author = {David Castells-Rufas and Juan Borrego-Carazo and Jordi Carrabina and Jordi Naqui and Ernesto Biempica}, title = {Continuous touch gesture recognition based on RNNs for capacitive proximity sensors}, journal = {Personal and Ubiquitous Computing}, year = {2022}, volume = {26}, number = {6}, pages = {1355--1372}, doi = {10.1007/s00779-020-01472-6} } @inproceedings{meyer2016detectionthr, author = {Florian Meyer and Malte Nogalski and Wolfgang Fohl}, title = {Detection Thresholds in Audio-visual Redirected Walking}, booktitle = {13th Sound and Music Computing Conference}, year = {2016}, doi = {10.5281/zenodo.851259}, abstract = {(Abstract to follow)} } @article{kohtake2001infopointade, author = {Naohiko Kohtake and Jun Rekimoto and Yuichiro Anzai}, title = {InfoPoint: A Device that Provides a Uniform User Interface to Allow Appliances to Work Together over a Network}, journal = {Personal and Ubiquitous Computing}, year = {2001}, volume = {5}, number = {4}, pages = {264--274}, doi = {10.1007/s007790170005} } @inproceedings{garbers2006anintegrated, author = {Jörg Garbers}, title = {An Integrated MIR Programming and Testing Environment.}, booktitle = {ISMIR}, year = {2006}, doi = {10.5281/zenodo.1414864} } @article{greenberg1999usingdigital, author = {Saul Greenberg and Hideaki Kuzuoka}, title = {Using digital but physical surrogates to mediate awareness, communication and privacy in media spaces}, journal = {Personal Technologies}, year = {1999}, volume = {3}, number = {4}, pages = {182--198}, doi = {10.1007/bf01540552} } @inproceedings{nika2014planninghuma, author = {Jérôme Nika and José Echeveste and Marc Chemillier and Jean-Louis Giavitto}, title = {Planning Human-computer Improvisation}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850844}, abstract = {(Abstract to follow)} } @inproceedings{martn2019audiovisuala, author = {Ane San Martín and Johan Kildal}, title = {Audio-visual AR to Improve Awareness of Hazard Zones Around Robots}, booktitle = {Extended Abstracts of the 2019 CHI Conference on Human Factors in Computing Systems}, year = {2019}, pages = {1--6}, doi = {10.1145/3290607.3312996} } @article{frens2006arichuserint, author = {Joep Frens}, title = {A rich user interface for a digital camera}, journal = {Personal and Ubiquitous Computing}, year = {2006}, volume = {10}, number = {2-3}, pages = {177--180}, doi = {10.1007/s00779-005-0013-z} } @inproceedings{chandra2013marketbasedc, author = {Arjun Chandra and Kristian Nymoen and Arve Voldsund and Alexander Refsum Jensenius and Kyrre Glette and Jim Torresen}, title = {Market-Based Control in Interactive Music Environments}, booktitle = {Lecture Notes in Computer Science From Sounds to Music and Emotions}, year = {2013}, doi = {10.1007/978-3-642-41248-6_25} } @article{gamelin2021pointcloudav, author = {Guillaume Gamelin and Amine Chellali and Samia Cheikh and Aylen Ricca and Cedric Dumas and Samir Otmane}, title = {Point-cloud avatars to improve spatial communication in immersive collaborative virtual environments}, journal = {Personal and Ubiquitous Computing}, year = {2021}, volume = {25}, number = {3}, pages = {467--484}, doi = {10.1007/s00779-020-01431-1} } @inproceedings{teixeira2013motionrecurr, author = {Euler Teixeira and Hani Yehia and Mauricio Loureiro and Marcelo Wanderley}, title = {Motion Recurrence Analysis in Music Performances}, booktitle = {10th Sound and Music Computing Conference}, year = {2013}, doi = {10.5281/zenodo.850325}, abstract = {(Abstract to follow)} } @inproceedings{haider2016attitudereco, author = {Fasih Haider and Loredana Sundberg Cerrato and Saturnino Luz and Nick Campbell}, title = {Attitude recognition of video bloggers using audio-visual descriptors}, booktitle = {Proceedings of the Workshop on Multimodal Analyses enabling Artificial Agents in Human-Machine Interaction}, year = {2016}, pages = {38--42}, doi = {10.1145/3011263.3011270} } @inproceedings{frauenberger2005internetarch, author = {Christopher Frauenberger and Winfried Ritsch}, title = {Internet Archive of Electronic Music IAEM – internet Audio Rendering System iARS}, booktitle = {Lecture Notes in Computer Science Computer Music Modeling and Retrieval}, year = {2005}, doi = {10.1007/978-3-540-31807-1_10} } @inproceedings{chuan2008evaluatingan, author = {Ching-Hua Chuan and Elaine Chew}, title = {Evaluating and Visualizing Effectiveness of Style Emulation in Musical Accompaniment.}, booktitle = {ISMIR}, year = {2008}, doi = {10.5281/zenodo.1417095} } @inproceedings{salgian2014teachingrobo, author = {Andrea Salgian and Laurence Agina and Teresa M. Nakra}, title = {Teaching Robots to Conduct: Automatic Extraction of Conducting Information From Sheet Music}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850820}, abstract = {(Abstract to follow)} } @article{shintani2010artbaselmedi, author = {Joyce Shintani}, title = {Art | 40 | Basel: Media Art with Music}, journal = {Computer Music Journal}, year = {2010}, volume = {34}, number = {1}, pages = {97--100}, doi = {10.1162/comj.2010.34.1.97} } @article{ayerst2021areclassical, author = {Jonathan Ayerst}, title = {Are Classical Musicians Excluded from Improvisation? Cultural Hegemony and the Effects of Ideology on Musicians’ Attitudes Towards Improvisation}, journal = {Contemporary Music Review}, year = {2021}, volume = {40}, number = {4}, pages = {440--452}, doi = {10.1080/07494467.2021.2001945} } @inproceedings{christodoulou2024exploringcon, author = {Anna-Maria Christodoulou and Sagar Dutta and Olivier Lartillot and Kyrre Glette and Alexander Refum Jensenius}, title = {Exploring Convolutional Neural Networks for Multimodal Classification of Expressive Piano Performance}, booktitle = {Sound and Music Computing 2024}, year = {2024}, doi = {10.5281/zenodo.14339149}, abstract = {This paper addresses improving performance analysis by automating the recognition of expressive performance styles. We propose a multimodal fusion approach integrating audio, video, and motion data. We demonstrate the effectiveness of our approach by utilizing convolutional neural network (CNN) models. Training is done on a classical piano dataset of 211 excerpts containing audio, video, MIDI, and motion capture data. The results highlight the robustness of the CNN models; they achieve high accuracy even when trained on a limited dataset. Our study contributes to advancing the field of performance analysis by applying deep learning techniques to multimodal data.} } @inproceedings{monache2010atoolkitfore, author = {Stefano Delle Monache and Pietro Polotti and Davide Rocchesso}, title = {A toolkit for explorations in sonic interaction design}, booktitle = {Proceedings of the 5th Audio Mostly Conference: A Conference on Interaction with Sound}, year = {2010}, pages = {1--7}, doi = {10.1145/1859799.1859800} } @inproceedings{peters2009astratifieda, author = {Nils Peters and Trond Lossius and Jan Schacher and Pascal Baltazar and Charles Bascou and Timothy Place}, title = {A Stratified Approach for Sound Spatialization}, booktitle = {6th Sound and Music Computing Conference}, year = {2009}, doi = {10.5281/zenodo.849587}, abstract = {(Abstract to follow)} } @inproceedings{michon2013faustandroid, author = {Romain Michon}, title = {Faust2android: a Faust Architecture For Android}, booktitle = {DAFx}, year = {2013}, url = {https://www.dafx.de/paper-archive/2013/papers/48.dafx2013_submission_49.pdf}, abstract = {faust2android is a tool that turns a FAUST program into an Android application. Signal processing tasks as well as accessing the audio record and playback resources are done natively in C++ using the Android Native Development Toolkit (NDK). User interface and other components of the application are programmed in JAVA. The implementation as well as issues related to real-time signal processing on Android platforms are discussed. faust2android is part of a larger project whose goal is to build a full FAUST environment for Android: FAUST D ROID.} } @inproceedings{shu2026fretflowadap, author = {Xin Shu and Lei Shi and Yiran Lin and Yan Zeng and Tingting Luo and Justice Ou and Mohamad Eid and Xinhuan Shu}, title = {FretFlow: Adaptive Haptics for Rhythm and Articulation in Guitar Learning}, booktitle = {Proceedings of the 2026 CHI Conference on Human Factors in Computing Systems}, year = {2026}, pages = {1--19}, doi = {10.1145/3772318.3791540} } @article{jones2002anacoustican, author = {Evan Jones}, title = {An Acoustic Analysis of Col Legno Articulation in Iannis Xenakis's Nomos Alpha}, journal = {Computer Music Journal}, year = {2002}, volume = {26}, number = {1}, pages = {73--86}, doi = {10.1162/014892602753633551} } @article{hdl2020largescaleau, author = {Oliver Hödl and Christoph Bartmann and Fares Kayali and Christian Löw and Peter Purgathofer}, title = {Large-scale audience participation in live music using smartphones}, journal = {Journal of New Music Research}, year = {2020}, volume = {49}, number = {2}, pages = {192--207}, doi = {10.1080/09298215.2020.1722181} } @article{zvonar1991maxinteracti, author = {Richard Zvonar and Miller Puckette and David Zicarelli}, title = {Max: Interactive Graphic Programming Environment}, journal = {Leonardo Music Journal}, year = {1991}, volume = {1}, number = {1}, pages = {119}, doi = {10.2307/1513148} } @inproceedings{sikstrm2018virtualreali, author = {Erik Sikström and Michele Geronazzo and Jari Kleimola and Federico Avanzini and Amalia de Götzen and Stefania Serafin}, title = {Virtual Reality Exploration with Different Head-Related Transfer Functions}, booktitle = {15th Sound and Music Computing Conference}, year = {2018}, doi = {10.5281/zenodo.1422512}, abstract = {(Abstract to follow)} } @article{granger2015dwellinginmo, author = {Charissa Granger}, title = {Dwelling in Movement: Panorama, Tourism and Performance}, journal = {Contemporary Music Review}, year = {2015}, volume = {34}, number = {1}, pages = {54--66}, doi = {10.1080/07494467.2015.1077566} } @article{nezvanova2000theinterneta, author = {Netochka Nezvanova}, title = {The Internet, A Musical Instrument in Perpetual Flux}, journal = {Computer Music Journal}, year = {2000}, volume = {24}, number = {3}, pages = {38--41}, doi = {10.1162/014892600559434} } @inproceedings{natkin2006soundandmusi, author = {Stéphane Natkin and Cécile Le Prado}, title = {Sound and Music Design for Games and Interactive Media}, booktitle = {3rd Sound and Music Computing Conference}, year = {2006}, doi = {10.5281/zenodo.849357}, abstract = {(Abstract to follow)} } @inproceedings{wen2010performancea, author = {Zhang Wen and Zhang Tao and Zhao Liang and Zhang Hai}, title = {Performance analysis and evaluation of AVS-M audio coding}, booktitle = {2010 International Conference on Audio, Language and Image Processing}, year = {2010}, pages = {31--36}, doi = {10.1109/icalip.2010.5685024} } @article{carfoot2006acousticelec, author = {Gavin Carfoot}, title = {Acoustic, Electric and Virtual Noise: The Cultural Identity of the Guitar}, journal = {Leonardo Music Journal}, year = {2006}, volume = {16}, pages = {35--39}, doi = {10.1162/lmj.2006.16.35}, abstract = {Guitar technology underwent significant changes in the 20th century in the move from acoustic to electric instruments. In the first part of the 21st century, the guitar continues to develop through its interaction with digital technologies. Such changes in guitar technology are usually grounded in what we might call the “cultural identity” of the instrument: that is, the various ways that the guitar is used to enact, influence and challenge sociocultural and musical discourses. Often, these different uses of the guitar can be seen to reflect a conflict between the changing concepts of “noise” and “musical sound.”} } @inproceedings{mcpherson2002introducingf, author = {John R. McPherson}, title = {Introducing Feedback into an Optical Music Recogniition System.}, booktitle = {ISMIR}, year = {2002}, doi = {10.5281/zenodo.1417725} } @article{harris1996configuringh, author = {Craig Harris}, title = {Configuring hospitable space — Fantasy and fantastic media}, journal = {Contemporary Music Review}, year = {1996}, volume = {13}, number = {2}, pages = {109--135}, doi = {10.1080/07494469600640081} } @inproceedings{drossos2013gesturaluser, author = {Konstantinos Drossos and Andreas Floros and Konstantinos Koukoudis}, title = {Gestural user interface for audio multitrack real-time stereo mixing}, booktitle = {Proceedings of the 8th Audio Mostly Conference}, year = {2013}, pages = {1--6}, doi = {10.1145/2544114.2544123} } @inproceedings{chen2020neuralloopco, author = {Bo-Yu Chen and Jordan B. L. Smith and Yi-Hsuan Yang}, title = {Neural Loop Combiner: Neural Network Models for Assessing the Compatibility of Loops}, booktitle = {ISMIR}, year = {2020}, doi = {10.5281/zenodo.4245462} } @inproceedings{boulanger2006haptoaudiovi, author = {P. Boulanger and G. Wu and W. Bischof and X. Yang}, title = {Hapto-audio-visual environments for collaborative training of ophthalmic surgery over optical network}, booktitle = {2006 IEEE International Workshop on Haptic Audio Visual Environments and their Applications (HAVE 2006)}, year = {2006}, pages = {21--26}, doi = {10.1109/have.2006.283801} } @inproceedings{padova1991retineuralip, author = {via Gradenigo 6/a, I - 35131 Padova}, title = {RETI NEURALI PER IL CONTROLLO DELLE DEVIAZIONI TEMPORALI NELL'ESECUZIONE MUSICALE. C.S.c. - D.E.I.