@inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.1958)} } @inproceedings{related: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}, abstract = {This paper outlines the development and application of Gestate, a prototype non-tactile gestural system intended for the augmentation of vocal and piano performance. Influenced by embodied and experiential mapping approaches, the design builds on a performer's existing movement language and patterns by mapping ancillary movements to digital signal processing and virtual instrument parameters. The mapping strategies employed in the Gestate system address the absence of haptic feedback inherent in non-tactile interfaces by providing additional cues for the performer in the form of visual feedback. Reflections on the prototyping process and subsequent performances provide insights into the experience of integrating gestural technologies in contemporary performance practice.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.1827)} } @inproceedings{related: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}, abstract = {In Extended Reality (XR), complex acoustic environments often overwhelm users, compromising both scene awareness and social engagement due to entangled sound sources. We introduce MoXaRt, a real-time XR system that uses audio-visual cues to separate these sources and enable fine-grained sound interaction. MoXaRt’s core is a cascaded architecture that performs coarse, audio-only separation in parallel with visual detection of sources (e.g., faces, instruments). These visual anchors then guide refinement networks to isolate individual sources, separating complex mixes of up to 5 concurrent sources (e.g., 2 voices + 3 instruments) with ∼ 2 second processing latency. We validate MoXaRt through a technical evaluation on a new dataset of 30 one-minute recordings featuring concurrent speech and music, and a 22-participant user study. Empirical results indicate that our system significantly enhances speech intelligibility, yielding a 36.2% (p < 0.01) increase in listening comprehension within adversarial acoustic environments while substantially reducing cognitive load (p < 0.001), thereby paving the way for more perceptive and socially adept XR experiences.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.1752)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.1689)} } @inproceedings{related: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.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.124)} } @inproceedings{related: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}, abstract = {Automatic generation of 3D dance motion, in response to live music, is a challenging task. Prior research has assumed that either the entire music track, or a significant chunk of music track, is available prior to dance generation. In this paper, we present a novel production-ready system that can generate highly realistic dances in reaction to live music. Since predicting future music, or dance choreographed to future music, is a hard problem, we trade-off perfect choreography for spontaneous dance-motion improvisation. Given a small slice of the most recently received audio, we first determine where the audio include music, and if so extract high-level descriptors of the music such as tempo and energy. Based on these descriptors, we generate the dance motion. The generated dance is a combination of previously captured dance sequences as well as randomly triggered generative transitions between different dance sequences. Due to these randomized transitions, two generated dances, even for the same music, tend to appear very different. Furthermore, our system offers a high level of interactivity and personalization, allowing users to import their personal 3D avatars and have them dance to any music played in the environment. User studies show that our system provides an engaging and immersive experience that is appreciated by users.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.1237)} } @article{related: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}, abstract = {The Crown of Ariadne, R. Murray Schafer's work for solo harp positioned within a large percussion set up, has become a gem of the solo harpist's contemporary repertoire. However, it is one that still brings up multiple questions with regards to modern performance practice for the twenty-first century harpist, as both a theatrical and a technical work. The aim of this article is to explore the performance practices associated with The Crown of Ariadne, especially the purpose and implications of the choreography. Does the written-out choreography serve a theatrical purpose, or is it used to illustrate the desired instrumental technique? If the choreography is purely technical, what are the implications of a performer not from the Salzedo tradition performing the work, and do the motions therefore become contrived or unnecessary? If it is theatrical, should the harpist approach learning the work as an actor, as well as a musician? The discussion will be divided into two main sections: the technique and performance styles of different harpists, and suggestions on how to prepare this work as an actor. My research has stemmed from comparing the written gestures to those found in dance notation, a series of interviews with harpists that have both performed and taught the work, discussions on the Carlos Salzedo and Marcel Grandjany traditions, and excerpts from Salzedo's literature. In addition, I will discuss how to approach this work as an actor and performer by analysing different acting techniques, discussing the role of The Crown of Ariadne in Schafer's larger work Partia V: The Crown of Ariadne, and examining the Patria cycle with regards to Schafer's role in the environmental theatre movement.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.122)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.1209)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.1143)} } @inproceedings{related:s2001expressiveco, 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.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.109)}, author = {Serafin, S. and Burtner, M. and Nichols, C. and O'Modhrain, S.} } @article{related: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}, abstract = {This paper outlines new developments in the use of the UPIC computer music system of Iannis Xenakis. A new technique for real-time performance is described, along with suggestions for the necessary graphic notation. Examples are given from two recent works which use the UPIC as a performance instrument.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.1051)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0974)} } @article{related: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}, abstract = {Physical models of musical instruments are interesting from different perspectives. The scientist, being able to reproduce the sound of a particular instrument, shows that the physics of that instrument has been understood. The performer can take advantage of the virtual instruments which are often easier to play than real ones. The composer can use physically modelled instruments to obtain sonorities that cannot be created on the physical instrument. In this paper we explore the boundaries of a physical model by ing a bowed string physical model from its analog material controller, and implementing this model within another instrumental controller, the metasaxophone. We focus on different effects that can be obtained through extending the possibilities offered by a physical model of bowed string instruments through the use of alternate controllers.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.094)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0927)} } @inproceedings{related: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}, abstract = {We present an experiment designed to reveal characteristics of a tactile display that presents vibrations representing music to the back of the body. Based on the model human cochlea, a sensory substitution system aimed at translating music into vibrations, we are investigating the use of larger contactor sizes (over 10mm in diameter) as an effective device for the detection of signals originating from music. Using the method of limits, we measured ability to discriminate the frequency of vibrotactile stimuli across a wide range of frequencies common to western classical harmonic music. Vibrotactile stimuli were presented to artificially deafened participants using a large contactor applied to the back. Between 65 Hz (C2) and 1047 Hz (C6), frequency difference limens (FDL) were consistently less than 1/3 of an octave and as small as 200 cents. These findings suggest that vibrotactile information can be used to support the experience of music even in the absence of sound, and that voice coils are effective in presenting some characteristics of sound as vibrations.