cited_by_cited_works	year	first_author	title	doi
24	2007	M Leman	Embodied music cognition and mediation technology	10.7551/mitpress/7476.001.0001
17	1978	Gibson	The Ecological Approach to the Visual Perception of Pictures	10.2307/1574154
15	2006	V Braun	Using thematic analysis in psychology	10.1191/1478088706qp063oa
12			Ambiguity as a resource for design	10.1145/642611.642653
12	2007	Magnusson	The acoustic, the digital and the body	10.1145/1279740.1279757
8	1998	C Small	Musicking: The meanings of performing and listening	
8	1990	Csikszentmihalyi	Flow: The Psychology of Optimal Experience	
8	2005	Collins N.	Audio Engineering Society Convention	
8			Too Many Notes: Computers, Complexity, and Culture in Voyager	10.1162/096112100570585
8	2000	Blaine	The Jam-O-Drum interactive music system	10.1145/347642.347705
8	2019	Frauenberger	Entanglement hci the next wave?	10.1145/3364998
8			Design: Cultural Probes	10.1145/291224.291235
8	2015	Katan	Using Interactive Machine Learning to Support Interface Development Through Workshops with Disabled People	10.1145/2702123.2702474
8	2011	Fiebrink	Human model evaluation in interactive supervised learning	10.1145/1978942.1978965
8			When Second Wave HCI Meets Third Wave Challenges	10.1145/1182475.1182476
8	2005	Latour B.	Reassembling the Social:An Introduction to Actor-Network-Theory: An Introduction to Actor-Network-Theory	10.1093/oso/9780199256044.001.0001
8			Spectromorphology: Explaining Sound-Shapes	10.1017/s1355771897009059
7	2015	McPherson Andrew	An Environment for Submillisecond-Latency Audio and Sensor Processing on BeagleBone Black. In Audio Engineering Society Convention 138	
7			Sonic Writing: Technologies of Material, Symbolic, and Signal Inscriptions	10.5040/9781501313899
7			Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning	10.2307/j.ctv12101zq
7			Adaptive gesture recognition with variation estimation for interactive systems	10.1145/2643204
7	2004	A Hunt	Multiple Media Interfaces for Music Therapy	10.1109/mmul.2004.12
7	1980	Russell	A circumplex model of affect.	10.1037/h0077714
6	2006	Braun Virginia	Using thematic analysis in psychology. Qualitative research in psychology 3, 2	
6	2009	Jensenius A. R.	Musical Gestures: Sound, Movement, and Meaning	
6	1971	Xenakis Iannis	Formalized Music: Thought and Mathematics in Composition. Bloomington and	
6	1990	DA Norman	The design of everyday things	
6			The embodied mind: cognitive science and human experience	10.7551/mitpress/6730.001.0001
6	1986	Dolson	The Phase Vocoder: A Tutorial	10.2307/3680093
6			What in the world do we hear? An ecological approach to auditory source perception	10.1207/s15326969eco0501_1
6	2002	Bellotti	Making sense of sensing systems	10.1145/503376.503450
6			“Entangling entanglement: a diffractive dialogue on hci and musical interactions,”	10.1145/3613904.3642171
6	1997	H Ishii	“Tangible bits: towards seamless interfaces between people, bits, and atoms,”	10.1145/258549.258715
6			Performance-led research in the wild	10.1145/2491500.2491502
6			The Space between the Notes: Adding Expressive Pitch Control to the Piano Keyboard.	10.1145/2470654.2481302
6	2013	Kirsh	Embodied cognition and the magical future of interaction design	10.1145/2442106.2442109
6			Staying open to interpretation: engaging multiple meanings in design and evaluation	10.1145/1142405.1142422
6	2009	N.H. Rasamimanana	Effort-based Analysis of Bowing Movements: Evidence of Anticipation Effects	10.1080/09298210902731386
6			Gesture in Embodied Communication and Human-Computer Interaction	10.1007/978-3-642-12553-9_14
5		A.	Trends in gestural control of music, Wanderley	
5	1991	Karjalainen	Transmission Line Modeling and Real-Time Synthesis of String and Wind Instruments,	
5	2005	Borgo	Sync or Swarm: Improvising Music In A Complex Age	
5	1989	Boei	R. A. et al. Gesture Sensing via Capacitive Moments. Work Project No. 311401-(2099,2399) AT&T Bell Laboratories	
5	1987	LA Suchman	Plans and situated actions: the problem of human–machine communication	
5	1987	Serra Smith	PARSHL: Analysis/Synthesis Program for Non-Harmonic Sounds Based on a Sinusoidal Representation.	