}, booktitle = {CIM 1991}, year = {1991}, abstract = {Musicians' skill has an important role in music performance. What to do with computer music performance? In this paper a connessionist approach to this problem is proposed. An hybrid system for computer music automatic performance is showed, in which two sets of symbolic and sub-symbolic rules act in cooperation. Some models of neural nets to calculate time and loudness deviations are discussed. An application of the system to performe the output of an automatic source of melodies is described. INTRODUZIONE I musicisti, a seconda del tipo di strumento, effettuano variazioni nelle intensita, nelle durate e nei timbri delle note, poiche la notazione tradizionale non e sufficientemente precisa riguardo alle intenzioni del compositore. Infatti, se la musica scritta suI pentagramma fosse interpretata seguendo alla lettera le indicazioni metronometriche, risulterebbe estremamente meccanica ed asettica all'orecchio dell'ascoltatore. Sono proprio Ie deviazioni delle durate delle note rispetto alia loro durata nominale indicata dal metronomo, a rendere un'esecuzione di un interprete musicale diversa da quella di un altro. Oltre alle durate una grande importanza nell'interpretazione e costituita anche dalle variazioni di sonorita, e quindi di pressione sonora: imrnaginiamo infatti se un pianista, ad esempio, eseguisse una sonata di Beethoven suonando tutte Ie note con la stessa intensita, l'esecuzione risulterebbe estremamente piatta. I compositori danno delle indicazioni, con una simbologia opportuna, sulle variazioni di sonorita da effettuare da parte dell'interprete, Ie quali a lora volta non sono seguite alIa lettera, cosi come Ie indicazioni metronometriche, rna sono "interpretate" secondo il gusto, la cultura e l'abilita dell'esecutore. In sostanza sono Ie variazioni metronometriche e quelle di sonoritfJ. a caratterizzare maggiormente 10 stile interpretativo e l'abilita di un esecutore rispetto ad un altro. In particolare Repp e stato il primo ad analizzare un campione statisticamente rappresentativo di registrazioni commerciali dello stesso brano (Terzo movimento della Sonata per pianoforte op.31 No.3 di Beethoven) eseguito da 19 pianisti di fama mondiale. Da tale analisi si nota che in tutti esecutori Ie durate dei quarti di ogni battuta hanno subito delle deviazioni, sia in incremento che in decremento, rispetto alle durate metronometriche nominali. II problema dell'interpretazione e cruciale nella computer music, dove l'esecuzione e lasciata al computer. Infatti l'esecuzione ottenuta facendo una traduzione letterale delle classiche indicazioni interpretative presenti negli spartiti musicali, porta ad un'esecuzione estremamente meccanica. Si presenta quindi la necessita di formalizzare I'interpretazione cosi da avere un'esecuzione pili "calda", pili "umana". Varie sono state Ie proposte. Negli anni '30 Carl Seashore e i suoi collaboratori alIa Iowa - 88 -} } @inproceedings{anache2017usingpuredat, author = {Damián Anache}, title = {Using Pure Data for Real-Time Granular Synthesis Control Through Leap Motion}, booktitle = {Lecture Notes in Computer Science Bridging People and Sound}, year = {2017}, doi = {10.1007/978-3-319-67738-5_10} } @article{cheverst1999thesupportof, author = {Keith Cheverst and Gordon Blair and Nigel Davies and Adrian Friday}, title = {The support of mobile-awareness in collaborative groupware}, journal = {Personal Technologies}, year = {1999}, volume = {3}, number = {1-2}, pages = {33--42}, doi = {10.1007/bf01305318} } @inproceedings{janin2013multiscalede, author = {David Janin and Florent Berthaut and Myriam Desainte-Catherine}, title = {Multi-scale Design of Interactive Music Systems: The libTuiles Experiment}, booktitle = {10th Sound and Music Computing Conference}, year = {2013}, doi = {10.5281/zenodo.850327}, abstract = {(Abstract to follow)} } @inproceedings{spicer2014amultiagenti, author = {Michael Spicer}, title = {A Multi-agent Interactive Composing System for Creating "Expressive" Accompaniment}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850826}, abstract = {(Abstract to follow)} } @inproceedings{chu2002userperforma, author = {Lonny L. Chu}, title = {User performance and haptic design issues for a force-feedback sound editing interface}, booktitle = {CHI '02 extended abstracts on Human factors in computer systems - CHI '02}, year = {2002}, doi = {10.1145/506468.506473} } @inproceedings{kern2020theinfluence, author = {Angelika C. Kern and Wolfgang Ellermeier and Lina Jost}, title = {The influence of mood induction by music or a soundscape on presence and emotions in a virtual reality park scenario}, booktitle = {Proceedings of the 15th International Audio Mostly Conference}, year = {2020}, pages = {233--236}, doi = {10.1145/3411109.3411129} } @inproceedings{pauws2005userevaluati, author = {Steffen Pauws and Sander van de Wijdeven}, title = {User Evaluation of a New Interactive Playlist Generation Concept.}, booktitle = {ISMIR}, year = {2005}, doi = {10.5281/zenodo.1415180} } @article{volpe2005multisensory, author = {Gualtiero Volpe}, title = {Multisensory Integrated Expressive Environments: Toward a Paradigm for Multimodal and Distributed Environments for the Performing Arts and New Media}, journal = {Journal of New Music Research}, year = {2005}, volume = {34}, number = {1}, pages = {23--37}, doi = {10.1080/1080/09298210500123911} } @inproceedings{shi2009noterecognit, author = {Lixin Shi and Junxing Zhang and Min Li}, title = {Note Recognition of Polyphonic Music Based on Timbre Model}, booktitle = {2009 International Conference on Intelligent Human-Machine Systems and Cybernetics}, year = {2009}, pages = {174--177}, doi = {10.1109/ihmsc.2009.52} } @article{lehikoinen2002accessingcon, author = {Juha Lehikoinen and Riku Suomela}, title = {Accessing Context in Wearable Computers}, journal = {Personal and Ubiquitous Computing}, year = {2002}, volume = {6}, number = {1}, pages = {64--74}, doi = {10.1007/s007790200006} } @inproceedings{shi2025versaaversat, author = {Jiatong Shi and Hye-jin Shim and Jinchuan Tian and Siddhant Arora and Haibin Wu and Darius Petermann and Jia Qi Yip and You Zhang and Yuxun Tang and Wangyou Zhang and Dareen Safar Alharthi and Yichen Huang and Koichi Saito and Jionghao Han and Yiwen Zhao and Chris Donahue and Shinji Watanabe}, title = {VERSA: A Versatile Evaluation Toolkit for Speech, Audio, and Music}, booktitle = {Proceedings of the 2025 Conference of the Nations of the Americas Chapter of the Association for Computational Linguistics: Human Language Technologies (System Demonstrations)}, year = {2025}, pages = {191--209}, doi = {10.18653/v1/2025.naacl-demo.19} } @inproceedings{krekovi2015soundmyvisio, author = {Miranda Kreković and Franco Grbac and Gordan Kreković}, title = {Sound My Vision: Real-time Video Analysis on Mobile Platforms for Controlling Multimedia Performances}, booktitle = {12th Sound and Music Computing Conference}, year = {2015}, doi = {10.5281/zenodo.851081}, abstract = {(Abstract to follow)} } @inproceedings{tubb2015anevaluation, author = {Robert Tubb and Simon Dixon}, title = {An Evaluation of Multidimensional Controllers for Sound Design Tasks}, booktitle = {Proceedings of the 33rd Annual ACM Conference on Human Factors in Computing Systems}, year = {2015}, pages = {47--56}, doi = {10.1145/2702123.2702499} } @inproceedings{daud2002processusetp, author = {Sylvain Daudé and Laurence Nigay}, title = {Processus et paramètres de conception de la sonification}, booktitle = {Proceedings of the 14th French-speaking conference on Human-computer interaction (Conf?rence Francophone sur l'Interaction Homme-Machine) - IHM '02}, year = {2002}, pages = {255--258}, doi = {10.1145/777005.777048} } @inproceedings{hdl2014experimencec, author = {Oliver Hödl and Geraldine Fitzpatrick and Simon Holland}, title = {Experimence: Considerations for Composing a Rock Song for Interactive Audience Participation}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850495}, abstract = {(Abstract to follow)} } @inproceedings{kuzmin2024localityandd, author = {Iurii Kuzmin and Zhengyang Ma and Raul Masu}, title = {Locality and Digital Musical Instruments Design: A User Study}, booktitle = {Audio Mostly 2024 - Explorations in Sonic Cultures}, year = {2024}, pages = {468--478}, doi = {10.1145/3678299.3678347} } @inproceedings{r2021zugzwangches, author = {Francesco Dal Rì and Raul Masu}, title = {Zugzwang: Chess Representation Combining Sonification and Interactive Performance}, booktitle = {Audio Mostly 2021}, year = {2021}, pages = {89--92}, doi = {10.1145/3478384.3478394} } @article{dusman2015chayaczernow, author = {Linda Dusman}, title = {Chaya Czernowin: Conversations and Interludes}, journal = {Contemporary Music Review}, year = {2015}, volume = {34}, number = {5-6}, pages = {464--477}, doi = {10.1080/07494467.2016.1150478} } @inproceedings{comp1998arealtimephy, author = {Centro di Sonologia Comp. and Uuiversitil di Padova}, title = {A REAL-TIME PHYSICAL MODEL OF THE PIANO Gianpaolo Borin Davide Rocchesso Francesco Scalcon}, booktitle = {CIM 1998}, year = {1998}, abstract = {The implemen.tation of a cvrnplete physical mdel of the piano is demonstrated. I t i,ncludes 88 lossy and dispersive strings (wit11 fill pol?lphony), llammers and dampers, and a solmdboard loatl/mdiation.} } @inproceedings{franco2017prynthaframe, author = {Ivan Franco and Marcelo M. Wanderley}, title = {Prynth: A Framework for Self-contained Digital Music Instruments}, booktitle = {Lecture Notes in Computer Science Bridging People and Sound}, year = {2017}, doi = {10.1007/978-3-319-67738-5_22} } @inproceedings{serafin2005thecroakerde, author = {Stefania Serafin and Amalia de Gotzen}, title = {The Croaker: Design and Evaluation of a New Multimodal Interface}, booktitle = {2nd Sound and Music Computing Conference}, year = {2005}, doi = {10.5281/zenodo.849313}, abstract = {(Abstract to follow)} } @inproceedings{grtner2010singingrapcl, author = {Daniel Gärtner}, title = {Singing / Rap Classification of Isolated Vocal Tracks.}, booktitle = {ISMIR}, year = {2010}, doi = {10.5281/zenodo.1417089} } @inproceedings{shibuya2007towarddevelo, author = {Koji Shibuya and Shoji Matsuda and Akira Takahara}, title = {Toward Developing a Violin Playing Robot - Bowing by Anthropomorphic Robot Arm and Sound Analysis}, booktitle = {RO-MAN 2007 - The 16th IEEE International Symposium on Robot and Human Interactive Communication}, year = {2007}, pages = {763--768}, doi = {10.1109/roman.2007.4415188} } @inproceedings{michaud2023smartbeltawe, author = {Simon Michaud and Benjamin Moffett and Ana Tapia Rousiouk and Victoria Duda and François Grondin}, title = {SmartBelt: A Wearable Microphone Array for Sound Source Localization with Haptic Feedback}, booktitle = {2023 32nd IEEE International Conference on Robot and Human Interactive Communication (RO-MAN)}, year = {2023}, pages = {1950--1955}, doi = {10.1109/ro-man57019.2023.10309323} } @inproceedings{mckay2023fromjsymboli, author = {Cory McKay}, title = {From jSymbolic 2 to 3: More Musical Features}, booktitle = {The 16th International Symposium on Computer Music Multidisciplinary Research}, year = {2023}, doi = {10.5281/zenodo.10113855} } @inproceedings{gu2012modelingpian, author = {Yupeng Gu and Christopher Raphael}, title = {Modeling Piano Interpretation Using Switching Kalman Filter.}, booktitle = {ISMIR}, year = {2012}, doi = {10.5281/zenodo.1415028} } @inproceedings{rasa2026sonicslateaw, author = {Ismael Rasa and Burcu Nimet Dumlu and Carlos García Fernández and Takatoshi Yoshida and Kouta Minamizawa}, title = {SonicSlate: A Walkable Flat-Panel Speaker Interface for Embodied Sound Interaction}, booktitle = {Proceedings of the Twentieth International Conference on Tangible, Embedded, and Embodied Interaction}, year = {2026}, pages = {1--13}, doi = {10.1145/3731459.3773319} } @inproceedings{zhang2026interactivec, author = {YanXiang Zhang and YiWen Li}, title = {InteractiveChordScape: Democratizing Musical Understanding through Embodied Spatial Mixing in VR}, booktitle = {Proceedings of the 2026 Conference on Creativity and Cognition}, year = {2026}, pages = {934--943}, doi = {10.1145/3803784.3807560} } @inproceedings{grfica2007othereminvir, author = {Laboratório de Computação & Música e Laboratório de Computação Gráfica and Caixa Postal 15.064 – 91.501-970 – Porto Alegre – RS – Brasil}, title = {O Theremin Virtual: Usando Dispositivos de Realidade Virtual em Experimentos Musicais Marcelo Soares Pimenta, Evandro Manara Miletto, Carlos Augusto Dietrich, Luciana Nedel}, booktitle = {SBCM 2007}, year = {2007}, abstract = {This paper describes the design, implementation and experimental tests of the Virtual Theremin, a device for musical expression. In this work we propose the assembling of the Virtual Theremin using a data glove and a magnetic motion tracker for the user interaction. The sound generation is provided integrating these devices with a programming environment (MaxMSP) The features of this project and the consequences of the use of a greater quantity of degrees of freedom are briefly discussed.} } @article{derrett2004heckelslawco, author = {Nigel Derrett}, title = {Heckel?s law: conclusions from the user interface design of a music appliance?the bassoon}, journal = {Personal and Ubiquitous Computing}, year = {2004}, volume = {8}, number = {3-4}, doi = {10.1007/s00779-004-0279-6} } @article{offermans2014userinteract, author = {S. A. M. Offermans and H. A. van Essen and J. H. Eggen}, title = {User interaction with everyday lighting systems}, journal = {Personal and Ubiquitous Computing}, year = {2014}, volume = {18}, number = {8}, pages = {2035--2055}, doi = {10.1007/s00779-014-0759-2} } @inproceedings{orlarey2009parallelizat, author = {Yann Orlarey and Dominique Fober and Stephane Letz}, title = {Parallelization of Audio Applications With Faust}, booktitle = {6th Sound and Music Computing Conference}, year = {2009}, doi = {10.5281/zenodo.849655}, abstract = {(Abstract to follow)} } @inproceedings{merlier2006vocabulaired, author = {Bertrand Merlier}, title = {Vocabulaire de l'Espace et de la Spatialisation des Musiques Électroacoustiques: Présentation, Problématique et Taxinomie De l'Espace}, booktitle = {3rd Sound and Music Computing Conference}, year = {2006}, doi = {10.5281/zenodo.849367}, abstract = {(Abstract to follow)} } @article{berthaut2020dinteraction, author = {Florent Berthaut}, title = {3D interaction techniques for musical expression}, journal = {Journal of New Music Research}, year = {2020}, volume = {49}, number = {1}, pages = {60--72}, doi = {10.1080/09298215.2019.1706584} } @article{bessell2005theinstrumen, author = {David Bessell}, title = {The Instrumental Remodeling of Elements of Musical Electronics in Moon Veiled by Clouds}, journal = {Computer Music Journal}, year = {2005}, volume = {29}, number = {1}, pages = {21--33}, doi = {10.1162/comj.2005.29.1.21} } @article{kretz2002composingsou, author = {Johannes Kretz}, title = {Composing Sounds: Developing Tools for Refined Control of Timbre in Music}, journal = {Journal of New Music Research}, year = {2002}, volume = {31}, number = {3}, pages = {257--267}, doi = {10.1076/jnmr.31.3.257.14185} } @inproceedings{jylh2009ahandclapint, author = {Antti Jylhä and Cumhur Erkut}, title = {A hand clap interface for sonic interaction with the computer}, booktitle = {CHI '09 Extended Abstracts on Human Factors in Computing Systems}, year = {2009}, pages = {3175--3180}, doi = {10.1145/1520340.1520452} } @inproceedings{lee2013realtimeperc, author = {Jaebong Lee and Seungmoon Choi}, title = {Real-time perception-level translation from audio signals to vibrotactile effects}, booktitle = {Proceedings of the SIGCHI Conference on Human Factors in Computing Systems}, year = {2013}, pages = {2567--2576}, doi = {10.1145/2470654.2481354} } @article{vougioukalou2019wellbeingand, author = {Sofia Vougioukalou and Rosie Dow and Laura Bradshaw and Tracy Pallant}, title = {Wellbeing and Integration through Community Music: The Role of Improvisation in a Music Group of Refugees, Asylum Seekers and Local Community Members}, journal = {Contemporary Music Review}, year = {2019}, volume = {38}, number = {5}, pages = {533--548}, doi = {10.1080/07494467.2019.1684075} } @inproceedings{saitou2007speechtosing, author = {Takeshi Saitou and Masataka Goto and Masashi Unoki and Masato Akagi}, title = {Speech-to-Singing Synthesis: Converting Speaking Voices to Singing Voices by Controlling Acoustic Features Unique to Singing Voices}, booktitle = {2007 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics}, year = {2007}, pages = {215--218}, doi = {10.1109/aspaa.2007.4393001} } @inproceedings{jia2019theeffectofa, author = {Weixian Jia and Li Shi}, title = {The Effect of Auditory Stimuli in Audio-Visual Two-Source Integration}, booktitle = {2019 11th International Conference on Intelligent Human-Machine Systems and Cybernetics (IHMSC)}, year = {2019}, pages = {145--148}, doi = {10.1109/ihmsc.2019.00041} } @article{roberts1993hotzmiditran, author = {Arthur Roberts}, title = {Hotz MIDI Translator for Atari Computers}, journal = {Computer Music Journal}, year = {1993}, volume = {17}, number = {1}, pages = {83}, doi = {10.2307/3680581} } @inproceedings{masuyama2025physicsinfor, author = {Yoshiki Masuyama and François G. Germain and Gordon Wichern and Christopher Ick and Jonathan Le Roux}, title = {Physics-Informed Direction-Aware Neural Acoustic Fields}, booktitle = {2025 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA)}, year = {2025}, pages = {1--5}, doi = {10.1109/waspaa66052.2025.11230918} } @inproceedings{sdes2003visualisatio, author = {Anne Sèdes and Benoît Courribet and Jean-Baptiste Thiébaut}, title = {Visualisation du sonore avec le logiciel egosound : work in progress}, booktitle = {Journées d'Informatique Musicale}, year = {2003}, url = {https://hal.science/hal-02994205v1} } @inproceedings{turchet2023immersivenet, author = {Luca Turchet and Matteo Tomasetti}, title = {Immersive networked music performance systems: identifying latency factors}, booktitle = {2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2023}, pages = {1--6}, doi = {10.1109/i3da57090.2023.10289169} } @inproceedings{papiotis2010alyricsmatch, author = {Panagiotis Papiotis and Hendrik Purwins}, title = {A Lyrics-matching QBH System for Interactive Environments}, booktitle = {7th Sound and Music Computing Conference}, year = {2010}, doi = {10.5281/zenodo.849703}, abstract = {(Abstract to follow)} } @article{martin2017percussionis, author = {Charles P. Martin}, title = {Percussionist-Centred Design for Touchscreen Digital Musical Instruments}, journal = {Contemporary Music Review}, year = {2017}, volume = {36}, number = {1-2}, pages = {64--85}, doi = {10.1080/07494467.2017.1370794} } @inproceedings{maccallum2014newtoolsfora, author = {John MacCallum and Adrian Freed and David Wessel}, title = {New Tools for Aspect-oriented Programming in Music and Media Programming Environments}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850929}, abstract = {(Abstract to follow)} } @inproceedings{hanna2002realtimenois, author = {Pierre Hanna and Anthony Beurivé and Myriam Desainte-Catherine}, title = {Real-Time Noise Synthesis with Control of the Spectral Density}, booktitle = {DAFx}, year = {2002}, url = {https://www.dafx.de/paper-archive/2002/DAFX02_Hanna_Beurive_Desainte-Catherine_noise_synthesis.pdf}, abstract = {We propose in this paper a spectral synthesis model to generate noisy sounds with independent control parameters for spectral density and spectral envelope. Algorithms defining in a efficient way these spectral properties from the statistical parameters of the model are presented in details. Real-time implementation is composed of many methods which can be sequenced.} } @article{thibault1997experiencesi, author = {Bill Thibault and Scot Gresham-Lancaster}, title = {Experiences in Digital Terrain: Using Digital Elevation Models for Music and Interactive Multimedia}, journal = {Leonardo Music Journal}, year = {1997}, volume = {7}, pages = {11}, doi = {10.2307/1513240} } @inproceedings{song2022combiningspa, author = {Qi Song and Naiming Yao and Zihao Feng and Hui Chen and Hongan Wang}, title = {Combining Spatial and Non-Spatial Sonification for Sound Localization in Virtual Environment: a Subjective Study}, booktitle = {CHI Conference on Human Factors in Computing Systems Extended Abstracts}, year = {2022}, pages = {1--7}, doi = {10.1145/3491101.3519853} } @article{barrett2011thesilentnet, author = {G. Douglas Barrett}, title = {The Silent Network—The Music of Wandelweiser}, journal = {Contemporary Music Review}, year = {2011}, volume = {30}, number = {6}, pages = {449--470}, doi = {10.1080/07494467.2011.676895} } @inproceedings{bianchi2011obfuscatinga, author = {Andrea Bianchi and Ian Oakley and Dong-Soo Kwon}, title = {Obfuscating authentication through haptics, sound and light}, booktitle = {CHI '11 Extended Abstracts on Human Factors in Computing Systems}, year = {2011}, pages = {1105--1110}, doi = {10.1145/1979742.1979709} } @inproceedings{heinrichs2012ahybridkeybo, author = {Christian Heinrichs and Andrew McPherson}, title = {A Hybrid Keyboard-Guitar Interface Using Capacitive Touch Sensing and Physical Modeling}, booktitle = {9th Sound and Music Computing Conference}, year = {2012}, doi = {10.5281/zenodo.850032}, abstract = {(Abstract to follow)} } @article{burtner2003regenerative, author = {Matthew Burtner}, title = {Regenerative Feedback in the Medium of Radio: Study 1.0 (FM) for Radio Transceiver}, journal = {Leonardo Music Journal}, year = {2003}, volume = {13}, pages = {39--42}, doi = {10.1162/096112104322750764}, abstract = {The author discusses compositional applications of feedback in the medium of radio as a means of exploring the nature of transmission and reception. His Studies for Radio Transceiver are presented here along with a detailed discussion of Study 1.0 (FM). This composition juxtaposes the historical and technical use of feedback in radio with audio signal recursion. Regenerative feedback is used to redefine the compositional capabilities of the medium.} } @inproceedings{kegltourneix2026expressivemu, author = {Noémie Kegl--Tourneix and Joseph Larralde and Juliette Chabassier and Myriam Desainte-Catherine}, title = {Expressive Musical Performance Controlled by Vocal Gestures}, booktitle = {Journées d'Informatique Musicale}, year = {2026}, url = {https://hal.science/hal-05663295v1} } @article{harley1995soundpressur, author = {James Harley and David Mott and John Celona and Bruno Degazio and James Tenney}, title = {Sound Pressure: Pressure Points}, journal = {Computer Music Journal}, year = {1995}, volume = {19}, number = {1}, pages = {112}, doi = {10.2307/3681310} } @article{traub2005soundingthen, author = {Peter Traub}, title = {Sounding the net: Recent sonic works for the internet and computer networks}, journal = {Contemporary Music Review}, year = {2005}, volume = {24}, number = {6}, pages = {459--481}, doi = {10.1080/07494460500296136} } @inproceedings{kokkinidis2016errorproovin, author = {K. Kokkinidis and A. Stergiaki and A. Tsagaris}, title = {Error prooving and sensorimotor feedback for singing voice}, booktitle = {Proceedings of the 3rd International Symposium on Movement and Computing}, year = {2016}, pages = {1--4}, doi = {10.1145/2948910.2948952} } @inproceedings{rizo2006apatternreco, author = {David Rizo and Pedro J. Ponce de León and Carlos Pérez-Sancho and Antonio Pertusa and José Manuel Iñesta Quereda}, title = {A Pattern Recognition Approach for Melody Track Selection in MIDI Files.}, booktitle = {ISMIR}, year = {2006}, doi = {10.5281/zenodo.1417419} } @article{menezes1997tobeandnotto, author = {Flo Menezes}, title = {To Be and Not to Be: Aspects of the Interaction between Instrumental and Electronic Compositional Methods}, journal = {Leonardo Music Journal}, year = {1997}, volume = {7}, pages = {3}, doi = {10.2307/1513239} } @inproceedings{sunder2023personalized, author = {Kaushik Sunder and Saarish Kareer and Scott Murakami and Axel Borgmo}, title = {Personalized Spatial Audio Tools for Immersive Audio Production and Rendering}, booktitle = {2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2023}, pages = {1--10}, doi = {10.1109/i3da57090.2023.10289506} } @inproceedings{wu2026slimeuiexplo, author = {Yuan-Shao Wu and Ya-Chieh Chang and Chun-Cheng Hsu}, title = {SlimeUI: Exploring Non-Newtonian Fluid as a Deformable Interface for Digital Musical Expression}, booktitle = {Companion Publication of the 2026 ACM Designing Interactive Systems Conference}, year = {2026}, pages = {595--598}, doi = {10.1145/3802974.3808030} } @inproceedings{loscos1998smsperformer, author = {Alex Loscos and Eduard Resina}, title = {SMSPerformer: A real-time synthesis interface for SMS}, booktitle = {DAFx}, year = {1998}, url = {https://www.dafx.de/paper-archive/1998/LOS64.PS.pdf}, abstract = {SmsPerformer is a graphical interface for the real-time SMS synthesis engine. The application works from analyzed sounds and it has been designed to be used both as a composition and a performance tool. The program includes programmable time-varying transformations, MIDI control for the synthesis parameters, and performance loading and saving options.} } @inproceedings{luan2019thedevelopme, author = {Gonçalves, Luan and Schiavoni, Flávio Luiz}, title = {The development of libmosaic-sound: a library for sound design and an extension for the Mosaicode Programming Environment}, booktitle = {SBCM}, year = {2019}, url = {https://sol.sbc.org.br/index.php/sbcm/article/view/10429}, abstract = {Music has been influenced by digital technology over the last few decades. With the computer, the musical composition could trespass the use of acoustic instruments demanding to musicians and composers a sort of computer programming skills for the development of musical applications. In order to simplify the development of musical applications, several tools and musical programming languages arose bringing some facilities to lay-musicians on computer programming to use the computer to make music. This work presents the development of a Visual Programming Language (VPL) for audio applications in the Mosaicode programming environment, simplifying sound design and making the synthesis and manipulation of audio more accessible to digital artists. It is also presented the implementation of libmosaic-sound library for the specific domain of Music Computing, which supported the VPL development.}, note = {Original title: The development of libmosaic-sound: a library for sound design and an extension for the Mosaicode Programming Environment} } @inproceedings{liikkanen2012musicinterac, author = {Lassi Liikkanen and Christopher Amos and Sally Jo Cunningham and J. Stephen Downie and David McDonald}, title = {Music interaction research in HCI}, booktitle = {CHI '12 Extended Abstracts on Human Factors in Computing Systems}, year = {2012}, pages = {1119--1122}, doi = {10.1145/2212776.2212401} } @inproceedings{franceschini2010towardsaprac, author = {Andrea Franceschini}, title = {Towards a Practical Approach to Music Theory on the Reactable}, booktitle = {7th Sound and Music Computing Conference}, year = {2010}, doi = {10.5281/zenodo.849847}, abstract = {(Abstract to follow)} } @inproceedings{hirai2015automaticsin, author = {Tatsunori Hirai and Yukara Ikemiya and Kazuyoshi Yoshii and Tomoyasu Nakano and Masataka Goto and Shigeo Morishima}, title = {Automatic Singing Voice to Music Video Generation via Mashup of Singing Video Clips}, booktitle = {12th Sound and Music Computing Conference}, year = {2015}, doi = {10.5281/zenodo.851033}, abstract = {(Abstract to follow)} } @inproceedings{burns2017learningtopl, author = {Anne-Marie Burns and Sébastien Bel and Caroline Traube}, title = {Learning to Play the Guitar at the Age of Interactive and Collaborative Web Technologies}, booktitle = {14th Sound and Music Computing Conference}, year = {2017}, doi = {10.5281/zenodo.1401887}, abstract = {(Abstract to follow)} } @inproceedings{favilla2013touchscreene, author = {Stu Favilla and Sonja Pedell}, title = {Touch screen ensemble music}, booktitle = {Proceedings of the 25th Australian Computer-Human Interaction Conference: Augmentation, Application, Innovation, Collaboration}, year = {2013}, pages = {481--484}, doi = {10.1145/2541016.2541088} } @article{bresin2000articulation, author = {Roberto Bresin and Giovanni Umberto Battel}, title = {Articulation Strategies in Expressive Piano Performance Analysis of Legato, Staccato, and Repeated Notes in Performances of the Andante Movement of Mozart?s Sonata in G Major (K 545)}, journal = {Journal of New Music Research}, year = {2000}, volume = {29}, number = {3}, pages = {211--224}, doi = {10.1076/jnmr.29.3.211.3092} } @article{schrmer2022theextension, author = {Anna Schürmer}, title = {The Extensions of Opera: Radio, Internet, and Immersion}, journal = {Contemporary Music Review}, year = {2022}, volume = {41}, number = {4}, pages = {401--413}, doi = {10.1080/07494467.2022.2087390} } @inproceedings{snchez2005blindlearner, author = {Jaime Sánchez and Fernando Aguayo}, title = {Blind learners programming through audio}, booktitle = {CHI '05 Extended Abstracts on Human Factors in Computing Systems}, year = {2005}, pages = {1769--1772}, doi = {10.1145/1056808.1057018} } @inproceedings{secoli2009usingsoundfe, author = {Riccardo Secoli and Giulio Rosati and David J. Reinkensmeyer}, title = {Using Sound feedback to counteract visual distractor during robot-assisted movement training}, booktitle = {2009 IEEE International Workshop on Haptic Audio visual Environments and Games}, year = {2009}, pages = {135--140}, doi = {10.1109/have.2009.5356119} } @article{pope1992theinterimdy, author = {Stephen Travis Pope}, title = {The Interim DynaPiano: An Integrated Computer Tool and Instrument for Composers}, journal = {Computer Music Journal}, year = {1992}, volume = {16}, number = {3}, pages = {73}, doi = {10.2307/3680852} } @article{yeh2008numericalmet, author = {David T. Yeh and Jonathan S. Abel and Andrei Vladimirescu and Julius O. Smith}, title = {Numerical Methods for Simulation of Guitar Distortion Circuits}, journal = {Computer Music Journal}, year = {2008}, volume = {32}, number = {2}, pages = {23--42}, doi = {10.1162/comj.2008.32.2.23} } @inproceedings{pohl2010dancepattern, author = {Henning Pohl and Aristotelis Hadjakos}, title = {Dance Pattern Recognition Using Dynamic Time Warping}, booktitle = {7th Sound and Music Computing Conference}, year = {2010}, doi = {10.5281/zenodo.849749}, abstract = {(Abstract to follow)} } @article{brewster2002overcomingth, author = {Stephen Brewster}, title = {Overcoming the Lack of Screen Space on Mobile Computers}, journal = {Personal and Ubiquitous Computing}, year = {2002}, volume = {6}, number = {3}, pages = {188--205}, doi = {10.1007/s007790200019} } @article{dean2006themirageofr, author = {Roger T. Dean and Mitchell Whitelaw and Hazel Smith and David Worrall}, title = {The mirage of real-time algorithmic synaesthesia: Some compositional mechanisms and research agendas in computer music and sonification}, journal = {Contemporary Music Review}, year = {2006}, volume = {25}, number = {4}, pages = {311--326}, doi = {10.1080/07494460600760981} } @inproceedings{moschos2016fonaskeinani, author = {Fotios Moschos and Anastasia Georgaki and Georgios Kouroupetroglou}, title = {FONASKEIN: An Interactive Application Software for the Practice of the Singing Voice}, booktitle = {13th Sound and Music Computing Conference}, year = {2016}, doi = {10.5281/zenodo.851271}, abstract = {(Abstract to follow)} } @article{hayden2013towardsmusic, author = {Sam Hayden and Mieko Kanno}, title = {Towards Musical Interaction: Sam Hayden's Compositions for E-Violin and Computer}, journal = {Contemporary Music Review}, year = {2013}, volume = {32}, number = {5}, pages = {485--498}, doi = {10.1080/07494467.2013.849876} } @inproceedings{graham2019composingspa, author = {Thomas J. 