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0903)} } @article{related: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}, abstract = {Technology and applications for the rendering of virtual acoustic spaces are reviewed. Chapter 1 deals with acoustics and psychoacoustics. Chapters 2 and 3 cover cues to spatial hearing and review psychoacoustic literature. Chapter 4 covers signal processing and systems overviews of 3-D sound systems. Chapter 5 covers applications to computer workstations, communication systems, aeronautics and space, and sonic arts. Chapter 6 lists resources. This TM is a reprint of the 1994 book from Academic Press.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.086)} } @inproceedings{related: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}, abstract = {Recent novel work integrating virtual acoustic auralization with architectural models implemented in virtual reality (VR) allow scholars of the humanities and sciences to reimagine and reconstruct sites and to reanimate and contextualize situations that are no longer in extant. By introducing the audio domain, researchers are creating new hypotheses regarding everyday life and ritual practices in ancient societies. These methods are proving to be vital in advancing research as well as making the past more accessible. Here we outline methods and emerging practices. We demonstrate the potential of auralization and VR with two case studies: Chauvet-Pont-D’Arc, a cave sanctuary for paleolithic art in the Ardèche valley in France, and a funerary tomb from the third dynasty in Saqqara, Egypt. We demonstrate how spatial audio in immersive simulations offers researchers the ability to create and test novel hypotheses about the sites and structures they study. We further describe the creation of an auralization and immersive model of a church in Venice, Italy and a soundscape in Isfahan, Iran. We propose that these examples demonstrate the enormous potential in incorporating immersive simulations and describe methods that offer new perspectives and critical anthropological knowledge to humanities research.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0843)} } @inproceedings{related:lab2003investigatio, 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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0821)}, title = {Investigation of the Playability of Virtual Bowed Strings}, author = {Serafin, Stefania and Young, Diana} } @inproceedings{related: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}, abstract = {To date, little attention has been devoted by the research community to applications of the Internet of Things (IoT) paradigm to the field of interactive sonification. The IoT has the potential to facilitate the emergence of novel forms of interactive sonifications that are the result of shared control of the sonification system by both the user performing the gestures locally to the system itself, and one or more remote users. This can for instance impact therapies based on auditory feedback where the control of the sound generation may be shared by patients and doctors remotely connected. This paper describes a prototype of connected shoes for interactive sonification that can be remotely controlled and can collect data about the gait of a walker. The system targets primarily clinical applications where sound stimuli are utilized to help guide and improve walking actions of patients with motor impairments.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0799)} } @article{related: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}, abstract = {This paper presents a psychoacoustically based method of data reduction motivated by the desire to analyze the rhythm of musical performances. The resulting information is then analyzed by the “Periodicity Transform” (which is based on a projection onto “periodic subspaces”) to locate periodicities in the resulting data. These periodicities represent the rhythm at several levels, including the “pulse”, the “measure”, and larger structures such as musical “phrases.” The implications (and limitations) of such automated grouping of rhythmic features is discussed. The method is applied to a number of musical examples, its output is compared to that of the Fourier Transform, and both are compared to a more traditional “musical” analysis of the rhythm. Unlike many methods of rhythm analysis, the techniques can be applied directly to the digitized performance (i.e., a sound- file) and do not require a musical score or a MIDI transcription. Several examples are presented that highlight both the strengths and weaknesses of the approach.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0798)} } @inproceedings{related:s2000interactived, 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.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0794)}, author = {Sapir, S.} } @inproceedings{related: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}, abstract = {We present a new interactive sound installation to be explored by movement, specifically by the movement qualities extracted from the motion tracking data. There is an indirection between movement and sound: movement qualities control a dynamical system (in our case a flock of agents), which in turn controls the visual and sonic feedback of the interface. The movement qualities are extracted by simple measures. The system is implemented, evaluated, and will be demonstrated during MOCO'15.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0767)} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0762)} } @inproceedings{related:camurri2012theeyeswebhu, 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.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0714)}, title = {The EyesWeb Human Movement Analysis Library}, author = {Piana, Stefano and Camurri, Antonio} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0703)} } @inproceedings{related: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}, abstract = {This paper discusses the design of audio-visual sound toys in Cyberdream, a virtual reality music visualization. While an earlier version of this project for Oculus GearVR provided a journey through audio-visual environments related to 1990s rave culture, the most recent iteration for Oculus Quest provides the addition of three audio-visual sound toys, the discussion of which is the main focus of this paper. In the latest version, the user flies through synaesthetic environments, while using the interactive controllers to manipulate the audio-visual sound toys and 'paint with sound'. These toys allow the user to playfully manipulate sound and image in a way that is complementary to, and interfaces with, the audio-visual backdrop provided by the VR music visualization. Through the discussion of novel approaches to design, the project informs new strategies in the field of VR music visualizations.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.07)} } @inproceedings{related: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}, abstract = {Hip-hop dance battles are events where dancers improvise to an unfamiliar DJ’s mix. The dancers’ technicality in responding to the music, along with the collective dimensions of these encounters, represents a largely unexplored area of investigation in HCI. Using an autobiographical design approach grounded in the hip-hop practice of the first author, we developed five interaction scenarios on a hip-hop–specific movement vocabulary. Our interactive sonification enables both individual and collective improvisation through synchronized motion sensing and interactive sound loops. This approach allowed us to design three interconnected workshops to investigate how dancers use sonification in improvisation. Our findings show that sonification was perceived either as a validation of movement or as a medium for open-ended exploration. We contribute with: (1) the formalization of a movement vocabulary and the design of interactive scenarios for hip-hop movement sonification, (2) insights into how dancers experience sonification through exploration and improvisation, and (3) guidelines for the design of movement sonification in hip-hop contexts.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0691)} } @article{related: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}, abstract = {In my experience with electronic music, the studio environment has always presented a major problem. Music is a social phenomenon; the musical act reaches fruition in performance. To work in the studio producing works which have their existence only as recordings seems artificial to me. Yet the cost and technical sophistication of electronic music facilities, particularly where computation is involved, seems to imply that Mohammed comes to the mountain, and this approach has been further emphasized by the development of general-purpose computer music systems which are as far as possible without personality of their own and can supposedly serve the needs of a variety of composers. Furthermore, even in those institutions which can afford such facilities it may be impossible to have a system dedicated totally to musical tasks, presenting additional problems of access.