5	2000	Verplank B.	p: 368--371	
5		J.	Musical Applications of Digital Waveguides	
5	1978		} Moorer, A. 1978. "The Use of the Phase Vocoder in Computer Music Applications	
5	1991		LECTOR: An Ecclesiastical Latin Control Language for the SPASM/singer Instrument,	
5		Sidney	Fels and Kenji Mase. Iamascope: A Graphical Musical Instrument. Computers and Graphics	
5	2002		} Burzik, A. 2002. Practising in Flow---The Secret of the Masters	
5			Blues pour saqueboute: Hugh Le Caine pionnier de la musique électronique.	
5	1990	Bregman A. S.	Auditory Scene Analysis: The Perceptual Organization of Sound	10.7551/mitpress/1486.001.0001
5				10.5555/1142215.1142241
5	2010	Godøy	Chunking in Music by Coarticulation	10.3813/aaa.918323
5	1983	Jaffe D.	Extensions of the Karplus-Strong Plucked-String Algorithm	10.2307/3680063
5	2005	Tarabella	Music, communication, technology	10.22323/2.04010305
5			Designing for performative tangible interaction	10.1504/ijart.2008.022364
5			Emotional Coloring of Computer-Controlled Music Performances	10.1162/014892600559515
5	2014	E Cherry	Quantifying the creativity support of digital tools through the creativity support index	10.1145/2617588
5			Autobiographical Design in HCI Research: Designing and Learning Through Use-It-Yourself.	10.1145/2317956.2318034
5	2012	Gaver	What should we expect from research through design?	10.1145/2207676.2208538
5			On the oscillations of musical instruments	10.1121/1.390157
5	1986	McAulay	Speech analysis/Synthesis based on a sinusoidal representation	10.1109/tassp.1986.1164910
5	2018	Turchet	Internet of Musical Things: Vision and Challenges	10.1109/access.2018.2872625
5			Music At Hand: Instruments, Bodies, and Cognition	10.1093/acprof:oso/9780190271114.001.0001
5	1954	Fitts	The information capacity of the human motor system in controlling the amplitude of movement.	10.1037/h0055392
5	2000	Juslin	Cue utilization in communication of emotion in music performance: Relating performance to perception.	10.1037/0096-1523.26.6.1797
5	1998	Boone	Children's decoding of emotion in expressive body movement	10.1037/0012-1649.34.5.1007
5			Instrumental Listening: Sonic Gesture as Design Principle	10.1017/s1355771809000284
5	2005	L. Valbom	WAVE: Sound and music in an immersive environment	10.1016/j.cag.2005.09.004
4	1978	Sudnow D.	Ways of the Hand: The Organization of Improvised Conduct	
4			The Use of Linear Prediction of Speech in Computer Music Applications 	
4	1966	Schaeffer P.	Traité des objets musicaux	
4	1988	Norman	The Psychology of Everyday Things	
4		J.	pp. 526--534	
4	2007	Waters	Performance ecosystems: Ecological approaches to musical interaction	
4	2015	Karana Elvin	Material driven design (MDD): A method to design for material experiences	
4	1975		} Makhoul, J. 1975. "Linear Prediction: A Tutorial Review	
4	1994	Larouche	} Larouche, J. & J. Meillier 1994. "Multichannel Excitation/ Filter Modeling of Percussive Sounds with Application to the Piano	
4	2004	Kapur	} Kapur, A., Tzanetakis, G., & P. F. Driessen, "Audio-Based Gesture Extraction on the ESitar Controller	
4	1992	McNeill,	Hand and Mind: What Gestures Reveal about Thought	
4	1991	Roads	G. De Poli, A. Piccialli, & C	
4	1947		} Gabor, D. (1947)	
4	2007	Pasquinelli E.	Enaction and enactive interfaces: A handbook of terms	
4			Digital Waveshaping Synthesis 	
4	1990	M. Kartomi	On Concepts and Classifications of Musical Instruments	
4			 Bell Laboratories Record December. {Dudley 1939} Dudley H. 1939 	
4	1996		“On Actor-Network Theory: A Few Clarifications.”	