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Variable perspective embodied telepresence for crowdsourcing robot movements}, journal = {Personal and Ubiquitous Computing}, year = {2023}, volume = {27}, number = {2}, pages = {299--315}, doi = {10.1007/s00779-022-01684-y} } @inproceedings{hashimoto2006interfacedev, author = {Shuji Hashimoto}, title = {Interface Devices and Software Tools for Expressive Music Creation}, booktitle = {ROMAN 2006 - The 15th IEEE International Symposium on Robot and Human Interactive Communication}, year = {2006}, pages = {704--709}, doi = {10.1109/roman.2006.314483} } @inproceedings{heckmann2009teachingahum, author = {Martin Heckmann and Holger Brandl and Jens Schmuedderich and Xavier Domont and Bram Bolder and Inna Mikhailova and Herbert Janssen and Michael Gienger and Achim Bendig and Tobias Rodemann and Mark Dunn and Frank Joublin and Christian Goerick}, title = {Teaching a humanoid robot: Headset-free speech interaction for audio-visual association learning}, booktitle = {RO-MAN 2009 - The 18th IEEE International Symposium on Robot and Human Interactive Communication}, year = {2009}, pages = {422--427}, doi = {10.1109/roman.2009.5326338} } @inproceedings{mattek2011crossmodalae, author = {Alison Mattek and Michael A. Casey}, title = {Cross-Modal Aesthetics from A Feature Extraction Perspective: A Pilot Study.}, booktitle = {ISMIR}, year = {2011}, doi = {10.5281/zenodo.1414906} } @inproceedings{naveda2016musicalmeter, author = {Luiz Naveda and Isabel C. Martínez and Javier Damesón and Alejandro Pereira Ghiena and Romina Herrera and Manuel Alejandro Ordás}, title = {Musical Meter, Rhythm and the Moving Body: Designing Methods for the Analysis of Unconstrained Body Movements}, booktitle = {Lecture Notes in Computer Science Music, Mind, and Embodiment}, year = {2016}, doi = {10.1007/978-3-319-46282-0_3} } @inproceedings{tang2026visualisingp, author = {Jingjing Tang and Shinichi Furuya and Hayato Nishioka and Momoko Shioki and Geraint A. Wiggins and George Fazekas and Vincent K.M. Cheung}, title = {Visualising Pianists' Touch: Transcribing Expressive Piano Performance from Audio to Piano Key Motion}, booktitle = {Proceedings of the 2026 CHI Conference on Human Factors in Computing Systems}, year = {2026}, pages = {1--11}, doi = {10.1145/3772318.3791621} } @article{eriksson2007movementbase, author = {Eva Eriksson and Thomas Riisgaard Hansen and Andreas Lykke-Olesen}, title = {Movement-based interaction in camera spaces: a conceptual framework}, journal = {Personal and Ubiquitous Computing}, year = {2007}, volume = {11}, number = {8}, pages = {621--632}, doi = {10.1007/s00779-006-0134-z} } @article{ross2007thecaseofscu, author = {Philip Ross and David V. Keyson}, title = {The case of sculpting atmospheres: towards design principles for expressive tangible interaction in control of ambient systems}, journal = {Personal and Ubiquitous Computing}, year = {2007}, volume = {11}, number = {2}, pages = {69--79}, doi = {10.1007/s00779-005-0062-3} } @inproceedings{rowland2013colocatedsur, author = {Jess Rowland and Adrian Freed}, title = {Colocated surface sound interaction}, booktitle = {CHI '13 Extended Abstracts on Human Factors in Computing Systems}, year = {2013}, pages = {3047--3050}, doi = {10.1145/2468356.2479607} } @inproceedings{kankaanp2024lemurloungel, author = {Vilma Kankaanpää and Fay E Clark and Ilyena Hirskyj-Douglas}, title = {LemurLounge: Lemurs' Individual-Level, Group, and Cross-Species Use of an Interactive Audio Device in Zoos}, booktitle = {Proceedings of the CHI Conference on Human Factors in Computing Systems}, year = {2024}, pages = {1--14}, doi = {10.1145/3613904.3641888} } @article{lepoulin1983rhythmsforco, author = {Edward LePoulin and Joel Chadabe}, title = {Rhythms for Computer and Percussion}, journal = {Computer Music Journal}, year = {1983}, volume = {7}, number = {3}, pages = {41}, doi = {10.2307/3679598} } @inproceedings{pinsenschaum2016evaluatingge, author = {Richard Pinsenschaum and Flaithri Neff}, title = {Evaluating Gesture Characteristics When Using a Bluetooth Handheld Music Controller}, booktitle = {Proceedings of the Audio Mostly 2016}, year = {2016}, pages = {209--214}, doi = {10.1145/2986416.2986443} } @inproceedings{terhardt1982impactofcomp, author = {Ernst Terhardt}, title = {Impact of Computers on Music}, booktitle = {Music, Mind, and Brain}, year = {1982}, doi = {10.1007/978-1-4684-8917-0_18} } @inproceedings{karam2009modellingper, author = {Maria Karam and Gabe Nespoli and Frank Russo and Deborah I. Fels}, title = {Modelling Perceptual Elements of Music in a Vibrotactile Display for Deaf Users: A Field Study}, booktitle = {2009 Second International Conferences on Advances in Computer-Human Interactions}, year = {2009}, pages = {249--254}, doi = {10.1109/achi.2009.64} } @article{aramaki2001resynthesiso, author = {M. Aramaki and J. Bensa and L. Daudet and Ph. Guillemain and R. Kronland-Martinet}, title = {Resynthesis of Coupled Piano String Vibrations Based on Physical Modeling}, journal = {Journal of New Music Research}, year = {2001}, volume = {30}, number = {3}, pages = {213--226}, doi = {10.1076/jnmr.30.3.213.7472} } @article{casey2005acousticlexe, author = {Michael A. Casey}, title = {Acoustic lexemes for organizing internet audio}, journal = {Contemporary Music Review}, year = {2005}, volume = {24}, number = {6}, pages = {489--508}, doi = {10.1080/07494460500296169} } @inproceedings{henry2004physicalmode, author = {Cyrille Henry}, title = {Physical Modeling for Pure Data (pmpd) and Real Time Interaction With an Audio Synthesis}, booktitle = {1st Sound and Music Computing Conference}, year = {2004}, doi = {10.5281/zenodo.849205}, abstract = {(Abstract to follow)} } @article{ducasse2003aphysicalmod, author = {Eric Ducasse}, title = {A Physical Model of a Single-Reed Wind Instrument, Including Actions of the Player}, journal = {Computer Music Journal}, year = {2003}, volume = {27}, number = {1}, pages = {59--70}, doi = {10.1162/01489260360613344} } @inproceedings{zacharakis2011aninvestigat, author = {Asteris I. Zacharakis and Konstantinos Pastiadis and Georgios Papadelis and Joshua D. Reiss}, title = {An Investigation of Musical Timbre: Uncovering Salient Semantic Descriptors and Perceptual Dimensions.}, booktitle = {ISMIR}, year = {2011}, doi = {10.5281/zenodo.1414964} } @inproceedings{tan2022multimodalne, author = {Qianchao Tan}, title = {Multimodal Network with Cross-Modal Attention for Audio-Visual Event Localization}, booktitle = {Proceedings of the 3rd International Workshop on Human-Centric Multimedia Analysis}, year = {2022}, pages = {71--78}, doi = {10.1145/3552458.3556450} } @article{chittaro2002evaluatingin, author = {Luca Chittaro and Paolo Dal Cin}, title = {Evaluating Interface Design Choices on WAP Phones: Navigation and Selection}, journal = {Personal and Ubiquitous Computing}, year = {2002}, volume = {6}, number = {4}, pages = {237--244}, doi = {10.1007/s007790200023} } @article{kolias2010designandimp, author = {Constantinos Kolias and Vassilis Kolias and Ioannis Anagnostopoulos and Georgios Kambourakis and Eleftherios Kayafas}, title = {Design and implementation of a VoiceXML-driven wiki application for assistive environments on the web}, journal = {Personal and Ubiquitous Computing}, year = {2010}, volume = {14}, number = {6}, pages = {527--539}, doi = {10.1007/s00779-009-0274-z} } @inproceedings{papadaki2023isoxdaudiogr, author = {Maria Papadaki and Don Brutzman and Eftychia Lakka and Richard Puk and Georgios Daskalakis and Athanasios G. Malamos}, title = {ISO X3D 4.0 Audio Graph for web3D applications. Latest trends in declarative 3d sound for the web}, booktitle = {2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2023}, pages = {1--6}, doi = {10.1109/i3da57090.2023.10289408} } @inproceedings{beller2011gesturalcont, author = {Gregory Beller}, title = {Gestural Control of Real-time Speech Synthesis in Luna Park}, booktitle = {8th Sound and Music Computing Conference}, year = {2011}, doi = {10.5281/zenodo.849937}, abstract = {(Abstract to follow)} } @article{freed2026socialstrate, author = {Moss Freed}, title = {Social Strategies in Composing for Improvisers: Compositional Voice in/as Ensemble Microtradition}, journal = {Contemporary Music Review}, year = {2026}, pages = {1--26}, doi = {10.1080/07494467.2026.2725959} } @inproceedings{pratyush2010alookintothe, author = {Pratyush and Martí Umbert and Xavier Serra}, title = {A Look Into the Past: Analysis of Trends and Topics in Proceedings of Sound and Music Computing Conference}, booktitle = {7th Sound and Music Computing Conference}, year = {2010}, doi = {10.5281/zenodo.849701}, abstract = {(Abstract to follow)} } @article{arfib2005expressivene, author = {Daniel Arfib and Jean-Michel Couturier and Loïc Kessous}, title = {Expressiveness and Digital Musical Instrument Design}, journal = {Journal of New Music Research}, year = {2005}, volume = {34}, number = {1}, pages = {125--136}, doi = {10.1080/09298210500124273} } @inproceedings{gupta2020automaticran, author = {Chitralekha Gupta and Lin Huang and Haizhou Li}, title = {Automatic Rank-Ordering of Singing Vocals with Twin-Neural Network}, booktitle = {ISMIR}, year = {2020}, doi = {10.5281/zenodo.4245458} } @inproceedings{farina2025mausoleumoft, author = {Adriano Farina and Lamberto Tronchin}, title = {Mausoleum of Theodoric: acoustic measurements within the funerary room}, booktitle = {2025 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2025}, pages = {1--4}, doi = {10.1109/i3da65421.2025.11202046} } @inproceedings{brown2018understandin, author = {Dom Brown and Chris Nash and Tom Mitchell}, title = {Understanding User-Defined Mapping Design in Mid-Air Musical Performance}, booktitle = {Proceedings of the 5th International Conference on Movement and Computing}, year = {2018}, pages = {1--8}, doi = {10.1145/3212721.3212810} } @inproceedings{takamori2017automaticarr, author = {Hirofumi Takamori and Haruki Sato and Takayuki Nakatsuka and Shigeo Morishima}, title = {Automatic Arranging Musical Score for Piano using Important Musical Elements}, booktitle = {14th Sound and Music Computing Conference}, year = {2017}, doi = {10.5281/zenodo.1401875}, abstract = {(Abstract to follow)} } @inproceedings{hogue2014ossiaopensce, author = {Théo de La Hogue and Pascal Baltazar and Myriam Desainte and Catherine Jaime Chao and Clément Bossut}, title = {OSSIA : OPEN SCENARIO SYSTEM FOR INTERACTIVE APPLICATIONS}, booktitle = {Journées d'Informatique Musicale}, year = {2014}, url = {https://hal.science/hal-03104635v1} } @article{piche1998ceciliaaprod, author = {Jean Piche and Alexandre Burton}, title = {Cecilia: A Production Interface to Csound}, journal = {Computer Music Journal}, year = {1998}, volume = {22}, number = {2}, pages = {52}, doi = {10.2307/3680964} } @inproceedings{shabbar2023instrumental, author = {Omar Shabbar and Doug Van Nort}, title = {Instrumental Agency and the Co-Production of Sound: From South Asian Instruments to Interactive Systems}, booktitle = {Proceedings of the 18th International Audio Mostly Conference}, year = {2023}, pages = {1--8}, doi = {10.1145/3616195.3616207} } @article{jaeger2003theantilapto, author = {Timothy Jaeger}, title = {The (Anti-)Laptop Aesthetic}, journal = {Contemporary Music Review}, year = {2003}, volume = {22}, number = {4}, pages = {53--57}, doi = {10.1080/0749446032000156982} } @article{mcgregor2017theblasthasa, author = {Richard E. McGregor}, title = {‘The Blast Has Arrived at the Body’: Wolfgang Rihm’s Creative Explosion of 1981}, journal = {Contemporary Music Review}, year = {2017}, volume = {36}, number = {4}, pages = {237--278}, doi = {10.1080/07494467.2017.1399669} } @inproceedings{helie2007waveguidemod, author = {Thomas Helie and Remi Mignot and Denis Matignon}, title = {Waveguide Modeling of Lossy Flared Acoustic Pipes: Derivation of a Kelly-Lochbaum Structure for Real-Time Simulations}, booktitle = {2007 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics}, year = {2007}, pages = {267--270}, doi = {10.1109/aspaa.2007.4393046} } @article{cadoz2009suprainstrum, author = {Claude Cadoz}, title = {Supra-Instrumental Interactions and Gestures}, journal = {Journal of New Music Research}, year = {2009}, volume = {38}, number = {3}, pages = {215--230}, doi = {10.1080/09298210903137641} } @article{hopkin1991trendsinnewa, author = {Bart Hopkin}, title = {Trends in New Acoustic Musical Instrument Design}, journal = {Leonardo Music Journal}, year = {1991}, volume = {1}, number = {1}, pages = {11}, doi = {10.2307/1513114} } @inproceedings{modegi2001verylowbitra, author = {Toshio Modegi}, title = {Very low bit-rate audio coding technique using MIDI representation}, booktitle = {Proceedings of the 11th international