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0671)} } @inproceedings{related:s2000amultiratefi, 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.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0664)}, author = {Serafin, S. and Smith, J. O.} } @inproceedings{related: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.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0661)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.066)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.066)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.066)} } @inproceedings{related: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}, abstract = {Instrumental music conveys rich affective experiences through acoustic cues, yet instrumental passages often remain inaccessible to Deaf and Hard-of-Hearing (DHH) audiences. Although captioning practices for vocal songs have expanded, instrumental music remains largely uncaptioned, with no established criteria for representing musical content in text. We propose µCap (Music Captions), an automatic instrumental music captioning system that transforms instrumental audio into time-aligned, non-lexical textual renderings enhanced with simple visuals. Drawing on Preliminary surveys with DHH individuals and expert group discussions, we developed a phonetic-like captioning schema grounded in music sound analysis and linguistics. We then implemented µCap using audio feature extraction and a retrieval-augmented generation pipeline to produce expressive, sound-mimetic captions. Two user evaluations with DHH participants (n=20 and n=15) showed that µCap enhanced music appreciation, immersion, and perceived presence of acoustic detail. This work contributes empirical evidence and insights for designing caption-based visual representations that make instrumental music more accessible.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0627)} } @inproceedings{related: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}, abstract = {Athanasius Kircher’s Sonic Playground is an interactive virtual reality (VR) installation that explores architectural acoustics through spatial sound simulation and realtime user engagement. Developed in Unreal Engine 5.4.4 using the Meta XR plugin, the project employs acoustic ray tracing for realistic auralisation and six degrees of freedom (6DoF) binaural audio rendering, enabling users to interact with acoustically responsive virtual spaces. Inspired by seventeenth-century polymath Athanasius Kircher, one of the first scholars to formalise the analogies between sound and light propagation, the project reimagines his acoustic theories and studies within a virtual environment. It features a series of four architecturally resonant spaces: a reconstructed model of the Ear of Dionysius, an elliptical domed chamber, a labyrinth, and a minimalist cathedral-like structure. These environments are designed to recreate acoustic phenomena characteristic of historic architecture such as whispering gallery effects, echo layering, and reverberant decay. Users engage with the environments through controller-triggered impulses, theoretical instruments, and live voice input captured via the headset’s microphone, receiving real-time auditory feedback shaped by the scene’s geometry and materials. By combining early modern acoustic theory with contemporary VR design, Athanasius Kircher’s Sonic Playground provides a playful yet acoustically rigorous framework for investigating architectural acoustics and the relationship between spatial form and auditory perception. The project contributes to current work in immersive cultural heritage, virtual acoustics, and design-led research, proposing a model of interactive auralisation that merges scientific inquiry with speculative reconstruction.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0615)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0601)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0535)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0532)} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0516)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.051)} } @inproceedings{related: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}, abstract = {Recording music-related motions in ecologically valid situations can be challenging. We investigate the performance of three devices providing 3D acceleration data, namely Axivity AX3, iPhone 4s and a Wii controller tracking rhythmic motions. The devices are benchmarked against an infrared motion capture system, tested on both simple and complex music-related body motions, and evaluations are presented of the data quality and suitability for tracking music-related motions in real-world situations. The various systems represent different trade-offs with respect to data quality, user interface and physical attributes.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0476)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0464)} } @inproceedings{related:camurri2004expressivege, 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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0434)} } @article{related: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}, abstract = {One of the main difficulties in studying expression in musical performance is the acquisition of data. While audio recordings abound, automatically extracting precise information related to timing, dynamics, and articulation is still not possible at the level of precision required for large-scale music performance studies. In 1989, the Russian pianist Nikita Magaloff performed essentially the entire works for solo piano by Frédéric Chopin on a Bösendorfer SE, a computer-controlled grand piano that precisely measures every key and pedal action by the performer. In this paper, we describe the process and the tools for the preparation of this collection, which comprises hundreds of thousands of notes. We then move on to presenting the results of initial exploratory studies of the expressive content of the data, specifically effects of performer age, performance errors, between-hand asynchronies, and tempo rubato. We also report preliminary results of a systematic study of the shaping of particular rhythmic passages, using the notion of phase-plane trajectories. Finally, we briefly describe how the Magaloff data were used to train a performance rendering system that won the 2008 Rencon International Performance Rendering Contest.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0433)} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0433)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0426)} } @inproceedings{related:m2000extendedperf, 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.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0425)}, author = {Burtner, M. and Serafin, S.} } @inproceedings{related: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}, abstract = {The purpose of this paper is to report on an ongoing experimental work on vibratory feedback perception, in the case of the solid body electric guitar. The aim of this work is to understand the link between effective vibrotactile information transmitted to the body of the musician, through a reproduction of the real vibratory signal (when guitar players pluck the strings) thanks to actuators. The experiment conducted for this work shows similarities between the two signals (plucked-string excitation and re-injected excitation) and in each case, the frequencies near the string’s fundamental and partial components clearly emerge in the vibration measurements. Perceptual tests must be conducted to understand which contribution (string or guitar body modes) is the most important regarding the musician’s perception, and these tests will be conducted to link the results to the human perception.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0401)} } @inproceedings{related:brazil2017livecodingco, 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.