@phdthesis{thesis:gibet1987codingrepresenta,
  author = {Gibet, Sylvie},
  title = {Coding, representation and compositional processing of instrumental gesture - application to sound-synthesis based on the simulation of mechanical instruments},
  school = {Grenoble INPG},
  year = {1987},
  url = {https://theses.fr/1987INPG0142},
  abstract = {Une analyse preliminaire sur la typologie du geste instrumental a conduit a proposer un codage du geste qui traduit une organisation spatiale et temporelle des donnees gestuelles captees. Un systeme materiel et logiciel permettant la capture, le codage et le pretraitement en temps reel des signaux gestuels est propose. Recherche d'un espace de representation structurelle du geste. Proposition d'une methode qui consiste a identifier le comportement de l'operateur a un modele mecanique simple mais evolutif},
  collection = {Theses},
  note = {Found in theses.fr; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:sapir1987realtimedigitala,
  author = {Sapir, Sylviane},
  title = {Real time digital audio processors and computer music: implementation of an operating system and applications for musical research, production and pedagogy},
  school = {Aix-Marseille 2},
  year = {1987},
  url = {https://theses.fr/1987AIX22077},
  abstract = {La mise en oeuvre de systemes numeriques en temps reel pour les applications musicales, nous amene a faire une analyse approfondie sur des relations existant entre les evenements sonores et les evenements gestuels; pour cela il faut que l'execution musicale soit decrite en un ensemble de primitives et controlee par un systeme d'exploitation},
  collection = {Theses},
  note = {Found in theses.fr; selected by its English title, the abstract being in another language; NIME-topic probability 0.91}
}

@phdthesis{thesis:kun1989soundaffectsbody,
  author = {Kun, Ting Fong},
  title = {Sound affects body movement},
  year = {1989},
  doi = {10.17918/00004129},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.95}
}

@phdthesis{thesis:schiphorst1993acasestudyofmerc,
  author = {Schiphorst, Thecla},
  title = {A case study of Merce Cunningham's use of the LifeForms computer choreographic system in the making of Trackers},
  school = {Simon Fraser University},
  year = {1993},
  url = {http://summit.sfu.ca/item/4458},
  abstract = {The thesis examines Merce Cunningham's making of the dance Trackers, which was created with the assistance of LifeForms , a computer choreographic software tool developed at Simon Fraser University in the computer graphics research lab.LifeForms provides an interactive, graphical interface that enables a choreographer to sketch out movement ideas in space and time.The making of Trackers i s an example of an ongoing process of exploration in Merce Cunningham's work with computer technology.Trackers was premiered on Tuesday, March 19,1991, at the New York City Center Theater, and was performed by Merce Cunningham and eleven of the Cunningham Company dancers.The author, a member of the LifeForms design team at Simon Fraser University, has worked with Cunningham since December 1989 for a period totalling seventy five days, tutoring him in the use of LifeForms and supporting his cieaiion of new movement.The history of dance and the use of computers i s examined in order to provide technological context and supporting material to the case study of Cunningham's making of Trackers.Choreographic process as it occurs in the studio i s explored, in order to assess how computer technology can be trsed GS G supp~rtive toot ir; the cie~tion, recoiding and interpretation of dance.Thi s provides a Sackground to the description cf computers systems that have been developed for dance.iii The case study examines the evolving versions of LifeForms used by Merce Cunningham since December 1989, and describes in detail the system used by Cunningham to create Trackers.it investigates how the study of design process has affected the implementation of LifeForrns.It also describes the history of the Cunningham/ LifeForms relationship: Cunningham's use of chance procedures, the installation of the computer system and software, Cunningham's learning process, and the creative process and methods used by Cunningham to make the movement within LifeForms to create the dance Trackers.The study concludes that computer technology can enrich the creative experience of choreographers by p f o ~i d i n ~ new methods to explore movement compositionally and recommends further directions for choreographic research.'The Evolution of an Interface for Choreographers", Interchi proceedings, Interchi Conference, Amsterdam, Aprii 1993.Simon Fraser University, has been responsible for installing the LifeForms software In CunninghatrFssfudio in New Yoik, tutoring Cunningharn in its use, and supporting his creation and exploration of new movemefit with the LifeForms system.During ihe time that Cunningham has been using LifeForms, the author has travelled to New York to work with Cunningham on thirteen occasions and worked with Cunningham for a total of seventy five days, 1 he installation of the LifeForms chore~graphic software in Cunningham's Westbeth studio in New York city in December 1989, and the learning and creative piocess that ensued, has spanned a three year period as of this writing, T},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 2 archive entries; selected by similarity to the archives; NIME-topic probability 0.70}
}