workshop on Network and operating systems support for digital audio and video}, year = {2001}, pages = {167--176}, doi = {10.1145/378344.378368} } @inproceedings{bernays2013expressivepr, author = {Michel Bernays and Caroline Traube}, title = {Expressive Production of Piano Timbre: Touch and Playing Techniques for Timbre Control in Piano Performance}, booktitle = {10th Sound and Music Computing Conference}, year = {2013}, doi = {10.5281/zenodo.850271}, abstract = {(Abstract to follow)} } @article{tahirolu2021evershifting, author = {Koray Tahiroğlu}, title = {Ever-shifting roles in building, composing and performing with digital musical instruments}, journal = {Journal of New Music Research}, year = {2021}, volume = {50}, number = {2}, pages = {155--164}, doi = {10.1080/09298215.2021.1900275} } @article{kubicki2012rfiddrivensi, author = {Sébastien Kubicki and Sophie Lepreux and Christophe Kolski}, title = {RFID-driven situation awareness on TangiSense, a table interacting with tangible objects}, journal = {Personal and Ubiquitous Computing}, year = {2012}, volume = {16}, number = {8}, pages = {1079--1094}, doi = {10.1007/s00779-011-0442-9} } @article{mohd2013snsecasecure, author = {Abidalrahman Moh’d and Nauman Aslam and William Phillips and William Robertson and Hosein Marzi}, title = {SN-SEC: a secure wireless sensor platform with hardware cryptographic primitives}, journal = {Personal and Ubiquitous Computing}, year = {2013}, volume = {17}, number = {5}, pages = {1051--1059}, doi = {10.1007/s00779-012-0563-9} } @inproceedings{rovithis2014educationala, author = {Emmanouel Rovithis and Andreas Mniestris and Andreas Floros}, title = {Educational audio game design}, booktitle = {Proceedings of the 9th Audio Mostly: A Conference on Interaction With Sound}, year = {2014}, pages = {1--6}, doi = {10.1145/2636879.2636902} } @article{borin1992algorithmsan, author = {Gianpaolo Borin and Giovanni De Poli and Augusto Sarti}, title = {Algorithms and Structures for Synthesis Using Physical Models}, journal = {Computer Music Journal}, year = {1992}, volume = {16}, number = {4}, pages = {30}, doi = {10.2307/3680467} } @inproceedings{prockup2013towardunders, author = {Matthew Prockup and Erik M. Schmidt and Jeffrey J. Scott and Youngmoo E. Kim}, title = {Toward Understanding Expressive Percussion Through Content Based Analysis.}, booktitle = {ISMIR}, year = {2013}, doi = {10.5281/zenodo.1414726} } @article{cheng2018smoothgazeaf, author = {Shiwei Cheng and Jing Fan and Anind K. Dey}, title = {Smooth Gaze: a framework for recovering tasks across devices using eye tracking}, journal = {Personal and Ubiquitous Computing}, year = {2018}, volume = {22}, number = {3}, pages = {489--501}, doi = {10.1007/s00779-018-1115-8} } @inproceedings{wallace2019tracingfroms, author = {Benedikte Wallace and Charles P. Martin and Kristian Nymoen}, title = {Tracing from Sound to Movement with Mixture Density Recurrent Neural Networks}, booktitle = {Proceedings of the 6th International Conference on Movement and Computing}, year = {2019}, pages = {1--4}, doi = {10.1145/3347122.3371376} } @article{zhang2018wearingindep, author = {Yingwei Zhang and Yiqiang Chen and Hanchao Yu and Xiaodong Yang and Wang Lu and Hong Liu}, title = {Wearing-independent hand gesture recognition method based on EMG armband}, journal = {Personal and Ubiquitous Computing}, year = {2018}, volume = {22}, number = {3}, pages = {511--524}, doi = {10.1007/s00779-018-1152-3} } @inproceedings{nakamura2013acousticscor, author = {Tomohiko Nakamura and Eita Nakamura and Shigeki Sagayama}, title = {Acoustic Score Following to Musical Performance With Errors and Arbitrary Repeats and Skips for Automatic Accompaniment}, booktitle = {10th Sound and Music Computing Conference}, year = {2013}, doi = {10.5281/zenodo.850206}, abstract = {(Abstract to follow)} } @inproceedings{bountouridis2013placingmusic, author = {Dimitrios Bountouridis and Remco C. Veltkamp and Jan Van Balen}, title = {Placing Music Artists and Songs in Time Using Editorial Metadata and Web Mining Techniques.}, booktitle = {ISMIR}, year = {2013}, doi = {10.5281/zenodo.1414948} } @inproceedings{vatolkin2010amuseadvance, author = {Igor Vatolkin and Wolfgang M. Theimer and Martin Botteck}, title = {AMUSE (Advanced MUSic Explorer) - A Multitool Framework for Music Data Analysis.}, booktitle = {ISMIR}, year = {2010}, doi = {10.5281/zenodo.1414918} } @article{he2023federatedlea, author = {Chengying He and Bin Xiao and Xi Chen and Qingzhen Xu and Jianwu Lin}, title = {Federated Learning Intellectual Capital Platform}, journal = {Personal and Ubiquitous Computing}, year = {2023}, volume = {27}, number = {4}, pages = {1525--1536}, doi = {10.1007/s00779-021-01590-9} } @inproceedings{zhong2023extendingaud, author = {Zhi Zhong and Hao Shi and Masato Hirano and Kazuki Shimada and Kazuya Tateishi and Takashi Shibuya and Shusuke Takahashi and Yuki Mitsufuji}, title = {Extending Audio Masked Autoencoders toward Audio Restoration}, booktitle = {2023 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA)}, year = {2023}, pages = {1--5}, doi = {10.1109/waspaa58266.2023.10248171} } @article{chafe2009tappingintot, author = {Chris Chafe}, title = {Tapping into the Internet as an Acoustical/Musical Medium}, journal = {Contemporary Music Review}, year = {2009}, volume = {28}, number = {4-5}, pages = {413--420}, doi = {10.1080/07494460903422362} } @inproceedings{thompson2019amodelviewup, author = {Andrew Thompson and Gyorgy Fazekas}, title = {A Model-View-Update Framework for Interactive Web Audio Applications}, booktitle = {Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound}, year = {2019}, pages = {219--222}, doi = {10.1145/3356590.3356623} } @inproceedings{moussa2011predictiveau, author = {Obada Alhaj Moussa and Minyue Li and W. Bastiaan Kleijn}, title = {Predictive audio coding using rate-distortion-optimal pre- and post-filtering}, booktitle = {2011 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA)}, year = {2011}, pages = {213--216}, doi = {10.1109/aspaa.2011.6082345} } @article{zoran2011thedprintedf, author = {Amit Zoran}, title = {The 3D Printed Flute: Digital Fabrication and Design of Musical Instruments}, journal = {Journal of New Music Research}, year = {2011}, volume = {40}, number = {4}, pages = {379--387}, doi = {10.1080/09298215.2011.621541} } @inproceedings{golvet2024designingadi, author = {Aliénor Golvet and Benjamin Matuszewski and Frederic Bevilacqua}, title = {Designing a distributed musical instrument for collective improvised interaction}, booktitle = {Audio Mostly 2024 - Explorations in Sonic Cultures}, year = {2024}, pages = {405--420}, doi = {10.1145/3678299.3678341} } @inproceedings{guennoun2008augmentedrea, author = {Mouhcine Guennoun and Saad Khattak and Bill Kapralos and Khalil El-Khatib}, title = {Augmented reality-based audio/visual surveillance system}, booktitle = {2008 IEEE International Workshop on Haptic Audio visual Environments and Games}, year = {2008}, pages = {70--74}, doi = {10.1109/have.2008.4685301} } @inproceedings{fukuda2021onomatangipl, author = {Atsushi Fukuda}, title = {Onomatangiplay : A Game Experience with a Tangible Auditory User Interface Created by Representing Game Effects with a Real-world Sound Source}, booktitle = {Extended Abstracts of the 2021 CHI Conference on Human Factors in Computing Systems}, year = {2021}, pages = {1--4}, doi = {10.1145/3411763.3451853} } @article{scheirer1999saolthempegs, author = {Eric D. Scheirer and Barry L. Vercoe}, title = {SAOL: The MPEG-4 Structured Audio Orchestra Language}, journal = {Computer Music Journal}, year = {1999}, volume = {23}, number = {2}, pages = {31--51}, doi = {10.1162/014892699559742} } @inproceedings{liu2010digitalpiano, author = {Shupeng Liu and Lin Chen and Xiangming Zhu and Lili Dai and Yanfei Xin}, title = {Digital piano keyboard based on PVDF piezoelectric film}, booktitle = {2010 International Conference on Audio, Language and Image Processing}, year = {2010}, pages = {378--382}, doi = {10.1109/icalip.2010.5684555} } @inproceedings{chen2026beyondfaders, author = {Jeremy Wertheim Co Chen and Rendell Christian Ngo and Cedric Matthew Yu and Hans Emilio Lumagui and Ethan Badayos and Jordan Aiko Deja}, title = {Beyond Faders: Understanding 6DoF Gesture Ecologies in Music Mixing}, booktitle = {Proceedings of the Extended Abstracts of the 2026 CHI Conference on Human Factors in Computing Systems}, year = {2026}, pages = {1--5}, doi = {10.1145/3772363.3799265} } @inproceedings{bayle2016largescalecl, author = {Yann Bayle and Pierre Hanna and Matthias Robine}, title = {Large-scale classification of musical tracks according to the presence of singing voice}, booktitle = {Journées d'Informatique Musicale}, year = {2016}, url = {https://hal.science/hal-01484201v1}, note = {Original title: Classification à grande échelle de morceaux de musique en fonction de la présence de chant} } @article{fry1985structureand, author = {Christopher Fry and Harold Abelson and Gerald Sussman and Julie Sussman}, title = {Structure and Interpretation of Computer Programs}, journal = {Computer Music Journal}, year = {1985}, volume = {9}, number = {3}, pages = {81}, doi = {10.2307/3679579} } @inproceedings{yu2014theinfluence, author = {Yuwen Yu and Xiaoqun Zhao and Jingyun Xu and Yang Zhang}, title = {The influence of pitch accuracy on synthetic speech quality}, booktitle = {2014 International Conference on Audio, Language and Image Processing}, year = {2014}, pages = {895--899}, doi = {10.1109/icalip.2014.7009924} } @article{harrison2017adaptingtheb, author = {Jacob Harrison and Andrew P. McPherson}, title = {Adapting the Bass Guitar for One-Handed Playing}, journal = {Journal of New Music Research}, year = {2017}, volume = {46}, number = {3}, pages = {270--285}, doi = {10.1080/09298215.2017.1340485} } @inproceedings{raphael2004ahybridgraph, author = {Christopher Raphael}, title = {A Hybrid Graphical Model for Aligning Polyphonic Audio with Musical Scores.}, booktitle = {ISMIR}, year = {2004}, doi = {10.5281/zenodo.1416500} } @inproceedings{musil2013perceptualdi, author = {Jason Jiří Musil and Budr Elnusairi and Daniel Müllensiefen}, title = {Perceptual Dimensions of Short Audio Clips and Corresponding Timbre Features}, booktitle = {Lecture Notes in Computer Science From Sounds to Music and Emotions}, year = {2013}, doi = {10.1007/978-3-642-41248-6_12} } @article{mccarthy2006theexperienc, author = {John McCarthy and Peter Wright and Jayne Wallace and Andy Dearden}, title = {The experience of enchantment in human–computer interaction}, journal = {Personal and Ubiquitous Computing}, year = {2006}, volume = {10}, number = {6}, pages = {369--378}, doi = {10.1007/s00779-005-0055-2} } @inproceedings{eaton2016thehybridbra, author = {Joel Eaton and Eduardo R. Miranda}, title = {The Hybrid Brain Computer Music Interface - Integrating Brainwave Detection Methods for Extended Control in Musical Performance Systems}, booktitle = {Lecture Notes in Computer Science Music, Mind, and Embodiment}, year = {2016}, doi = {10.1007/978-3-319-46282-0_8} } @inproceedings{patynen2011simulationof, author = {Jukka Patynen and Sakari Tervo and Tapio Lokki}, title = {Simulation of the violin section sound based on the analysis of orchestra performance}, booktitle = {2011 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA)}, year = {2011}, pages = {173--176}, doi = {10.1109/aspaa.2011.6082305} } @inproceedings{mcleran2008granularsoun, author = {Aaron McLeran and Curtis Roads and Bob L. Sturm and John J. Shynk}, title = {Granular Sound Spatialization Using Dictionary-based Methods}, booktitle = {5th Sound and Music Computing Conference}, year = {2008}, doi = {10.5281/zenodo.849531}, abstract = {(Abstract to follow)} } @article{prior2016loudspeakerl, author = {David Prior}, title = {Loudspeaker Listening: Tabula Rasa or Augmented Reality}, journal = {Leonardo Music Journal}, year = {2016}, volume = {26}, pages = {3--6}, doi = {10.1162/lmj_a_00957}, abstract = {Recent developments in virtual and augmented reality technology have stimulated renewed interest in the role of sound and music in these domains. In this article loudspeakers, and the spaces used to listen to them, will be discussed with reference both to the dominant media that have influenced their evolution and in light of emerging media—particularly in augmented reality—which value very different audio-spatial relationships.} } @inproceedings{cunningham2005thepainthepa, author = {Sally Jo Cunningham and J. Stephen Downie and David Bainbridge}, title = {"The Pain, the Pain": Modelling Music Information Behavior and the Songs We Hate.}, booktitle = {ISMIR}, year = {2005}, doi = {10.5281/zenodo.1417209} } @article{cummings1984maricestithp, author = {Conrad Cummings and Marice Stith}, title = {Marice Stith Plays Contemporary Literature for Trumpet}, journal = {Computer Music Journal}, year = {1984}, volume = {8}, number = {3}, pages = {88}, doi = {10.2307/3679821} } @inproceedings{mcfee2015asoftwarefra, author = {Brian McFee and Eric J. Humphrey and Juan Pablo Bello}, title = {A Software Framework for Musical Data Augmentation.}, booktitle = {ISMIR}, year = {2015}, doi = {10.5281/zenodo.1418365} } @article{lindroos2011parametricel, author = {Niklas Lindroos and Henri Penttinen and Vesa Välimäki}, title = {Parametric Electric Guitar Synthesis}, journal = {Computer Music Journal}, year = {2011}, volume = {35}, number = {3}, pages = {18--27}, doi = {10.1162/comj_a_00066} } @inproceedings{clarisse2002anauditorymo, author = {L. P. Clarisse and Jean-Pierre Martens and Micheline Lesaffre and Bernard De Baets and Hans De Meyer and Marc Leman}, title = {An Auditory Model Based Transcriber of Singing Sequences.}, booktitle = {ISMIR}, year = {2002}, doi = {10.5281/zenodo.1416074} } @article{dambra2019affordanceth, author = {John D’Ambra and Concepcion S. Wilson and Shahriar Akter}, title = {Affordance theory and e-books: evaluating the e-reading experience using netnography}, journal = {Personal and Ubiquitous Computing}, year = {2019}, volume = {23}, number = {5-6}, pages = {873--892}, doi = {10.1007/s00779-017-1086-1} } @inproceedings{h2001composingmus, author = {Vaggione H.