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0383)}, title = {Live Coding Console with Remote Audience into the Web}, author = {Lunhani, Guilherme Martins and Schiavoni, Flávio Luiz} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.038)} } @article{related: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}, abstract = {The design and construction of an organised sound space to support information representations in the human–computer interface is described. The design of the sound space is guided by four principles which match perceptual structure with data structure to improve natural comprehension of an auditory display. These principles – completeness, comprehensibility, consistency, and cohesiveness – have been generalised from the use of colour displays in scientific visualisation. The choice of perceptual parameters to represent different types of data is informed by the body of psychoacoustic literature. The raw material for the construction of the sound space is the McGill University Master Samples (MUMS) palette of musical instrument samples. This is an important choice because this reference resource enables reproduction and confirmation of the results. The construction was carried out in four stages – the ‘pedestal’, the ‘skin’, the ‘skeleton’ and the ‘flesh’. The pedestal consists of eight equally discriminable timbres organised in a circle by perceptual similarity. The skin is the boundary of variation in the space, defining the limits of dynamic range for pitch and brightness at each timbre. The skeleton characterises the internal behaviour of the space at a number of perceptually measured points. The flesh is a continuous medium moulded to the skeleton and skin, realised by a three-dimensional (3D) regularised linear spline interpolation. The concrete realisation of the sound space can be investigated through a user interface, called the GamutExplorer. Colour visualisations of slices and wireframe views of the 3D space can be chosen, and sounds can be picked with a mouse.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0356)} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0354)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0348)} } @article{related: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}, abstract = {Exformation Trilogy is a mixed music triptych that the Swedish composer Jesper Nordin plans to complete by 2017 using his Gestrument application. Sculpting the Air—the first piece of this cycle—is conceived as a concerto for conductor with live electronics. The composer’s work addresses the issue of the frequent lack of relationship between musicians and real-time electronic processing. In this piece, he employs two motion sensors, allowing the conductor to trigger sound files or to process instrumental sounds gesturally. We attended almost every work session during the production of the piece at Institute for Research and Communication in Acoustics/Music, and therefore collected a substantial amount of ethnographic data, in order to focus both on the creative process of the piece and the musical practice of the conductor in such a technological environment. This paper deals with the evolution of the setup and the composer’s writing strategies—including the notation of musical gestures, the compromises between technological and human constraints, and the conductor’s learning and performance of the piece.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.031)} } @article{related: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}, abstract = {The Computer Audio Research Laboratory (CARL), now under construction at UCSD's Center for Music Experiment (CME), has been in operation since the spring of 1980. CARL is intended to become a complete, coherent sound system, capable of acting as a tool for digital audio research, music composition, performance, and education. By design, CARL is to be capable of doing virtually anything that is possible with sound. This article outlines the overall design, goals, activities, and current status of the CARL system. The complete CARL system is shown in a schematic way in Fig. 1. The largest box in the diagram contains the waveform synthesis and signal processing functions; these must be implemented in hardware in any real-time system. Performance and control functions may be shared between hardware and software. Composing and analysis software are usually independent of real time, since they generally address problems of music and sound independently of its performance.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0308)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0299)} } @article{related: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}, abstract = {This paper discusses spatial sound movement in Xenakis's music from Pithoprakta (1955–56) to Alax (1985). Evolution of stochastic sound masses in Pithoprakta is linked to a rudimentary form of motion of sound on the stage. Eonta (1963–64) explores performer movement and the directional quality of brass instruments (e.g., change of timbre through axial rotations of the players). In Terretektorh (1965–66), for orchestra scattered among the audience, apparent sound motion is constructed by means of Archimedean, logarithmic and hyperbolical spirals. The climax of Persephassa (1969) consists of several superimposed layers of sound, rotating simultaneously in different directions. Alax (1985) for three identical ensembles, presents spatial canons, sound planes, etc. Xenakis's original use of spatial sound movement in music juxtaposes technical sophistication with an overwhelming forcefulness of expression.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0293)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.029)} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.027)} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0269)} } @inproceedings{related: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}, abstract = {The Leap Motion device opens new doors for mapping various degrees of human motion for musical control and expression. In this paper, we explore implementations of the Leap Motion in sound synthesis and interactive live performance. The Leap Motion is a USB computer peripheral released in mid-2013 that uses IR cameras to track hand and finger location with unprecedented accuracy. Discussed implementations include a 5-grain granular synthesizer created in Max/MSP that connects to the Leap Motion, allowing users to trigger individual grains using finger and hand motion. The Leap Motion is also interfaced with Ableton Live, software synthesizers and a 6-channel hemispherical speaker. The benefits and limitations of these implementations are discussed in light of recent compositions and performances.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0245)} } @inproceedings{related: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}, abstract = {‘Nightports at Hull Minster’ is a musical project that harnesses spatialization techniques to present music composed of the sounds of Hull Minster, UK, in both the location itself and alternative performance spaces, whilst still expressing the spatiality of the location. The project involves a live electronic music performance by Nightports (The Leaf Label), using only sounds recorded in the Minster itself, spatialized in real-time by another performer across a 25-loudspeaker array. In total, three variant approaches are detailed: a physical acousmonium in-situ; a hybrid acousmonium and virtualmonium; and headphone-targeted virtualizations. To achieve virtualization, spatial room impulse response measurements were taken across the diffusion array to capture the characteristics of the loudspeaker arrangement implemented in the Minster. A scalable and adaptable spatialization system was devised to realize the different iterations and is detailed in this paper, alongside observations on the performative ramifications, compositional preoccupations, and potential developments of the project.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0227)} } @inproceedings{related: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}, abstract = {Many computer-aided music composition tools provide the capability for loop construction, including specialized input metaphors in the form of circular sequencers. Music videos and live VJ performances are usually built on already finished music, using contrasting acoustic patterns or cued spots as synchronization anchors. The act of composing music and the production of video material is considered work and usually involves the use of professional software that requires specific training and experience.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0227)} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0218)} } @inproceedings{related: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.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0195)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0192)} } @inproceedings{related: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}, abstract = {We present TempoWatch, a wearable smartwatch-based interface designed to allow dance instructors to control music playback and tempo directly on their wrist via touch gestures using a circular watch display. Dance instructors have unique requirements with respect to music playback in their classes, in particular the ability to stay in position while controlling the playback, and to change speed via time-stretching. However, common stereo decks and mobile music player apps do not support these requirements well. We present the design and architecture of our system, and a qualitative evaluation performed with 9 semi-professional instructors in their own dance classes. Dance instructors were involved in this project from the very beginning to match the system and interface design to its prospective use cases. Results show that instructors are able to use TempoWatch productively after only a short learning phase.