4		Steiglitz	1996 Digital Signal Processing Primer	
4	2006	D Huron	Sweet Anticipation. Music and the Psychology of Expectation	10.7551/mitpress/6575.001.0001
4	2015	Wakkary	Material Speculation: Actual Artifacts for Critical Inquiry	10.7146/aahcc.v1i1.21299
4				10.5555/76932
4				10.5555/1085152.1085156
4	2017	Joseph Malloch	The Routledge Companion to Embodied Music Interaction	10.4324/9781315621364-48
4	2013	R Sigrist	Augmented visual, auditory, haptic, and multimodal feedback in motor learning: a review	10.3758/s13423-012-0333-8
4	1973	Johansson	Visual perception of biological motion and a model for its analysis	10.3758/bf03212378
4	2016	Vamvakousis	The EyeHarp: A gaze-controlled digital musical instrument	10.3389/fpsyg.2016.00906
4			The museum of music: a history of mechanical instruments	10.2307/3391092
4	1988	Haraway	Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective	10.2307/3178066
4	1985	Flash T.	The coordination of arm movements: An experimentally confirmed mathematical model	10.1523/jneurosci.05-07-01688.1985
4	2003	Johnson	"Something in the Way She Moves"-Metaphors of Musical Motion	10.1207/s15327868ms1802_1
4			Emotional expression in music performance: Between the performer's intention and the listener's experience	10.1177/0305735696241007
4	2007	Bongers	Electronic Musical Instruments: Experiences of a New Luthier	10.1162/lmj.2007.17.9
4	1999	Assayag	Computer-Assisted Composition at IRCAM: From PatchWork to OpenMusic	10.1162/014892699559896
4			How I Learned to Love a Program That Does Nothing	10.1162/014892602320991365
4			Sense and sensibility: evaluation and interactive art	10.1145/642611.642654
4	2000	Bowers	Simple interfaces to complex sound in improvised music	10.1145/633292.633364
4	2019	Fdili Alaoui	Making an Interactive Dance Piece	10.1145/3322276.3322289
4	2016	Blythe	Anti-Solutionist Strategies	10.1145/2858036.2858482
4			Third-Wave HCI, 10 Years Later: Participation and Sharing	10.1145/2804405
4	2015	Vallgårda	Interaction Design as a Bricolage Practice	10.1145/2677199.2680594
4	2013	Favilla	Touch screen ensemble music	10.1145/2541016.2541088
4	2013	Tzanetakis	Blending the physical and the virtual in music technology	10.1145/2502081.2502238
4			moosikMasheens: Music, motion and narrative with young people who have complex needs.	10.1145/2485760.2485776
4			Beyond Affordance: Tangibles' Hybrid Nature	10.1145/2148131.2148168
4	2011	Latulipe	Love, hate, arousal and engagement	10.1145/1978942.1979210
4	2010	Fiebrink	Real-time interaction with supervised learning	10.1145/1753846.1753889
4			TouchTone: An electronic musical instrument for children with hemiplegic cerebral palsy.	10.1145/1709886.1709955
4	2010	Robles	Texturing the "material turn" in interaction design	10.1145/1709886.1709911
4	1993	Bier	Toolglass and magic lenses	10.1145/166117.166126
4			Creativity support tools: accelerating discovery and innovation	10.1145/1323688.1323689
4	2007	Zimmerman	“Research through design as a method for interaction design research in HCI,”	10.1145/1240624.1240704
4			Does music performance allude to locomotion? A model of final ritardandi derived from measurements of stopping runners	10.1121/1.426687
4	2007	T. Artieres	Online Handwritten Shape Recognition Using Segmental Hidden Markov Models	10.1109/tpami.2007.38
4	2008	Fraser	Walk the Walk, Talk the Talk	10.1109/iswc.2008.4911601
4	2019	Turchet	Smart Musical Instruments: Vision, Design Principles, and Future Directions	10.1109/access.2018.2876891
4	2001	Juslin	Music and emotion: Theory and research.	10.1093/oso/9780192631886.001.0001
4	2004	Kimura	Nonabelian gauge field and dual description of fuzzy sphere	10.1088/1126-6708/2004/04/058
4	2004	G. Widmer	Computational models of expressive music performance: The state of the art	10.1080/0929821042000317804
4	2018	Partesotti	Digital Instruments and their Uses in Music Therapy	10.1080/08098131.2018.1490919
4	2008	Magee	An Exploratory Study of the Use of Electronic Music Technologies in Clinical Music Therapy	10.1080/08098130809478204
4	2009	N. Bryan-Kinns	Identifying mutual engagement	10.1080/01449290903377103
4	1987	Guiard	Asymmetric Division of Labor in Human Skilled Bimanual Action	10.1080/00222895.1987.10735426
4			The playing of an accent–preliminary observations from temporal and kinematic analysis of percussionists	10.1076/jnmr.29.3.225.3090
4	2009	N.H. Rasamimanana	Perspectives on Gesture–Sound Relationships Informed from Acoustic Instrument Studies	10.1017/s1355771809000314
4	2003	Scipio	‘Sound is the interface’: from interactive to ecosystemic signal processing	10.1017/s1355771803000244
4			Composing instrument control dynamics	10.1017/s1355771802003059
4			Situated Learning: Legitimate Peripheral Participation	10.1017/cbo9780511815355
4	1988		Development of NASA-TLX (Task Load Index): Results of Empirical and Theoretical Research	10.1016/s0166-4115(08)62386-9
4			Designing for creative engagement	10.1016/j.destud.2008.07.009
4	1985	A.M. Liberman	The motor theory of speech perception revised	10.1016/0010-0277(85)90021-6
4			Vision based hand gesture recognition for human computer interaction: a survey	10.1007/s10462-012-9356-9
4	2004	Dahl	Expressiveness of Musician’s Body Movements in Performances on Marimba	10.1007/978-3-540-24598-8_44
3	2010		Vibrant Matter: A Political Ecology of Things	
3	2007	Harrison	The Three Paradigms of HCI.	