}, title = {Composing Musical Spaces By Means of Decorrelation of Audio Signals}, booktitle = {DAFx}, year = {2001}, url = {https://www.dafx.de/paper-archive/2001/papers/Addendum1 - Vaggione.pdf} } @inproceedings{bravo2013theinfluence, author = {Fernando Bravo}, title = {The Influence of Music on the Emotional Interpretation of Visual Contexts}, booktitle = {Lecture Notes in Computer Science From Sounds to Music and Emotions}, year = {2013}, doi = {10.1007/978-3-642-41248-6_20} } @inproceedings{mcintosh2023affectivecon, author = {Tyler Howard Mcintosh and Orlando Woscholski and Mathieu Barthet}, title = {Affective Conditional Modifiers in Adaptive Video Game Music}, booktitle = {Proceedings of the 18th International Audio Mostly Conference}, year = {2023}, pages = {17--23}, doi = {10.1145/3616195.3616222} } @article{janosy1994computeranal, author = {Zoltan Janosy}, title = {Computer Analysis of Player Piano Rolls}, journal = {Computer Music Journal}, year = {1994}, volume = {18}, number = {3}, pages = {9}, doi = {10.2307/3681176} } @inproceedings{collins2015livecodingan, author = {Nick Collins}, title = {Live Coding and Machine Listening}, booktitle = {First International Conference on Live Coding}, year = {2015}, doi = {10.5281/zenodo.18747}, abstract = {Live coding control of machine listening processes, or more radically, machine listening control of live coding, provides an exciting area of crossover between two research frontiers in computer music. is article surveys the state of the art, and reports a number of experimental projects that point to potentially productive further directions.} } @inproceedings{seibert2015towardsanena, author = {Gabriela Seibert and Daniel Hug and Markus Cslovjecsek}, title = {Towards an Enactive Swimming Sonification}, booktitle = {Proceedings of the Audio Mostly 2015 on Interaction With Sound}, year = {2015}, pages = {1--8}, doi = {10.1145/2814895.2814902} } @inproceedings{isaacson2005whatyouseeis, author = {Eric J. Isaacson}, title = {What You See Is What You Get: on Visualizing Music.}, booktitle = {ISMIR}, year = {2005}, doi = {10.5281/zenodo.1415992} } @article{cahill2010somepianomus, author = {Sarah Cahill}, title = {Some Piano Music by Frederic Rzewski}, journal = {Contemporary Music Review}, year = {2010}, volume = {29}, number = {6}, pages = {551--555}, doi = {10.1080/07494467.2010.619731} } @inproceedings{cha2018effectsofrob, author = {Elizabeth Cha and Naomi T. Fitter and Yunkyung Kim and Terrence Fong and Maja J. Matarić}, title = {Effects of Robot Sound on Auditory Localization in Human-Robot Collaboration}, booktitle = {Proceedings of the 2018 ACM/IEEE International Conference on Human-Robot Interaction}, year = {2018}, pages = {434--442}, doi = {10.1145/3171221.3171285} } @article{rolnick1992performingwi, author = {Neil Rolnick and Laurie Spiegel}, title = {Performing with Active Instruments}, journal = {Computer Music Journal}, year = {1992}, volume = {16}, number = {3}, pages = {5}, doi = {10.2307/3680843} } @inproceedings{milicevic1996computermusi, author = {Mladen Milicevic}, title = {Computer Music and the Importance of Fractals, Chaos, and Complexity Theory}, booktitle = {Journées d'Informatique Musicale}, year = {1996}, url = {https://hal.science/hal-02986332v1}, abstract = {The main concern addressed in this paper relates to the postmodern vs. hypermodern use of knowledge based on scientific findings as applied to philosophy and the aesthetics of computer music.} } @article{pope1994musicandcomp, author = {Stephen Travis Pope}, title = {Music and Computers: NEMO Composers' Panel Discussion}, journal = {Computer Music Journal}, year = {1994}, volume = {18}, number = {3}, pages = {33}, doi = {10.2307/3681183} } @inproceedings{vertegaal2001tangiblebits, author = {Roel Vertegaal and Tamas Ungvary}, title = {Tangible bits and malleable atoms in the design of a computer music instrument}, booktitle = {CHI '01 extended abstracts on Human factors in computer systems - CHI '01}, year = {2001}, doi = {10.1145/634246.634251} } @inproceedings{watson1997evaluatingre, author = {Anna Watson}, title = {Evaluating real-time multimedia audio and video quality}, booktitle = {CHI '97 extended abstracts on Human factors in computing systems looking to the future - CHI '97}, year = {1997}, pages = {73}, doi = {10.1145/1120212.1120260} } @article{roads1986thetsukubamu, author = {Curtis Roads}, title = {The Tsukuba Musical Robot}, journal = {Computer Music Journal}, year = {1986}, volume = {10}, number = {2}, pages = {39}, doi = {10.2307/3679483} } @inproceedings{glas2016humanrobotin, author = {Dylan F. Glas and Takayuki Kanda and Hiroshi Ishiguro}, title = {Human-robot interaction design using Interaction Composer eight years of lessons learned}, booktitle = {2016 11th ACM/IEEE International Conference on Human-Robot Interaction (HRI)}, year = {2016}, pages = {303--310}, doi = {10.1109/hri.2016.7451766} } @inproceedings{zinck2022evaluatingsi, author = {Graeme Zinck and Daniel Vogel}, title = {Evaluating Singing for Computer Input Using Pitch, Interval, and Melody}, booktitle = {CHI Conference on Human Factors in Computing Systems}, year = {2022}, pages = {1--15}, doi = {10.1145/3491102.3517691} } @inproceedings{caetano2013evaluatingho, author = {Marcelo Caetano and George Kafentzis and Gilles Degottex and Athanasios Mouchtaris and Yannis Stylianou}, title = {Evaluating how well filtered white noise models the residual from sinusoidal modeling of musical instrument sounds}, booktitle = {2013 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics}, year = {2013}, pages = {1--4}, doi = {10.1109/waspaa.2013.6701840} } @inproceedings{rogers2019audiohabitsa, author = {Katja Rogers and Michael Weber}, title = {Audio Habits and Motivations in Video Game Players}, booktitle = {Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound}, year = {2019}, pages = {45--52}, doi = {10.1145/3356590.3356599} } @inproceedings{nishino2014lcanewcomput, author = {Hiroki Nishino and Naotoshi Osaka and Ryohei Nakatsu}, title = {LC: A New Computer Music Programming Language With Three Core Features}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850923}, abstract = {(Abstract to follow)} } @article{blum1979projectsawdu, author = {Thomas Blum and Herbert Brun}, title = {Project Sawdust: [Work with Computer]}, journal = {Computer Music Journal}, year = {1979}, volume = {3}, number = {1}, pages = {6}, doi = {10.2307/3679748} } @article{strawn1981soundgenerat, author = {John Strawn and E. Jansson and J. Sundberg}, title = {Sound Generation in Winds, Strings, Computers}, journal = {Computer Music Journal}, year = {1981}, volume = {5}, number = {4}, pages = {78}, doi = {10.2307/3679514} } @article{loke2007understandin, author = {Lian Loke and Astrid T. Larssen and Toni Robertson and Jenny Edwards}, title = {Understanding movement for interaction design: frameworks and approaches}, journal = {Personal and Ubiquitous Computing}, year = {2007}, volume = {11}, number = {8}, pages = {691--701}, doi = {10.1007/s00779-006-0132-1} } @inproceedings{slovenia1998feedforwardn, author = {TiiaSka 25, 1000 Ljubljana, Slovenia}, title = {FEEDFORWARD NEURAL NETWORKS FOR PIANO MUSIC TRANSCRIPTION Faculty of Computer and Information Science}, booktitle = {CIM 1998}, year = {1998}, abstract = {The paperpresents orrrfirst experiences ~ i t tile l ~rise of feedfonvard ne~rrol networks for transcription of piano nlssic. Recentlj: solire atterilpts of building sjirtelns that ~ ~ o r r lsrrccessfnlly d trollscribe polypl~onicslasic ivitlr Inore t l ~ a nhvo voices ([41, [8]) have been niode. However, the s)iFtrn~spresented bvere built using conventional techniqnes, iilhich reqrrire no learnb~g,but r ~ ~ a n ~trrning ml of systenl's parameters. ArtiJicial neural nefivorks have been rrsed for speech recognition and other patteril recognition tasks for a long tinle. Tl~eyare especially srritable for such tasks, becarrse of tlreir ability to lean1 fro111 exan~ples, generolise and robustness to noise. We present preli~i~iiraryresults obtained by rssing feedfonvard rlerrral iiehvorks forpiano music Wanscription, ivhere by tmnscriptiorz we mean recognising the r~oteand firne when the note occrrrred (length and dyno~nicsare not takec~into consideration). The paperpresents the systerll and results in laore detail and gives sorne ideas for jirrther work} } @inproceedings{pottier2006strategiesfo, author = {Laurent Pottier}, title = {Strategies for the Control of Microsound Synthesis Within the “GMU” Project}, booktitle = {Lecture Notes in Computer Science Computer Music Modeling and Retrieval}, year = {2006}, doi = {10.1007/11751069_10} } @article{thomas1999fromwebsitet, author = {Peter Thomas}, title = {From ?website? to ?on-line presence?: From ?internet? to ?information society?}, journal = {Personal Technologies}, year = {1999}, volume = {3}, number = {4}, pages = {161--165}, doi = {10.1007/bf01540549} } @inproceedings{xie2015researchonth, author = {Chaoying Xie}, title = {Research on the Development of National Music in the New Media Era}, booktitle = {Advances in Social Science, Education and Humanities Research}, year = {2015}, doi = {10.2991/icemct-15.2015.3} } @inproceedings{bascou2005gmuaflexible, author = {Charles Bascou and Laurent Pottier}, title = {GMU, a Flexible Granular Synthesis Environment in Max/MSP}, booktitle = {2nd Sound and Music Computing Conference}, year = {2005}, doi = {10.5281/zenodo.849277}, abstract = {(Abstract to follow)} } @inproceedings{humphrey2010automaticcha, author = {Eric Humphrey}, title = {Automatic Characterization of Digital Music for Rhythmic Auditory Stimulation.}, booktitle = {ISMIR}, year = {2010}, doi = {10.5281/zenodo.1418135} } @inproceedings{vera2014towardsseaml, author = {Bogdan Vera and Elaine Chew}, title = {Towards Seamless Network Music Performance: Predicting an Ensemble's Expressive Decisions for Distributed Performance.}, booktitle = {ISMIR}, year = {2014}, doi = {10.5281/zenodo.1416186} } @article{honing2003thefinalrita, author = {Henkjan Honing}, title = {The Final Ritard: On Music, Motion, and Kinematic Models}, journal = {Computer Music Journal}, year = {2003}, volume = {27}, number = {3}, pages = {66--72}, doi = {10.1162/014892603322482538} } @inproceedings{winter2017colourationi, author = {Fiete Winter and Christoph Hold and Hagen Wierstorf and Alexander Raake and Sascha Spors}, title = {Colouration in 2.5D local wave field synthesis using spatial bandwidth-limitation}, booktitle = {2017 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA)}, year = {2017}, pages = {160--165}, doi = {10.1109/waspaa.2017.8170015} } @inproceedings{law2007tagatuneagam, author = {Edith L. M. Law and Luis von Ahn and Roger B. Dannenberg and Mike Crawford}, title = {TagATune: A Game for Music and Sound Annotation.}, booktitle = {ISMIR}, year = {2007}, doi = {10.5281/zenodo.1415568} } @inproceedings{lazzarini2004computerinst, author = {Victor Lazzarini}, title = {Computer Instrument Development and the Composition Process}, booktitle = {DAFx}, year = {2004}, abstract = {This text looks at the computer instrument development work and its influence on the composition process. As a preamble to the main discussion, the different types of software for sound generation and transformation are reviewed. The concept of meta-themes is introduced and explored in the context of contemporary music. Two examples of the author’s computer music work are used to discuss the complex relationship between software development and composition. The first piece provides an example of such relationships in the context of ‘tape’ music. The second explores the use of computer instruments in live electroacoustic music. The activities of composition and instrument creation will be shown to be at times indistinguishable and mutually dependent.} } @inproceedings{bernhardt2008interactivec, author = {Daniel Bernhardt and Peter Robinson}, title = {Interactive control of music using emotional body expressions}, booktitle = {CHI '08 Extended Abstracts on Human Factors in Computing Systems}, year = {2008}, pages = {3117--3122}, doi = {10.1145/1358628.1358817} } @article{hoffman2016roboticexper, author = {Guy Hoffman and Shira Bauman and Keinan Vanunu}, title = {Robotic experience companionship in music listening and video watching}, journal = {Personal and Ubiquitous Computing}, year = {2016}, volume = {20}, number = {1}, pages = {51--63}, doi = {10.1007/s00779-015-0897-1} } @inproceedings{raphael2011newapproache, author = {Christopher Raphael and Jingya Wang}, title = {New Approaches to Optical Music Recognition.}, booktitle = {ISMIR}, year = {2011}, doi = {10.5281/zenodo.1414856} } @article{owens1985lightsoftmor, author = {Robert J. Owens and Tod MacHover}, title = {Light; Soft Morning, City!}, journal = {Computer Music Journal}, year = {1985}, volume = {9}, number = {2}, pages = {64}, doi = {10.2307/3679663} } @article{vlimki1996virtualmusic, author = {VESA VÄLIMÄKI and TAPIO TAKALA}, title = {Virtual musical instruments — natural sound using physical models}, journal = {Organised Sound}, year = {1996}, volume = {1}, number = {2}, pages = {75--86}, doi = {10.1017/s1355771896000039} } @inproceedings{drempetic2017wearablebass, author = {Cassandra Drempetic and Leigh Ellen Potter}, title = {Wearable bass tactile sound systems and immersion}, booktitle = {Proceedings of the 29th Australian Conference on Computer-Human Interaction}, year = {2017}, pages = {576--580}, doi = {10.1145/3152771.3156175} } @inproceedings{mora2006assistedpian, author = {Javier Mora and Won-sook Lee and Gilles Comeau and S. Shirmohammadi and A. Saddik}, title = {Assisted Piano Pedagogy through 3D Visualization of Piano Playing}, booktitle = {2006 IEEE International Workshop on Haptic Audio Visual Environments and their Applications (HAVE 2006)}, year = {2006}, pages = {157--160}, doi = {10.1109/have.2006.283791} } @inproceedings{kim2013imagesonific, author = {Keunhyoung Luke Kim and Woon Seung Yeo}, title = {Image Sonification Based on Object and Feature Extraction}, booktitle = {10th Sound and Music Computing Conference}, year = {2013}, doi = {10.5281/zenodo.850285}, abstract = {(Abstract to follow)} } @article{richardson2011beyondfunand, author = {Patrick Richardson and Youngmoo Kim}, title = {Beyond Fun and Games: A Framework for Quantifying Music Skill Developments from Video Game Play}, journal = {Journal of New Music Research}, year = {2011}, volume = {40}, number = {4}, pages = {277--291}, doi = {10.1080/09298215.2011.565350} } @inproceedings{bigoni2018microphoneba, author = {Francesco Bigoni and Pelle Juul Christensen and Rasmus Eklund and Javier Molina Garcia and Cumhur Erkut}, title = {Microphone-based Electronic Wind Instrument by Feature Extraction From Breath Signals}, booktitle = {15th Sound and Music Computing Conference}, year = {2018}, doi = {10.5281/zenodo.1422534}, abstract = {(Abstract to follow)} } @inproceedings{pan2008soundsourcer, author = {Yaozhang Pan and Shuzhi Sam Ge and Abdullah Al Mamun and Edmund Brekke}, title = {Sound source recognition for human robot interaction}, booktitle = {RO-MAN 2008 - The 17th IEEE International Symposium on Robot and Human Interactive Communication}, year = {2008}, pages = {604--609}, doi = {10.1109/roman.2008.4600733} } @inproceedings{krzyzaniak2019sixtypesofau, author = {Michael Krzyzaniak and David Frohlich and Philip J.B. Jackson}, title = {Six types of audio that DEFY reality!