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0189)} } @inproceedings{related: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}, abstract = {This paper discusses an amusement content in which a robot dances in response to an electric guitar sound played by the guitarist. In our system, the motion of the robot changes according to the guitar performance, and simultaneously, the performer changes his ad-lib by receiving the stimulus from the robot motion and its acoustic percussion sound. In other words, our system realizes a so-to-speak jam session that can give an interactive music stimulus between the performer and robot. The main technical subject of this research is a method of determining an appropriate function from the guitar sound to the robot motion. Our system can extract various guitar sound features from the electric guitar sound. Based on the features, appropriate motions are selected from a motion database prepared in advance. The selection is based on the evaluation result of the audience who have seen the performance. Specifically a neural network that can output the correct answer is constructed by giving a set of highly evaluated sound and motion as training data. We introduce the results of experiments with a 6 degree-of-freedom animal robot holding a maracas by the hand.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0173)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0171)} } @article{related: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}, abstract = {From the Publisher: When the first edition of this book was published in 1988, digital audio was the up and coming new technology - now it is the norm. The Art of Digital Audio has justly become regarded as the classic in the field and no other books have yet appeared to compete with it. It has been translated into Chinese, Spanish and Norwegian, so has a truly international readership. Now completely updated to reflect the enormous recent advances in the subject, this 3rd edition is even more comprehensive.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0168)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0162)} } @inproceedings{related: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}, abstract = {While hybrid drawing systems often prioritise visual outcomes, drawing as a live sonic score remains under-explored. Linea Viva is a drawing-and-sound performance in which a single continuous line unfolds in real time under three rules: always make the line, never cross the path, and close the loop. These constraints transform drawing into a time-based score where gesture, pacing, and spatial movement shape a responsive sonic environment. A pressure-sensitive surface and contact microphones translate drawing gestures into sound processing and spatial diffusion, foregrounding the performative experience of continuous interaction between drawing, listening, and sonic response.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0156)} } @article{related: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}, abstract = {Music instrument playing technique classification based on raw audio is a relatively unexplored area of music information retrieval research. This study systematically investigates the use of traditional audio features augmented by features based on the Hartley transform, used as input to a multiclass support vector machine (SVM) classifier, to identify up to 11 different playing techniques performed on each of the violin, viola, cello, and contrabass. Furthermore, 36- and 44-class joint instrument and playing technique classifiers were developed that achieved macro-average F-measures exceeding 0.88. Our approach expands and improves on the state-of-the-art study, which implemented sparse-coded magnitude and phase-derived spectral features.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0155)} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0143)} } @article{related: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}, abstract = {This article accepts that the Internet has some exciting potential for musical experiences, but cautions against whole-hearted acceptance of the current state of affairs. Colleagues are encouraged to acknowledge some of the advantages of live performance, including the ‘electric’ energy between performers and their audiences, the concentration of the participants, and the subliminal recognition of accurate reproduction of the sonic experience, in order to identify those qualities that need to be considered in the construction of virtual counterparts. The diversity of venues in live performance is also suggested as a model that will not only help in encouraging a diversity of approaches to Internet music contexts, but also help in users quickly identifying the specific sites they wish to browse.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0139)} } @inproceedings{related:dobrian2019expressivege, author = {Christopher Dobrian}, booktitle = {JIM 2019 Journées d'Informatique Musicale}, year = {2019}, url = {https://hal.science/hal-03111481v1}, collection = {Related}, note = {Original title: Expressive Gesture : A technique for the use of gesture descriptors in algorithmic improvisation; Selected by similarity to the archives (score 0.0139)}, title = {Expressive Gesture: A Technique for the Use of Gesture Descriptors in Algorithmic Improvisation} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0136)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.013)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0122)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0122)} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0115)} } @inproceedings{related: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.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0114)} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0109)} } @inproceedings{related: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}, abstract = {A machine system is designed to analyze the musical aspects during the live performance, allowing an interactive and dynamic flow of new expressions and also opening new compositional forms and multimodal methods. The focus of this approach is to measure the expressiveness from distinct characters during the performance of the musical piece while decisions are made by the machine. This multimodal approach is implemented in the musical piece Três Microcanções de Câmara – Essência Pierrot, Atitude Arlequim, (In)Decisão Colombina (3CMS), where audio features and body motion are used by the algorithm to choose a particular musical ending.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0106)} } @inproceedings{related: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)}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0105)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0091)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0081)} } @inproceedings{related: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}, abstract = {Chu music and dance originate from the ancient Chu state in China, serving as a crucial component of Chu culture. They exhibit the unique charm of Chu music culture and carry forward the historical memory and cultural traditions of the Chu state for future generations. However, in today's society, traditional Chu music performances face limitations in dissemination. Additionally, the traditional allure and interactivity of Chu music performances are insufficient, making it challenging for audiences to deeply immerse themselves. There is a pressing need to establish a more intimate interactive connection with Chu music and dance.With the widespread application and development of image recognition technology, its utilization in the field of dance design has become increasingly prevalent. Therefore, this paper proposes a design for an interactive installation for Chu music and dance based on image recognition. The aim is to create an immersive environment for Chu music and dance, providing users with a tactile interactive experience. This design endeavor seeks to bridge the gap between existing Chu music and dance performance forms and the demands of modern audiences. By enhancing immersion and interactivity, users can more actively participate in Chu music and dance performances.