3	1987	Deleuze G.	A thousand plateaus: Capitalism and schizophrenia	
3	2000	Glinsky Albert	Theremin: Ether Music and Espionage	
3	1961	J. Cage	Silence: Lectures and Writings	
3		Akrich Madeleine	Shaping technology - Building Society: Studies in Sociotechnical Change	
3	1987	Latour	Science in Action: How to Follow Scientists and Engineers through Society	
3	1987	Suchman L. A.	Plans and Situated Actions	
3		Fiebrink Rebecca	Oxford Handbook of Algorithmic Music	
3	2006		New Digital Musical Instruments	
3	2020	loveridge	Networked music performance in virtual reality: Current perspectives	
3	2008	Stolterman E.	The nature of design practice and implications for interaction design research	
3	1998	Godlovitch, S.	Musical Performance: A Philosophical Study	
3	2016	Simondon G.	On the mode of existence of technical objects	
3	2018	McPherson A	HCI and Crowdfunding Approaches. New Directions in Music and HCI. Forthcoming	
3	1956	Meyer	Emotion and meaning in music.	
3	1967	BG Glaser	Discovery of grounded theory: Strategies for qualitative research	
3	2005	Jordà Sergi	Digital Lutherie: Crafting Musical Computers for New Musics	
3		Wenger Etienne	Communities of practice: Learning, meaning, and identity	
3	2005	Ghazala Reed	Circuit Bending: Build Your Own Alien Instruments	
3	1975	Csikszentmihalyi M.	Beyond boredom and anxiety	
3	1999	Carpenter L.	Ars Electronica: Facing the future	
3		Graham-Knight Kimberlee	Adaptive Music Technology: History and Future Perspectives	
3	2004	Bowman D. A.	3D user interfaces: theory and practice	
3	2016	Bergsland	Turning movement into music – Issues and applications of the MotionComposer, a therapeutic device for persons with different abilities	10.7146/se.v6i1.24911
3				10.5555/2993778.2993819
3	2021	Morreale	Where Does the Buck Stop? Ethical and Political Issues with AI in Music Creation	10.5334/tismir.86
3	2020	Born	Diversifying MIR: Knowledge and Real-World Challenges, and New Interdisciplinary Futures	10.5334/tismir.58
3	2021	Caillon	Rave: a variational autoencoder for fast and high-quality neural audio synthesis	10.48550/arxiv.2111.05011
3	2009	Lederman	Haptic perception: A tutorial	10.3758/app.71.7.1439
3	2018	Höök	Embracing First-Person Perspectives in Soma-Based Design	10.3390/informatics5010008
3	2014	Maes	Action-based effects on music perception	10.3389/fpsyg.2013.01008
3	2016	Bevilacqua	Sensori-Motor Learning with Movement Sonification: Perspectives from Recent Interdisciplinary Studies	10.3389/fnins.2016.00385
3	1994	McMillen	ZIPI: Origins and Motivations	10.2307/3681357
3	1988	Pressing	Nonlinear Maps as Generators of Musical Design	10.2307/3679940
3	1992	Buchanan	Wicked Problems in Design Thinking	10.2307/1511637
3	2015	Leman	The Role of Embodiment in the Perception of Music	10.18061/emr.v9i3-4.4498
3	2018	Dickens	Facilitating Accessibility in Performance: Participatory Design for Digital Musical Instruments	10.17743/jaes.2018.0010
3	2006	Z Eitan	How Music Moves	10.1525/mp.2006.23.3.221
3	1995	Born	Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-garde	10.1525/9780520916845
3	2006	E Miranda	Brain-computer music interface for composition and performance	10.1515/ijdhd.2006.5.2.119
3	1998	Stiegler B.	Technics and time, 1: The fault of Epimetheus	10.1515/9781503616738
3	1995	B Jordan	Interaction Analysis: Foundations and Practice	10.1207/s15327809jls0401_2
3	1989	Gaver	The SonicFinder: An Interface That Uses Auditory Icons	10.1207/s15327051hci0401_3
3	1993	Gaver	How Do We Hear in the World? Explorations in Ecological Acoustics	10.1207/s15326969eco0504_2