}, booktitle = {Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound}, year = {2019}, pages = {160--167}, doi = {10.1145/3356590.3356615} } @inproceedings{kasimi2007asimplealgor, author = {Alia Al Kasimi and Eric Nichols and Christopher Raphael}, title = {A Simple Algorithm for Automatic Generation of Polyphonic Piano Fingerings.}, booktitle = {ISMIR}, year = {2007}, doi = {10.5281/zenodo.1415880} } @inproceedings{castellanos2020aneuralappro, author = {Francisco J. Castellanos and Jorge Calvo-Zaragoza and Jose M. Inesta}, title = {A Neural Approach for Full-Page Optical Music Recognition of Mensural Documents}, booktitle = {ISMIR}, year = {2020}, doi = {10.5281/zenodo.4245494} } @inproceedings{mice2021embodiedcogn, author = {Lia Mice and Andrew P. McPherson}, title = {Embodied Cognition in Performers of Large Acoustic Instruments as a Method of Designing New Large Digital Musical Instruments}, booktitle = {Lecture Notes in Computer Science Perception, Representations, Image, Sound, Music}, year = {2021}, doi = {10.1007/978-3-030-70210-6_37} } @article{clarke1993generativity, author = {Eric F. Clarke}, title = {Generativity, mimesis and the human body in music performance}, journal = {Contemporary Music Review}, year = {1993}, volume = {9}, number = {1-2}, pages = {207--219}, doi = {10.1080/07494469300640451} } @inproceedings{marentakis2014zwischenrume, author = {Georgios Marentakis and David Pirrò and Raphael Kapeller}, title = {Zwischenräume - A Case Study in the Evaluation of Interactive Sound Installations}, booktitle = {11th Sound and Music Computing Conference and 40th International Computer Music Conference}, year = {2014}, doi = {10.5281/zenodo.850525}, abstract = {(Abstract to follow)} } @inproceedings{hsu2009singingpitch, author = {Chao-Ling Hsu and Liang-Yu Chen and Jyh-Shing Roger Jang and Hsing-Ji Li}, title = {Singing Pitch Extraction from Monaural Polyphonic Songs by Contextual Audio Modeling and Singing Harmonic Enhancement.}, booktitle = {ISMIR}, year = {2009}, doi = {10.5281/zenodo.1418009} } @inproceedings{jensen2013multimodalan, author = {Kristoffer Jensen and Søren R. Frimodt-Møller}, title = {Multimodal Analysis of Piano Performances Portraying Different Emotions}, booktitle = {Lecture Notes in Computer Science From Sounds to Music and Emotions}, year = {2013}, doi = {10.1007/978-3-642-41248-6_27} } @article{cook2004remutualizin, author = {Perry R. Cook}, title = {Remutualizing the Musical Instrument: Co-Design of Synthesis Algorithms and Controllers}, journal = {Journal of New Music Research}, year = {2004}, volume = {33}, number = {3}, pages = {315--320}, doi = {10.1080/0929821042000317877} } @article{erber1995musicforsolo, author = {James Erber}, title = {Music for 25 solo strings}, journal = {Contemporary Music Review}, year = {1995}, volume = {13}, number = {1}, pages = {117--132}, doi = {10.1080/07494469500640311} } @inproceedings{hou2008realtimeaudi, author = {Huan Hou and Weibei Dou}, title = {Real-time audio error concealment method based on sinusoidal model}, booktitle = {2008 International Conference on Audio, Language and Image Processing}, year = {2008}, pages = {22--28}, doi = {10.1109/icalip.2008.4590009} } @article{cdiz2006afuzzylogicm, author = {Rodrigo F. Cádiz}, title = {A Fuzzy-Logic Mapper for Audiovisual Media}, journal = {Computer Music Journal}, year = {2006}, volume = {30}, number = {1}, pages = {67--82}, doi = {10.1162/014892606776021263} } @article{cdiz2006afuzzylogicmb, author = {Rodrigo F. Cádiz}, title = {A Fuzzy-Logic Mapper for Audiovisual Media}, journal = {Computer Music Journal}, year = {2006}, volume = {30}, number = {1}, pages = {67--82}, doi = {10.1162/comj.2006.30.1.67} } @article{austin1991transmission, author = {Larry Austin and Charles Boone and Xavier Serra}, title = {"Transmission Two: The Great Excursion (TT:TGE)": The Aesthetic, Art and Science of a Composition for Radio}, journal = {Leonardo Music Journal}, year = {1991}, volume = {1}, number = {1}, pages = {81}, doi = {10.2307/1513127} } @article{harrower2005copyrightiss, author = {Andy Harrower}, title = {Copyright issues in internet music}, journal = {Contemporary Music Review}, year = {2005}, volume = {24}, number = {6}, pages = {483--488}, doi = {10.1080/07494460500296151} } @inproceedings{savery2021emotionmusic, author = {Richard Savery and Amit Rogel and Gil Weinberg}, title = {Emotion Musical Prosody for Robotic Groups and Entitativity}, booktitle = {2021 30th IEEE International Conference on Robot & Human Interactive Communication (RO-MAN)}, year = {2021}, pages = {440--446}, doi = {10.1109/ro-man50785.2021.9515314} } @inproceedings{prechtl2014methodologic, author = {Anthony Prechtl and Robin Laney and Alistair Willis and Robert Samuels}, title = {Methodological approaches to the evaluation of game music systems}, booktitle = {Proceedings of the 9th Audio Mostly: A Conference on Interaction With Sound}, year = {2014}, pages = {1--8}, doi = {10.1145/2636879.2636906} } @article{klooster2017anemotionawa, author = {Adinda van ’t Klooster and Nick Collins}, title = {An Emotion-aware Interactive Concert System: A Case Study in Realtime Physiological Sensor Analysis}, journal = {Journal of New Music Research}, year = {2017}, volume = {46}, number = {3}, pages = {261--269}, doi = {10.1080/09298215.2017.1337158} } @inproceedings{fehr2015lichtgestalt, author = {Jonas Fehr and Cumhur Erkut}, title = {LICHTGESTALT: Interaction With Sound Through Swarms of Light Rays}, booktitle = {12th Sound and Music Computing Conference}, year = {2015}, doi = {10.5281/zenodo.851151}, abstract = {(Abstract to follow)} } @inproceedings{nakano2013vocarefinera, author = {Tomoyasu Nakano and Masataka Goto}, title = {VocaRefiner: An Interactive Singing Recording System With Integration of Multiple Singing Recordings}, booktitle = {10th Sound and Music Computing Conference}, year = {2013}, doi = {10.5281/zenodo.850433}, abstract = {(Abstract to follow)} } @article{rosenboom1997propositiona, author = {David Rosenboom}, title = {Propositional Music: On Emergent Properties in Morphogenesis and the Evolution of Music: Part II: Imponderable Forms and Compositional Methods}, journal = {Leonardo Music Journal}, year = {1997}, volume = {7}, pages = {35}, doi = {10.2307/1513243} } @article{jetter2014blendedinter, author = {Hans-Christian Jetter and Harald Reiterer and Florian Geyer}, title = {Blended Interaction: understanding natural human–computer interaction in post-WIMP interactive spaces}, journal = {Personal and Ubiquitous Computing}, year = {2014}, volume = {18}, number = {5}, pages = {1139--1158}, doi = {10.1007/s00779-013-0725-4} } @article{chafe2005oxygenflutea, author = {Chris Chafe}, title = {Oxygen flute: A computer music instrument that grows}, journal = {Journal of New Music Research}, year = {2005}, volume = {34}, number = {3}, pages = {219--226}, doi = {10.1080/09298210500280687} } @article{hardegger2015dactionslamw, author = {Michael Hardegger and Daniel Roggen and Gerhard Tröster}, title = {3D ActionSLAM: wearable person tracking in multi-floor environments}, journal = {Personal and Ubiquitous Computing}, year = {2015}, volume = {19}, number = {1}, pages = {123--141}, doi = {10.1007/s00779-014-0815-y} } @inproceedings{mauch2011timbreandmel, author = {Matthias Mauch and Hiromasa Fujihara and Kazuyoshi Yoshii and Masataka Goto}, title = {Timbre and Melody Features for the Recognition of Vocal Activity and Instrumental Solos in Polyphonic Music.}, booktitle = {ISMIR}, year = {2011}, doi = {10.5281/zenodo.1415716} } @inproceedings{lee2019theeffectofs, author = {Sang Won Lee and Aaron Willette and Danai Koutra and Walter S. Lasecki}, title = {The Effect of Social Interaction on Facilitating Audience Participation in a Live Music Performance}, booktitle = {Proceedings of the 2019 on Creativity and Cognition}, year = {2019}, pages = {108--120}, doi = {10.1145/3325480.3325509} } @inproceedings{aramaki2010imaginetheso, author = {Mitsuko Aramaki and Charles Gondre and Richard Kronland-Martinet and Thierry Voinier and Sølvi Ystad}, title = {Imagine the Sounds: An Intuitive Control of an Impact Sound Synthesizer}, booktitle = {Lecture Notes in Computer Science Auditory Display}, year = {2010}, doi = {10.1007/978-3-642-12439-6_21} } @inproceedings{gtzen2008multimodalde, author = {Amalia de Götzen and Laca Mion and Federico Avanzini and Stefania Serafin}, title = {Multimodal Design for Enactive Toys}, booktitle = {Lecture Notes in Computer Science Computer Music Modeling and Retrieval. Sense of Sounds}, year = {2008}, doi = {10.1007/978-3-540-85035-9_14} } @inproceedings{danna2014movementsoni, author = {Jérémy Danna and Vietminh Paz-Villagrán and Annabelle Capel and Céline Pétroz and Charles Gondre and Serge Pinto and Etienne Thoret and Mitsuko Aramaki and Sølvi Ystad and Richard Kronland-Martinet and Jean-Luc Velay}, title = {Movement Sonification for the Diagnosis and the Rehabilitation of Graphomotor Disorders}, booktitle = {Lecture Notes in Computer Science Sound, Music, and Motion}, year = {2014}, doi = {10.1007/978-3-319-12976-1_16} } @inproceedings{anjum2026focussyncamu, author = {Nimra Anjum and Caroline G. L. Cao and Craig Shultz and Yiwen Dong}, title = {FocusSync: A Multisensory Audio–Visual–Haptic Stimulation System for Attention Support}, booktitle = {Proceedings of the 4th International Workshop on Human-Centered Sensing, Modeling, and Intelligent Systems}, year = {2026}, pages = {95--98}, doi = {10.1145/3842436.3843805} } @inproceedings{collins2023expressoratr, author = {Tolly Collins and Mathieu Barthet}, title = {Expressor: A Transformer Model for Expressive MIDI Performance}, booktitle = {The 16th International Symposium on Computer Music Multidisciplinary Research}, year = {2023}, doi = {10.5281/zenodo.10113434} } @inproceedings{scaringella2005onthemodelin, author = {Nicolas Scaringella and Giorgio Zoia}, title = {On the Modeling of Time Information for Automatic Genre Recognition Systems in Audio Signals.}, booktitle = {ISMIR}, year = {2005}, doi = {10.5281/zenodo.1416064} } @inproceedings{zappi2012concatenativ, author = {Victor Zappi and Dario Mazzanti and Andrea Brogni and Darwin Caldwell}, title = {Concatenative Synthesis Unit Navigation and Dynamic Rearrangement in vrGrains}, booktitle = {9th Sound and Music Computing Conference}, year = {2012}, doi = {10.5281/zenodo.850068}, abstract = {(Abstract to follow)} } @article{lees1998designinginf, author = {David Y. Lees and Peter J. Thomas}, title = {Designing information artefacts for knowledge workers}, journal = {Personal Technologies}, year = {1998}, volume = {2}, number = {4}, pages = {231--240}, doi = {10.1007/bf01885562} } @article{chowning1977thesimulatio, author = {John M. Chowning}, title = {The Simulation of Moving Sound Sources}, journal = {Computer Music Journal}, year = {1977}, volume = {1}, number = {3}, pages = {48}, doi = {10.2307/3679609} } @article{beauchamp1979brasstonesyn, author = {James Beauchamp}, title = {Brass Tone Synthesis by Spectrum Evolution Matching with Nonlinear Functions}, journal = {Computer Music Journal}, year = {1979}, volume = {3}, number = {2}, pages = {35}, doi = {10.2307/3680282} } @inproceedings{tindale2004retrievalofp, author = {Adam R. Tindale and Ajay Kapur and George Tzanetakis and Ichiro Fujinaga}, title = {Retrieval of percussion gestures using timbre classification techniques.}, booktitle = {ISMIR}, year = {2004}, doi = {10.5281/zenodo.1416612} } @inproceedings{deja2020vituneavisua, author = {Jordan Aiko Deja and Alexczar Dela Torre and Hans Joshua Lee and Jose Florencio Ciriaco and Carlo Miguel Eroles}, title = {ViTune: A Visualizer Tool to Allow the Deaf and Hard of Hearing to See Music With Their Eyes}, booktitle = {Extended Abstracts of the 2020 CHI Conference on Human Factors in Computing Systems}, year = {2020}, pages = {1--8}, doi = {10.1145/3334480.3383046} } @inproceedings{giannini2023immersivespa, author = {Nicola Giannini}, title = {Immersive spatialized live music composition with performers: a case study, Le vent qui hurle}, booktitle = {2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA)}, year = {2023}, pages = {1--11}, doi = {10.1109/i3da57090.2023.10289287} } @article{thayer2003anarchitectu, author = {Scott M. Thayer and Peter Steenkiste}, title = {An Architecture for the Integration of Physical and Informational Spaces}, journal = {Personal and Ubiquitous Computing}, year = {2003}, volume = {7}, number = {2}, pages = {82--90}, doi = {10.1007/s00779-003-0234-y} } @inproceedings{mainsbridge2022feelingmovem, author = {Mary Mainsbridge}, title = {Feeling movement in live electronic music: An embodied autoethnography}, booktitle = {Proceedings of the 8th International Conference on Movement and Computing}, year = {2022}, pages = {1--7}, doi = {10.1145/3537972.3537989} } @inproceedings{marentakis2012exploringsou, author = {Georgios Marentakis and David Pirrò}, title = {Exploring Sound and Spatialization Design on Speaker Arrays Using Physical Modelling}, booktitle = {9th Sound and Music Computing Conference}, year = {2012}, doi = {10.5281/zenodo.850100}, abstract = {(Abstract to follow)} } @inproceedings{jiang2019pianoscorefo, author = {Yucong Jiang and Christopher Raphael}, title = {Piano Score-Following by Tracking Note Evolution}, booktitle = {16th Sound and Music Computing Conference}, year = {2019}, doi = {10.5281/zenodo.3249398}, abstract = {(Abstract to follow)} } @inproceedings{poupyrev2001newinterface, author = {Ivan Poupyrev and Michael J. Lyons and Sidney Fels and Tina Blaine (Bean)}, title = {New interfaces for musical expression}, booktitle = {CHI '01 extended abstracts on Human factors in computer systems - CHI '01}, year = {2001}, doi = {10.1145/634342.634348} } @inproceedings{d1999visualrepres, author = {Arfib D.