}, collection = {Related}, note = {Selected by similarity to the archives (score 0.008)} } @article{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0076)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.006)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0054)} } @inproceedings{related: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}, collection = {Related}, note = {Selected by similarity to the archives (score 0.005)} } @article{related: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}, abstract = {I have been using computers for music since 1991. During this time, I have given presentations at many computer music conferences, including three International Computer Music Conferences (ICMC) and two festivals. I also have been actively integrating musical works using computers in other contexts, such as my classical recitals and contemporary music festivals, and have been fortunate to become acquainted with wonderful colleagues in this field around the world. As a graduate of traditional classical music schools, this experience, together with meeting people in other disciplines, has opened many opportunities to enhance my vision of musical art, and to reevaluate and reorganize my lifelong musical training. I hope to keep learning, growing, and integrating new elements into what I have learned so far. As a musi-}, collection = {Related}, note = {Selected by similarity to the archives (score 0.0039)} } @book{related:jhnichen2025changingmusi, editor = {Gisa Jähnichen}, title = {Changing Musical Instruments and AI; Musical Instruments in Public Life}, publisher = {Logos Verlag Berlin}, year = {2025}, doi = {10.30819/5987}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.933)} } @book{related:rveillac2019electronicmu, author = {Jean‐Michel Réveillac}, title = {Electronic Music Machines: The New Musical Instruments}, publisher = {Wiley}, year = {2019}, doi = {10.1002/9781119618089}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.996)} } @book{related:waksman2001instrumentso, author = {Steve Waksman}, title = {Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience}, publisher = {Harvard University Press}, year = {2001}, doi = {10.2307/j.ctv1p6hq8n}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.96)} } @book{related:snchezjara2021eltextomusic, author = {Javier Merchán Sánchez-Jara}, title = {El texto musical en la esfera digital: Características, funcionalidades y aplicación como recurso formativo en instituciones de educación musical}, publisher = {Ediciones Universidad de Salamanca}, year = {2021}, doi = {10.14201/0mv0011}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.823)} } @incollection{related:emmerson2011combiningthe, author = {Simon Emmerson}, title = {Combining the Acoustic and the Digital: Music for Instruments and Computers or Prerecorded Sound}, publisher = {Oxford University Press}, year = {2011}, doi = {10.1093/oxfordhb/9780199792030.013.0009}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.986)}, booktitle = {The Oxford Handbook of Computer Music}, editor = {Dean, Roger T.} } @incollection{related:bullock2018designingint, author = {Jamie Bullock}, title = {Designing Interfaces for Musical Algorithms}, publisher = {Oxford University Press}, year = {2018}, doi = {10.1093/oxfordhb/9780190226992.013.10}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.857)}, booktitle = {The Oxford Handbook of Algorithmic Music}, editor = {McLean, Alex and Dean, Roger T.} } @book{related:koozin2024embodiedexpr, author = {Timothy Koozin}, title = {Embodied Expression in Popular Music: A Theory of Musical Gesture and Agency}, publisher = {Oxford University Press}, year = {2024}, doi = {10.1093/oso/9780197692981.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.904)} } @book{related:weinberg2020roboticmusic, author = {Gil Weinberg and Mason Bretan and Guy Hoffman and Scott Driscoll}, title = {Robotic Musicianship: Embodied Artificial Creativity and Mechatronic Musical Expression}, publisher = {Springer International Publishing}, year = {2020}, doi = {10.1007/978-3-030-38930-7}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.995)} } @book{related:canfer2023musictechnol, author = {Tim Canfer}, title = {Music Technology in Live Performance: Tools, Techniques, and Interaction}, publisher = {Focal Press}, year = {2023}, doi = {10.4324/9781003370406}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.983)} } @book{related:stover2026makingmusict, editor = {Chris Stover and Garrett Michaelsen}, title = {Making Music Together: Analytical Perspectives on Musical Interaction}, publisher = {Oxford University Press}, year = {2026}, doi = {10.1093/oso/9780197806050.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.812)} } @book{related:redhead2024interactivet, author = {Tracy Redhead}, title = {Interactive Technologies and Music Making: Transmutable Music}, publisher = {Focal Press}, year = {2024}, doi = {10.4324/9781003273554}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.934)} } @book{related:manzo2011maxmspjitter, author = {V. J Manzo}, title = {Max/MSP/Jitter for Music: A Practical Guide to Developing Interactive Music Systems for Education and More}, publisher = {Oxford University Press}, year = {2011}, doi = {10.1093/oso/9780199777679.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.959)} } @book{related:korsgaard2017musicvideoaf, author = {Mathias Bonde Korsgaard}, title = {Music Video after MTV: Audiovisual Studies, New Media, and Popular Music}, publisher = {Routledge}, year = {2017}, doi = {10.4324/9781315617565}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.89)} } @book{related:king2016newperspecti, editor = {Elaine King and Anthony Gritten}, title = {New Perspectives on Music and Gesture}, publisher = {Routledge}, year = {2016}, doi = {10.4324/9781315598048}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.828)} } @book{related:geronazzo2023sonicinterac, editor = {Michele Geronazzo and Stefania Serafin}, title = {Sonic Interactions in Virtual Environments}, publisher = {Springer International Publishing}, year = {2023}, doi = {10.1007/978-3-031-04021-4}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.85)} } @book{related:whittington2011thesonicplay, author = {William Whittington}, title = {The Sonic Playpen: Sound Design and Technology in Pixar’s Animated Shorts}, publisher = {Oxford University Press}, year = {2011}, doi = {10.1093/oxfordhb/9780195388947.013.0087}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.914)} } @book{related:hagood2019hushmediaand, author = {Mack Hagood}, title = {Hush: Media and Sonic Self-Control}, publisher = {Duke University Press}, year = {2019}, doi = {10.1215/9781478004479}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.918)} } @book{related:grimshaw2015sonicvirtual, author = {Mark Grimshaw and Tom Garner}, title = {Sonic Virtuality: Sound as Emergent Perception}, publisher = {Oxford University Press}, year = {2015}, doi = {10.1093/acprof:oso/9780199392834.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.954)} } @book{related:ikoniadou2014therhythmice, author = {Eleni Ikoniadou}, title = {The Rhythmic Event: Art, Media, and the Sonic}, publisher = {The MIT Press}, year = {2014}, doi = {10.7551/mitpress/9886.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.913)} } @book{related:kennedy2015chaosmediaas, author = {Stephen Kennedy}, title = {Chaos Media: A Sonic Economy of Digital Space}, publisher = {Bloomsbury Publishing Inc}, year = {2015}, doi = {10.5040/9781501310065}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.812)} } @book{related:bloustien2017sonicsynergi, editor = {Gerry Bloustien and Margaret Peters and Susan Luckman}, title = {Sonic Synergies: Music, Technology, Community, Identity}, publisher = {Routledge}, year = {2017}, doi = {10.4324/9781315087825}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.83)} } @book{related:blackwell2022livecodingau, author = {Alan F. Blackwell and Emma Cocker and Geoff Cox and Alex McLean and Thor Magnusson}, title = {Live Coding: A User's Manual}, publisher = {The MIT Press}, year = {2022}, doi = {10.7551/mitpress/13770.