3	2010	Bijsterveld	Composing claims on musical instrument development: A science and technology studies' contribution	10.1179/030801810x12723585301039
3	2011	Miranda	Brain-Computer Music Interfacing (BCMI): From Basic Research to the Real World of Special Needs	10.1177/1943862111399290
3	2011	DeCuir-Gunby	Developing and Using a Codebook for the Analysis of Interview Data: An Example from a Professional Development Research Project	10.1177/1525822x10388468
3	1997	Krumhansl	Can Dance Reflect the Structural and Expressive Qualities of Music? A Perceptual Experiment on Balanchine's Choreography of Mozart's Divertimento No. 15	10.1177/102986499700100105
3	2011	Thompson	Exploring relationships between pianists’ body movements, their expressive intentions, and structural elements of the music	10.1177/1029864911423457
3			Toward a computational model of expression in performance: The GERM model	10.1177/10298649020050s104
3	2004		“Breaking into a World of Perfection: Innovation in Today’s Classical Musical Instruments.”	10.1177/0306312704047171
3	2011	Hamilton	Social Composition: Musical Data Systems for Expressive Mobile Music	10.1162/lmj_a_00062
3	2010	Dudas	Comprovisation: the various facets of composed improvisation within interactive performance systems	10.1162/lmj_a_00009
3	2016	Johnston	Opportunities for Practice-Based Research in Musical Instrument Design	10.1162/leon_a_01121
3	2013	Sanfilippo	Feedback Systems: An Analytical Framework	10.1162/comj_a_00176
3	2002	Ostertag	Human Bodies, Computer Music	10.1162/096112102762295070
3	2003	G. Hickok	Auditory–Motor Interaction Revealed by fMRI: Speech, Music, and Working Memory in Area Spt	10.1162/089892903322307393
3	2001	J. Haueisen	Involuntary Motor Activity in Pianists Evoked by Music Perception	10.1162/08989290152541449
3	2007	Sanger	Bayesian Filtering of Myoelectric Signals	10.1152/jn.00936.2006
3	2004	G Rizzolatti	THE MIRROR-NEURON SYSTEM	10.1146/annurev.neuro.27.070203.144230
3	2003	Wu	Multi-finger and whole hand gestural interaction techniques for multi-user tabletop displays	10.1145/964696.964718
3	2024	Reed	Sonic Entanglements with Electromyography: Between Bodies, Signals, and Representations	10.1145/3643834.3661572
3			“CO/DA: live-coding movement-sound interactions for dance improvisation,”	10.1145/3491102.3501916
3			Unpacking non-dualistic design: the soma design case	10.1145/3462448
3	2000	Beaudouin-Lafon	Reification, polymorphism and reuse	10.1145/345513.345267
3			“Articulating soma experiences using trajectories,”	10.1145/3411764.3445482
3	2019	Andersen	Digital crafts-machine-ship	10.1145/3373644
3	2019	Boem	Non-Rigid HCI	10.1145/3322276.3322347
3	2019	Speicher	What is Mixed Reality?	10.1145/3290605.3300767
3	2019	Frich	Mapping the Landscape of Creativity Support Tools in HCI	10.1145/3290605.3300619
3			A functional taxonomy of music generation systems	10.1145/3108242
3	2017	Höök	Soma-Based Design Theory	10.1145/3027063.3027082
3			ImproteK: Introducing Scenarios into Human–Computer Music Improvisation	10.1145/3022635
3			Affordance, Conventions, and Design	10.1145/301153.301168
3	2016	Martin	Intelligent Agents and Networked Buttons Improve Free-Improvised Ensemble Music-Making on Touch-Screens	10.1145/2858036.2858269
3	2015	Chiang	Oncall Piano Sensei	10.1145/2788940.2794353
3	2015	Graham-Knight	Adaptive music technology using the Kinect	10.1145/2769493.2769583
3	2014	Andersen	The deliberate cargo cult	10.1145/2598510.2598596
3	2014	Caramiaux	The Role of Sound Source Perception in Gestural Sound Description	10.1145/2536811
3	2013	Xambó	Let's jam the Reactable: peer learning during musical improvisation with a tabletop tangible interface	10.1145/2530541