}, title = {Visual representations of digital audio effects and of their control}, booktitle = {DAFx}, year = {1999}, url = {https://www.dafx.de/paper-archive/1999/arfib.pdf}, abstract = {This article gathers some reflections on how the graphical representations of sound and the graphical interfaces can help making and controlling digital audio effects. Time-frequency visual representations can help understand digital audio effects but are also a tool in themselves for these sound transformations. The basic laws for analysistransformations-resynthesis will be recalled. Graphical interfaces help for the control of effects. The choice of a relation between user control parameters and the effective values for the effect show the importance of the mapping and the graphical design. Graphical and sonic editor programs have both in common the use of plug-ins, which use the same kind of interface and deal with the same kind of approach.} } @article{roads1989integratedme, author = {Curtis Roads}, title = {Integrated Media Systems Digital Dyaxis: A Digital Audio Workstation}, journal = {Computer Music Journal}, year = {1989}, volume = {13}, number = {3}, pages = {107}, doi = {10.2307/3680029} } @inproceedings{smith2005ahistoryofid, author = {J.O. Smith}, title = {A history of ideas leading to virtual acoustic musical instruments}, booktitle = {IEEE Workshop on Applications of Signal Processing to Audio and Acoustics, 2005.}, year = {2005}, pages = {299--306}, doi = {10.1109/aspaa.2005.1540229} } @article{roads1987theartofnois, author = {Curtis Roads and Luigi Russolo and Barclay Brown}, title = {The Art of Noises}, journal = {Computer Music Journal}, year = {1987}, volume = {11}, number = {4}, pages = {54}, doi = {10.2307/3680244} } @inproceedings{borra2017localization, author = {Federico Borra and Fabio Antonacci and Augusto Sarti and Stefano Tubaro}, title = {Localization of acoustic sources in the ray space for distributed microphone sensors}, booktitle = {2017 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA)}, year = {2017}, pages = {170--174}, doi = {10.1109/waspaa.2017.8170017} } @article{rothstein1990audiomatrixp, author = {Joseph Rothstein}, title = {Audio Matrix 16 Patch Bay by 360 Systems}, journal = {Computer Music Journal}, year = {1990}, volume = {14}, number = {3}, pages = {94}, doi = {10.2307/3679973} } @inproceedings{zhou2010glottalwavec, author = {Lincan Zhou and Boyu Si and Ning Li and Zaoming Huang}, title = {Glottal wave coding and synthesis based on pitch synchronous voice source signal processing}, booktitle = {2010 International Conference on Audio, Language and Image Processing}, year = {2010}, pages = {401--406}, doi = {10.1109/icalip.2010.5684549} } @article{sun2018advancingres, author = {Yunchuan Sun and Junsheng Zhang and Rongfang Bie and Jiguo Yu}, title = {Advancing researches on IoT systems and intelligent applications}, journal = {Personal and Ubiquitous Computing}, year = {2018}, volume = {22}, number = {3}, pages = {449--452}, doi = {10.1007/s00779-018-1159-9} } @inproceedings{spyridis2007imagetosound, author = {Haralampos C. Spyridis and Aggelos K. Moustakas}, title = {Image to Sound and Sound to Image Transform}, booktitle = {4th Sound and Music Computing Conference}, year = {2007}, doi = {10.5281/zenodo.849473}, abstract = {(Abstract to follow)} } @inproceedings{thomas2011applicationo, author = {Mark R. P. Thomas and Nikolay D. Gaubitch and Patrick A. Naylor}, title = {Application of channel shortening to acoustic channel equalization in the presence of noise and estimation error}, booktitle = {2011 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA)}, year = {2011}, pages = {113--116}, doi = {10.1109/aspaa.2011.6082286} } @article{heilbron2024silenttownst, author = {Jonathan Heilbron and Callum G’Froerer and Aaron Wyatt}, title = {Silent Towns: Telematic Media for Remote Ensemble Performance}, journal = {Contemporary Music Review}, year = {2024}, volume = {43}, number = {6}, pages = {659--668}, doi = {10.1080/07494467.2026.2637930} } @inproceedings{macritchie2009visualisingm, author = {Jennifer MacRitchie and Bryony Buck and Nicholas J. Bailey}, title = {Visualising Musical Structure Through Performance Gesture.}, booktitle = {ISMIR}, year = {2009}, doi = {10.5281/zenodo.1418205} } @inproceedings{tang2014extractingco, author = {Jiuqiang Tang and Roger B. Dannenberg}, title = {Extracting Commands from Gestures: Gesture Spotting and Recognition for Real-Time Music Performance}, booktitle = {Lecture Notes in Computer Science Sound, Music, and Motion}, year = {2014}, doi = {10.1007/978-3-319-12976-1_5} } @article{rodet1996recentdevelo, author = {Xavier Rodet}, title = {Recent Developments in Computer Sound Analysis and Synthesis}, journal = {Computer Music Journal}, year = {1996}, volume = {20}, number = {1}, pages = {57}, doi = {10.2307/3681272} } @article{schloss2003usingcontemp, author = {W. Andrew Schloss}, title = {Using Contemporary Technology in Live Performance: The Dilemma of the Performer}, journal = {Journal of New Music Research}, year = {2003}, volume = {32}, number = {3}, pages = {239--242}, doi = {10.1076/jnmr.32.3.239.16866} } @article{mallick2023digitalmedia, author = {Pradeep Kumar Mallick and Sushruta Mishra and Gyoo- Soo Chae}, title = {Digital media news categorization using Bernoulli document model for web content convergence}, journal = {Personal and Ubiquitous Computing}, year = {2023}, volume = {27}, number = {3}, pages = {1087--1102}, doi = {10.1007/s00779-020-01461-9} } @inproceedings{cuthbert2011featureextra, author = {Michael Scott Cuthbert and Christopher Ariza and Lisa Friedland}, title = {Feature Extraction and Machine Learning on Symbolic Music using the music21 Toolkit.}, booktitle = {ISMIR}, year = {2011}, doi = {10.5281/zenodo.1416288} } @article{hashimoto2007evaluationis, author = {Shuji Hashimoto}, title = {Evaluation Issue of KANSEI Technology and Sound and Music Computing Projects at Waseda University}, journal = {Journal of New Music Research}, year = {2007}, volume = {36}, number = {3}, pages = {197--205}, doi = {10.1080/09298210701859289} } @article{esposito1997wearablecomp, author = {Chris Esposito}, title = {Wearable computers: Field-test observations and system design guidelines}, journal = {Personal Technologies}, year = {1997}, volume = {1}, number = {2}, pages = {81--87}, doi = {10.1007/bf02199213} } @article{dack1994pierreschaef, author = {John Dack}, title = {Pierre Schaeffer and the significance of radiophonic art}, journal = {Contemporary Music Review}, year = {1994}, volume = {10}, number = {2}, pages = {3--11}, doi = {10.1080/07494469400640251} } @inproceedings{kwon2007soundsourcel, author = {Byoungho Kwon and Gyeongho Kim and Youngjin Park}, title = {Sound Source Localization Methods with Considering of Microphone Placement in Robot Platform}, booktitle = {RO-MAN 2007 - The 16th IEEE International Symposium on Robot and Human Interactive Communication}, year = {2007}, pages = {127--130}, doi = {10.1109/roman.2007.4415066} } @inproceedings{alyokhin2022thekrasnodar, author = {Max Alyokhin}, title = {The Krasnodar Public Transport Orchestra}, booktitle = {Web Audio Conference 2022}, year = {2022}, doi = {10.5281/zenodo.6770197}, abstract = {This paper describes the work of artist Max Alyokhin called "Concerto for public transport orchestra in four movements" and the web technologies used in its creation.} } @article{battier1979acomposingpr, author = {Marc Battier and Hannah-Leigh Bull}, title = {A Composing Program for a Portable Sound Synthesis System}, journal = {Computer Music Journal}, year = {1979}, volume = {3}, number = {3}, pages = {50}, doi = {10.2307/3679797} } @article{teitelbaum2006improvisatio, author = {Richard Teitelbaum}, title = {Improvisation, computers and the unconscious mind}, journal = {Contemporary Music Review}, year = {2006}, volume = {25}, number = {5-6}, pages = {497--508}, doi = {10.1080/07494460600990026} } @inproceedings{linden2009towardsareal, author = {Janet van der Linden and Erwin Schoonderwaldt and Jon Bird}, title = {Towards a real-time system for teaching novices correct violin bowing technique}, booktitle = {2009 IEEE International Workshop on Haptic Audio visual Environments and Games}, year = {2009}, pages = {81--86}, doi = {10.1109/have.2009.5356123} } @article{sansom2015dissolvingdu, author = {Matthew Sansom}, title = {Dissolving Dualities: Onto-epistemological Implications of Ecological Sound Art}, journal = {Contemporary Music Review}, year = {2015}, volume = {34}, number = {4}, pages = {267--280}, doi = {10.1080/07494467.2016.1140473} } @inproceedings{grani2015spatialsound, author = {Francesco Grani and Dan Overholt and Cumhur Erkut and Steven Gelineck and Georgios Triantafyllidis and Rolf Nordahl and Stefania Serafin}, title = {Spatial Sound and Multimodal Interaction in Immersive Environments}, booktitle = {Proceedings of the Audio Mostly 2015 on Interaction With Sound}, year = {2015}, pages = {1--5}, doi = {10.1145/2814895.2814919} } @inproceedings{parkinson2013composingsoc, author = {Adam Parkinson and Koray Tahiroğlu}, title = {Composing Social Interactions for an Interactive-spatial Performance System}, booktitle = {10th Sound and Music Computing Conference}, year = {2013}, doi = {10.5281/zenodo.850247}, abstract = {(Abstract to follow)} } @inproceedings{gounaropoulos2007aneuralnetwo, author = {Alex Gounaropoulos and Colin G. Johnson}, title = {A Neural Network Approach for Synthesising Timbres From Adjectives}, booktitle = {4th Sound and Music Computing Conference}, year = {2007}, doi = {10.5281/zenodo.849463}, abstract = {(Abstract to follow)} } @inproceedings{okamoto2021dmultizoneso, author = {Takuma Okamoto}, title = {2D Multizone Sound Field Synthesis with Interior-Exterior Ambisonics}, booktitle = {2021 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA)}, year = {2021}, pages = {276--280}, doi = {10.1109/waspaa52581.2021.9632736} } @inproceedings{lotis2012tribalismand, author = {Theodoros Lotis}, title = {Tribalism and local structures in a music and video installation}, booktitle = {Proceedings of the 7th Audio Mostly Conference: A Conference on Interaction with Sound}, year = {2012}, pages = {148--151}, doi = {10.1145/2371456.2371481} } @inproceedings{foster1991realtimesynt, author = {S.H. Foster and E.M. Wenzel and R.M. Tayior}, title = {Real Time Synthesis of Complex Acoustic Environments}, booktitle = {Final Program and Paper Summaries 1991 IEEE ASSP Workshop on Applications of Signal Processing to Audio and Acoustics}, year = {1991}, pages = {0_47--0_48}, doi = {10.1109/aspaa.1991.634098} } @article{giomi2003electroacous, author = {FRANCESCO GIOMI and DAMIANO MEACCI and KILIAN SCHWOON}, title = {Electroacoustic music in a multi-perspective architectural context: a sound installation for Renzo Piano's Auditorium in Rome}, journal = {Organised Sound}, year = {2003}, volume = {8}, number = {2}, pages = {157--162}, doi = {10.1017/s1355771803000050}, abstract = {This paper describes the musical and technical design and the realisation of a large-scale sound installation produced and realised by Centro Tempo Reale for the inauguration of Renzo Piano's new Auditorium in Rome. The installation, conceived by Luciano Berio, was mainly dedicated to electroacoustic music: the complex technological set-up offered a new instrument for which electroacoustic pieces were transcribed. The techniques and the aesthetic implications of this transcription process within the context of an installation are discussed.} } @inproceedings{thorn2020processualan, author = {Seth Dominicus Thorn and Halley Willcox and Sha Xin Wei}, title = {Processual and Experiential Design in Wearable Music Workshopping}, booktitle = {Proceedings of the 7th International Conference on Movement and Computing}, year = {2020}, pages = {1--8}, doi = {10.1145/3401956.3404235} } @inproceedings{raimond2008awebofmusica, author = {Yves Raimond and Mark B. Sandler}, title = {A Web of Musical Information.}, booktitle = {ISMIR}, year = {2008}, doi = {10.5281/zenodo.1414840} } @article{sayegh1989fingeringfor, author = {Samir I. Sayegh}, title = {Fingering for String Instruments with the Optimum Path Paradigm}, journal = {Computer Music Journal}, year = {1989}, volume = {13}, number = {3}, pages = {76}, doi = {10.2307/3680014} } @inproceedings{rouas2013talefollowin, author = {Jean-Luc Rouas and Boris Mansencal and Joseph Larralde}, title = {Tale Following: Real-time Speech Recognition Applied to Live Performance}, booktitle = {10th Sound and Music Computing Conference}, year = {2013}, doi = {10.5281/zenodo.850409}, abstract = {(Abstract to follow)} } @inproceedings{sanzsegura2017potentialofa, author = {R. Sanz-Segura and E. Manchado-Pérez}, title = {Potential of Application of Psychoacoustics to User/Product Interaction Design}, booktitle = {Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences}, year = {2017}, pages = {1--4}, doi = {10.1145/3123514.3123554} } @article{mcmanus2000mobilecomput, author = {Barbara McManus}, title = {Mobile computers in a community NHS trust: Is this a relevant context and environment for their use?}, journal = {Personal Technologies}, year = {2000}, volume = {4}, number = {2-3}, pages = {96--101}, doi = {10.1007/bf01324116} } @inproceedings{amc2019exploringthe, author = {Anıl Çamcı}, title = {Exploring the Effects of Diegetic and Non-diegetic Audiovisual Cues on Decision-making in Virtual Reality}, booktitle = {16th Sound and Music Computing Conference}, year = {2019}, doi = {10.5281/zenodo.3249315}, abstract = {(Abstract to follow)} } @inproceedings{vogt2010physiosonice, author = {Katharina Vogt and David Pirrò and Ingo Kobenz and Robert Höldrich and Gerhard Eckel}, title = {PhysioSonic - Evaluated Movement Sonification as Auditory Feedback in Physiotherapy}, booktitle = {Lecture Notes in Computer Science Auditory Display}, year = {2010}, doi = {10.1007/978-3-642-12439-6_6} } @inproceedings{bhattacharjee2012recognitiono, author = {Utpal Bhattacharjee}, title = {Recognition of Assamese Phonemes Using RNN Based Recognizer}, booktitle = {Lecture Notes in Computer Science Speech, Sound and Music Processing: Embracing Research in India}, year = {2012}, doi = {10.1007/978-3-642-31980-8_14} } @inproceedings{michon2021mobilemusicw, author = {Romain Michon and Yann Orlarey and Stéphane Letz and Dominique Fober and Catinca Dumitrascu}, title = {Mobile Music with the Faust Programming Language}, booktitle = {Lecture Notes in Computer Science Perception, Representations, Image, Sound, Music}, year = {2021}, doi = {10.1007/978-3-030-70210-6_20} } @article{varkey2012humanmotionr, author = {John Paul Varkey and Dario Pompili and Theodore A. 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