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.8)} } @book{related:hermes2021performingel, author = {Kirsten Hermes}, title = {Performing Electronic Music Live}, publisher = {Focal Press}, year = {2021}, doi = {10.4324/9780367340759}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.958)} } @book{related:anon2015thedigitalev, title = {The Digital Evolution of Live Music}, publisher = {Elsevier}, year = {2015}, doi = {10.1016/c2014-0-01417-7}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.872)} } @book{related:sallis2017liveelectron, editor = {Friedemann Sallis and Valentina Bertolani and Jan Burle and Laura Zattra}, title = {Live Electronic Music: Composition, Performance, Study}, publisher = {Routledge}, year = {2017}, doi = {10.4324/9781315776989}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.957)} } @book{related:brett2021thecreativee, author = {Thomas Brett}, title = {The Creative Electronic Music Producer}, publisher = {Focal Press}, year = {2021}, doi = {10.4324/9781003022466}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.809)} } @book{related:payling2023electronicvi, author = {Dave Payling}, title = {Electronic Visual Music: The Elements of Audiovisual Creativity}, publisher = {Focal Press}, year = {2023}, doi = {10.4324/b23058}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.85)} } @book{related:peters2012bodilyexpres, editor = {Deniz Peters and Gerhard Eckel and Andreas Dorschel}, title = {Bodily Expression in Electronic Music}, publisher = {Routledge}, year = {2012}, doi = {10.4324/9780203145098}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.807)} } @book{related:collins2020handmadeelec, author = {Nicolas Collins}, title = {Handmade Electronic Music: The Art of Hardware Hacking}, publisher = {Routledge}, year = {2020}, doi = {10.4324/9780429264818}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.931)} } @book{related:skjerseth2026preprogramme, author = {Amy Skjerseth}, title = {Preprogrammed: How Electronic Presets Changed Music and Media}, publisher = {University of California Press}, year = {2026}, doi = {10.1525/luminos.282}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.827)} } @book{related:jacobs2014filmrhythmaf, author = {Lea Jacobs}, title = {Film Rhythm after Sound: Technology, Music, and Performance}, publisher = {University of California Press}, year = {2014}, doi = {10.1525/9780520960015}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.943)} } @book{related:snoman2026sounddesigna, author = {Rick Snoman}, title = {Sound Design and Synthesis for Electronic and Modern Music: Beyond the Drop}, publisher = {Focal Press}, year = {2026}, doi = {10.4324/9781003716808}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.887)} } @book{related:sanden2013livenessinmo, author = {Paul Sanden}, title = {Liveness in Modern Music: Musicians, Technology, and the Perception of Performance}, publisher = {Routledge}, year = {2013}, doi = {10.4324/9780203078518}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.894)} } @book{related:weinel2018innersoundal, author = {Jonathan Weinel}, title = {Inner Sound: Altered States of Consciousness in Electronic Music and Audio-Visual Media}, publisher = {Oxford University Press}, year = {2018}, doi = {10.1093/oso/9780190671181.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.926)} } @book{related:hepworthsawyer2019innovationin, editor = {Russ Hepworth-Sawyer and Jay Hodgson and Justin Paterson and Rob Toulson}, title = {Innovation in Music : Performance, Production, Technology and Business}, publisher = {Taylor & Francis}, year = {2019}, doi = {10.26530/oapen_1005168}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.833)} } @incollection{related:tenney2017computermusi, author = {James Tenney}, title = {Computer Music Experiences, 1961–1964}, publisher = {University of Illinois Press}, year = {2017}, doi = {10.5406/illinois/9780252038723.003.0003}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.899)}, booktitle = {From Scratch: Writings in Music Theory}, editor = {Polansky, Larry and Pratt, Lauren and Wannamaker, Robert and Winter, Michael} } @book{related:lazzarini2017computermusi, author = {Victor Lazzarini}, title = {Computer Music Instruments}, publisher = {Springer International Publishing}, year = {2017}, doi = {10.1007/978-3-319-63504-0}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.991)} } @incollection{related:wishart2011computermusi, author = {Trevor Wishart}, title = {Computer Music: Some Reflections}, publisher = {Oxford University Press}, year = {2011}, doi = {10.1093/oxfordhb/9780199792030.013.0007}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.911)}, booktitle = {The Oxford Handbook of Computer Music}, editor = {Dean, Roger T.} } @incollection{related:lennox2011spatializati, author = {Peter Lennox}, title = {Spatialization and Computer Music}, publisher = {Oxford University Press}, year = {2011}, doi = {10.1093/oxfordhb/9780199792030.013.0013}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.988)}, booktitle = {The Oxford Handbook of Computer Music}, editor = {Dean, Roger T.} } @book{related:cope2001virtualmusic, author = {David Cope}, title = {Virtual Music: Computer Synthesis of Musical Style}, publisher = {The MIT Press}, year = {2001}, doi = {10.7551/mitpress/7106.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.941)} } @book{related:dean2011theoxfordhan, editor = {Roger T. Dean}, title = {The Oxford Handbook of Computer Music}, publisher = {Oxford University Press}, year = {2011}, doi = {10.1093/oxfordhb/9780199792030.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.959)} } @book{related:guillaume2006musicandacou, author = {Philippe Guillaume}, title = {Music and Acoustics: From Instrument to Computer}, publisher = {Wiley}, year = {2006}, doi = {10.1002/9780470612446}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.968)} } @incollection{related:dean2011envisagingim, author = {Roger T. Dean}, title = {Envisaging Improvisation in Future Computer Music}, publisher = {Oxford University Press}, year = {2011}, doi = {10.1093/oxfordhb/9780199792030.013.0006}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.949)}, booktitle = {The Oxford Handbook of Computer Music}, editor = {Dean, Roger T.} } @incollection{related:keislar2011ahistoricalv, author = {Douglas Keislar}, title = {A Historical View of Computer Music Technology}, publisher = {Oxford University Press}, year = {2011}, doi = {10.1093/oxfordhb/9780199792030.013.0002}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.812)}, booktitle = {The Oxford Handbook of Computer Music}, editor = {Dean, Roger T.} } @book{related:lazzarini2019computermusi, author = {Victor Lazzarini}, title = {Computer Music Instruments II: Realtime and Object-Oriented Audio}, publisher = {Springer International Publishing}, year = {2019}, doi = {10.1007/978-3-030-13712-0}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.996)} } @book{related:nelson2015thesoundofin, author = {Andrew J. Nelson}, title = {The Sound of Innovation: Stanford and the Computer Music Revolution}, publisher = {The MIT Press}, year = {2015}, doi = {10.7551/mitpress/10086.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.825)} } @book{related:miranda2025advancesinqu, author = {Eduardo Reck Miranda}, title = {Advances in Quantum Computer Music}, publisher = {WORLD SCIENTIFIC}, year = {2025}, doi = {10.1142/14025}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.814)} } @book{related:turowski2026gamefulcompo, author = {Paul Turowski and Simon Hutchinson and Takuto Fukuda}, title = {Gameful Compositions in Interactive Computer Music}, publisher = {Springer Nature Switzerland}, year = {2026}, doi = {10.1007/978-3-032-12682-5}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.925)} } @book{related:politis2016digitaltools, editor = {Dionysios Politis and Miltiadis Tsalighopoulos and Ioannis Iglezakis}, title = {Digital Tools for Computer Music Production and Distribution}, publisher = {IGI Global}, year = {2016}, doi = {10.4018/978-1-5225-0264-7}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.888)} } @book{related:ng2008interactivem, editor = {Kia Ng and Paolo Nesi}, title = {Interactive Multimedia Music Technologies}, publisher = {IGI Global}, year = {2008}, doi = {10.4018/978-1-59904-150-6}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.919)} } @book{related:harrison2024interactives, author = {Lucy Ann Harrison}, title = {Interactive Sound and Music: Beyond Pressing Play}, publisher = {Focal Press}, year = {2024}, doi = {10.4324/9781003344148}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.876)} } @book{related:rowe2016childrenscre, author = {Victoria Rowe and Angeliki Triantafyllaki and Francois Pachet}, title = {Children's Creative Music-Making with Reflexive Interactive Technology}, publisher = {Routledge}, year = {2016}, doi = {10.4324/9781315679952}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.925)} } @book{related:collins2017frompacmanto, editor = {Karen Collins}, title = {From Pac-Man to Pop Music: Interactive Audio in Games and New Media}, publisher = {Routledge}, year = {2017}, doi = {10.4324/9781351217743}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.969)} } @book{related:dwinal2020interactivev, author = {Catherine Dwinal}, title = {Interactive Visual Ideas for Musical Classroom Activities: Tips for Music Teachers}, publisher = {Oxford University Press}, year = {2020}, doi = {10.1093/oso/9780190929855.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.801)} } @book{related:greher2014computationa, author = {Gena R. Greher and Jesse M. Heines}, title = {Computational Thinking in Sound: Teaching the Art and Science of Music and Technology}, publisher = {Oxford University Press}, year = {2014}, doi = {10.1093/oso/9780199826179.