3	2013	Griffin	Priming creativity through improvisation on an adaptive musical instrument	10.1145/2466627.2466630
3			The Role of Cultural Forms in Tangible Interaction Design	10.1145/2460625.2460643
3			Pianos not stereos: creating computational construction kits	10.1145/234757.234762
3	2012	Alaoui	Movement qualities as interaction modality	10.1145/2317956.2318071
3	2012	Rasamimanana	The urban musical game	10.1145/2212776.2212377
3	2011	McPherson A.	Multidimensional gesture sensing at the piano keyboard	10.1145/1978942.1979355
3	2010	Höök	Transferring qualities from horseback riding to design	10.1145/1868914.1868943
3	2010	Holland	Feeling the beat where it counts	10.1145/1709886.1709892
3			The reification of metaphor as a design tool	10.1145/1188816.1188820
3	2006	Klemmer	How bodies matter	10.1145/1142405.1142429
3	2004	Forlizzi	Understanding experience in interactive systems	10.1145/1013115.1013152
3	2002	E Kohler	Hearing Sounds, Understanding Actions: Action Representation in Mirror Neurons	10.1126/science.1070311
3			Perception of Touch Quality in Piano Tones.	10.1121/1.4896461
3	2011	Gillespie	Embodied cognition as a motivating perspective for haptic interaction design: A position paper	10.1109/whc.2011.5945533
3	2005	Shengli Fu	Audio/visual mapping with cross-modal hidden Markov models	10.1109/tmm.2005.843341
3	2011	Zen	Continuous Stochastic Feature Mapping Based on Trajectory HMMs	10.1109/tasl.2010.2049685
3	2017	Wu	Open symphony: creative participation for audiences of live music performances	10.1109/mmul.2017.19
3	2013	Paine	New Musical Instrument Design Considerations	10.1109/mmul.2013.60
3	1983	Shneiderman	Direct Manipulation: A Step Beyond Programming Languages	10.1109/mc.1983.1654471
3	2011	Huang	Piano AR: A Markerless Augmented Reality Based Piano Teaching System	10.1109/ihmsc.2011.82
3	None	Lyons	Facial gesture interfaces for expression and communication	10.1109/icsmc.2004.1398365
3			Computer assisted music therapy: A case study of an augmented reality musical system for children with cerebral palsy rehabilitation	10.1109/icalt.2009.111
3	2019	Cai	Design and Implementation of AR-Supported System for Piano Learning	10.1109/gcce46687.2019.9015530
3	2001	Cowie	Emotion recognition in human-computer interaction	10.1109/79.911197
3	1989	L.R. Rabiner	A tutorial on hidden Markov models and selected applications in speech recognition	10.1109/5.18626
3	2010	Berthaut	Piivert: Percussion-based interaction for immersive virtual environments	10.1109/3dui.2010.5444728
3	1950	Turing	Computing machinery and intelligence	10.1093/mind/lix.236.433
3		Demers Joanna	Listening through the noise: the aesthetics of experimental electronic music	10.1093/acprof:oso/9780195387650.001.0001
3	1999	Fletcher	The nonlinear physics of musical instruments	10.1088/0034-4885/62/5/202
3	2019	Braun	Reflecting on reflexive thematic analysis	10.1080/2159676x.2019.1628806
3	2009	Biasutti	Dimensions of Music Improvisation	10.1080/10400410902861240
3	2021	Sullivan	Surveying Digital Musical Instrument Use in Active Practice	10.1080/09298215.2022.2029912
3			Formulating a revised taxonomy for modes of listening	10.1080/09298215.2011.614951
3	2004	G. De Poli	Methodologies for expressiveness modeling of and for music performance	10.1080/0929821042000317796
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3	2019	Samuels	Performance without Barriers: Improvising with Inclusive and Accessible Digital Musical Instruments	10.1080/07494467.2019.1684061
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