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.898)} } @book{related:herbst2021gearacquisit, author = {Jan-Peter Herbst and Jonas Menze}, title = {Gear Acquisition Syndrome: Consumption of Instruments and Technology in Popular Music}, publisher = {University of Huddersfield Press}, year = {2021}, doi = {10.5920/gearacquisition.fulltext}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.84)} } @book{related:edstrom2024soundampmusi, author = {Brent Edstrom}, publisher = {Oxford University Press}, year = {2024}, doi = {10.1093/9780197514504.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.802)}, title = {Sound & Music Projects for Eurorack and Beyond: Explorations in Teensy Microcontroller Technology} } @book{related:duckworth2013virtualmusic, author = {William Duckworth}, title = {Virtual Music: How the Web Got Wired for Sound}, publisher = {Routledge}, year = {2013}, doi = {10.4324/9780203626160}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.835)} } @book{related:sexton2007musicsoundan, editor = {Jamie Sexton}, title = {Music, Sound and Multimedia: From the Live to the Virtual}, publisher = {Edinburgh University Press}, year = {2007}, doi = {10.3366/edinburgh/9780748625338.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.952)} } @book{related:butler2014playingwiths, author = {Mark J. Butler}, title = {Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance}, publisher = {Oxford University Press}, year = {2014}, doi = {10.1093/acprof:oso/9780195393613.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.976)} } @book{related:pirkle2021designingsof, author = {Will C. Pirkle}, title = {Designing Software Synthesizer Plugins in C++: With Audio DSP}, publisher = {Focal Press}, year = {2021}, doi = {10.4324/9781003052203}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.928)} } @book{related:oconnor2023darkwavesthe, author = {Neil O'Connor}, title = {Dark Waves: The Synthesizer and the Dystopian Sound of Britain (1977-80)}, publisher = {Rowman & Littlefield Publishers}, year = {2023}, doi = {10.5771/9781538165317}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.953)} } @book{related:solis2011musicalrobot, editor = {Jorge Solis and Kia Ng}, title = {Musical Robots and Interactive Multimodal Systems}, publisher = {Springer Berlin Heidelberg}, year = {2011}, doi = {10.1007/978-3-642-22291-7}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.932)} } @book{related:schmidt2023aphilosophyo, author = {Ulrik Schmidt}, title = {A Philosophy of Ambient Sound: Materiality, Technology, Art and the Sonic Environment}, publisher = {Springer Nature Singapore}, year = {2023}, doi = {10.1007/978-981-99-1755-6}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.876)} } @book{related:burzynska2026thesensoryte, author = {Jo Burzynska}, title = {The Sensory Terroir of Crossmodal Art: Connecting the Senses through Wine and Sound}, publisher = {Routledge}, year = {2026}, doi = {10.4324/9781003563976}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.956)} } @book{related:anderson2025sounddesignf, author = {Christopher D. Anderson}, title = {Sound Design for the Visual Storyteller: Creating Sound for Visual Media}, publisher = {Focal Press}, year = {2025}, doi = {10.4324/9781003373094}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.84)} } @book{related:rosati2024playwithsoun, author = {Tommaso Rosati and Timothy Hsu}, title = {Play with Sound: Manual for Electronic Musicians and Other Sound Explorers}, publisher = {Focal Press}, year = {2024}, doi = {10.4324/9781003493372}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.895)} } @book{related:sinclair2020principlesof, author = {Jean-Luc Sinclair}, title = {Principles of Game Audio and Sound Design: Sound Design and Audio Implementation for Interactive and Immersive Media}, publisher = {Focal Press}, year = {2020}, doi = {10.4324/9781315184432}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.874)} } @book{related:holman2013soundfordigi, author = {Tomlinson Holman}, title = {Sound for Digital Video}, publisher = {Routledge}, year = {2013}, doi = {10.4324/9780080468402}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.851)} } @book{related:russ2012soundsynthes, author = {Martin Russ}, title = {Sound Synthesis and Sampling}, publisher = {Routledge}, year = {2012}, doi = {10.4324/9780080481043}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.917)} } @book{related:filimowicz2019foundationsi, editor = {Michael Filimowicz}, title = {Foundations in Sound Design for Interactive Media: A Multidisciplinary Approach}, publisher = {Routledge}, year = {2019}, doi = {10.4324/9781315106342}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.801)} } @book{related:wilde2004audioprogram, author = {Martin Wilde}, title = {Audio Programming for Interactive Games}, publisher = {Routledge}, year = {2004}, doi = {10.4324/9780080472065}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.922)} } @book{related:cullen2020learnaudioel, author = {Charlie Cullen}, title = {Learn Audio Electronics with Arduino: Practical Audio Circuits with Arduino Control}, publisher = {Focal Press}, year = {2020}, doi = {10.4324/9780429197499}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.864)} } @book{related:eagle2005instantdigit, author = {Douglas Spotted Eagle}, title = {Instant Digital Audio}, publisher = {Routledge}, year = {2005}, doi = {10.4324/9780080948966}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.835)} } @book{related:bailey2013networktechn, author = {Andy Bailey}, title = {Network Technology for Digital Audio}, publisher = {Routledge}, year = {2013}, doi = {10.4324/9780080512556}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.813)} } @book{related:anon1992digitalaudio, title = {Digital Audio and Compact Disc Technology}, publisher = {Elsevier}, year = {1992}, doi = {10.1016/c2013-0-04541-0}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.906)} } @book{related:zlzer2008digitalaudio, author = {Udo Zölzer}, title = {Digital Audio Signal Processing}, publisher = {Wiley}, year = {2008}, doi = {10.1002/9780470680018}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.888)} } @book{related:dean2018theoxfordhan, editor = {Roger T. Dean and Alex McLean}, title = {The Oxford Handbook of Algorithmic Music}, publisher = {Oxford University Press}, year = {2018}, doi = {10.1093/oxfordhb/9780190226992.001.0001}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.827)} } @incollection{related:ogborn2018networkmusic, author = {David Ogborn}, title = {Network Music and the Algorithmic Ensemble}, publisher = {Oxford University Press}, year = {2018}, doi = {10.1093/oxfordhb/9780190226992.013.7}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.855)}, booktitle = {The Oxford Handbook of Algorithmic Music}, editor = {McLean, Alex and Dean, Roger T.} } @incollection{related:simoni2018theaudiencer, author = {Mary Simoni}, title = {The Audience Reception of Algorithmic Music}, publisher = {Oxford University Press}, year = {2018}, doi = {10.1093/oxfordhb/9780190226992.013.14}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.813)}, booktitle = {The Oxford Handbook of Algorithmic Music}, editor = {McLean, Alex and Dean, Roger T.} } @book{related:riis2016machinemusic, title = {Machine Music: A Media Archaeological Excavation}, publisher = {Aarhus University Press}, year = {2016}, doi = {10.2307/jj.608224}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.892)}, author = {Riis, Morten} } @book{related:thurlow2025machinemusic, author = {Drew Thurlow}, title = {Machine Music: How AI is Transforming Music's Next Act}, publisher = {Focal Press}, year = {2025}, doi = {10.4324/9781003499350}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.801)} } @book{related:amc2026virtualreali, author = {Anıl Çamcı and Jason Corey}, title = {Virtual Reality Audio: A Guide to Immersive Sound in Virtual Experiences}, publisher = {Focal Press}, year = {2026}, doi = {10.4324/9781003048022}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.856)} } @book{related:thorley2016virtualmusic, author = {Mark Thorley}, title = {Virtual Music, Virtual Money}, publisher = {Oxford University Press}, year = {2016}, doi = {10.1093/oxfordhb/9780199321285.013.31}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.841)} } @book{related:casanelles2024thehyperorch, author = {Sergi Casanelles}, title = {The Hyperorchestra: Screen Music and Virtual Musical Ensembles}, publisher = {Springer Nature Switzerland}, year = {2024}, doi = {10.1007/978-3-031-75193-6}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.917)} } @book{related:drymonitis2024digitalelect, author = {Alexandros Drymonitis}, title = {Digital Electronics for Musicians: Build Intuitive Electronics and Electroacoustic Music Interfaces}, publisher = {Apress}, year = {2024}, doi = {10.1007/979-8-8688-0394-9}, collection = {Related}, note = {Book selected by title (NIME-topic probability 0.884)} }