@phdthesis{thesis:boyer1993implementationof,
  author = {Boyer, Frédéric},
  title = {Implementation of an instrumental control of digital sound and application of wavelet analysis to sound granular synthesis and musical processing},
  school = {Aix-Marseille 2},
  year = {1993},
  url = {https://theses.fr/1993AIX22086},
  abstract = {Cette these est une contribution au developpement des possibilites de la synthese et du traitement des sons par ordinateur en vue d'une utilisation musicale. Elle comprend deux parties. La premiere partie decrit la conception et la realisation d'un nouvel outil la liaison midi-music v permettant de mettre en uvre un controle instrumental du son numerique calcule en temps differe. Le controle instrumental s'effectue a partir d'un instrument compatible avec la norme midi. Les donnees issues du jeu instrumental sont enregistrees par un logiciel sequenceur, puis converties en instructions d'une partition du programme music v. Est ainsi rendue possible une commande en temps reel de sons synthetises hors temps reel. La deuxieme partie expose le principe et les resultats de l'application d'une methode d'analyse temps-echelle l'analyse en ondelettes au traitement musical des sons. Cette methode permet d'envisager un traitement separe des aspects temporels et frequentiels d'un son. Deux procedes de reconstruction des sons apres analyse numerique en ondelettes sont presentes: reconstruction par synthese additive generalisee et reconstruction par synthese granulaire (celle-ci permet d'effectuer la reconstruction a partir d'une grille dyadique, c'est-a-dire sans augmentation du nombre de donnees). Un traitement musical des sons peut alors etre obtenu en modifiant les donnees issues de l'analyse avant de reconstruire le son. Deux types de traitements ont ainsi ete etudies: action sur la duree d'un son sans modification de son contenu frequentiel (ralentissement sans transposition) et action sur le contenu frequentiel d'un sn sans modification de sa duree (transposition, harmonisation)},
  collection = {Theses},
  note = {Found in theses.fr; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:haury1993thekeyboardthemo,
  author = {Haury, Jean},
  title = {The keyboard : the motion of its keys},
  school = {Paris 8},
  year = {1993},
  url = {https://theses.fr/1993PA080765},
  abstract = {This investigation which takes us through centuries points out the musical benefits obtained from the keyboard. Iconography, ancient musical reference books, teaching manuals, invention patents, collections of musical instruments, data processing and its musical applications were all used to identify and explore the functions developed from the principle of the keyboard and from the motion of the keys. The keyboard has long been included in many instruments, and exerted a fundamental influence on musical performance. All mechanical musical instruments, from the renaissance to the present day, ranging from the musical android to the player piano, have been designed and manufactured with the principle of the keyboard ; they all simulate the musical performance. As early as the 19th century, writing and reading keyboards could replicate and record a performance. Today, themidi interface and the sequencer, based upon the concept of the keyboard, allow the analysis of the inequalities in finger playing, as well as the elaboration of a grammar of keyboard playing. A consequence of this inquiry was the realization of a device for controlling musical expression called the ''digital master'' by the author. The conception and the realization of such an ''instrument'' were not conceivable without this research on the keyboard. The investigations performed on the ''musical keyboard'' and on the ''digital master'' emphasize the role of the keys. The keyboard is only a topographic landmark for},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:hourdin1995apsychophysicals,
  author = {HOURDIN, CHRISTOPHE},
  title = {A psychophysical study of timbre - application to sound coding and synthesis in music},
  school = {Paris 11},
  year = {1995},
  url = {https://theses.fr/1995PA112419},
  abstract = {L'objectif de ces recherches est d'ameliorer les connaissances sur les relations entre la description physique du son et la perception du timbre. La plupart des etudes dans ce domaine ont ete faites a partir de la perception, a l'aide d'experiences psycho-acoustiques. Dans cette etude la demarche est differente dans la mesure ou l'on travaille d'emblee sur une description physique, a la fois objective et systematique du son. On soumet les parametres physiques a des techniques d'analyse factorielle des correspondances, ce qui nous conduit a une nouvelle description physique des sons. Dans cette approche, l'aspect subjectif de la perception n'intervient qu'a posteriori dans l'interpretation de cette nouvelle description. Ces interpretations sont appuyees par de nombreuses illustrations sonores. L'etude concerne les sons produits par les instruments de musique et se limite donc a la categorie des sons a hauteur determinee. Chaque son est represente par une trajectoire dans le sous-espace issue de l'analyse factorielle. Dans cet espace, chaque point represente un profil spectral. Toutes les trajectoires partent du point representatif du silence et retournent a ce point, formant ainsi une courbe fermee. Cette representation est significative du son: la trajectoire peut etre consideree comme une signature du timbre. On peut a partir des coordonnees des points d'une trajectoire de l'espace reconstruire le son correspondant. Ce systeme de synthese est avant tout un outil pour explorer ce nouvel espace sonore, et les relations psychophysiques. Du point de vue des applications, il presente des avantages au niveau du codage de l'information, puisque l'espace organise l'information physique par ordre decroissant d'importance sur ses axes. Avec quelques axes seulement, on retrouve l'essentiel de l'information. On peut de plus choisir le nombre d'axes pris en compte en fonction de la qualite souhaitee. Au niveau des applications en musique, il offre une maitrise du son interessante, puisque c'est directement a partir d'une courbe simple et significative du son qu'on controle ce nouveau systeme de synthese},
  collection = {Theses},
  note = {Found in theses.fr; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:thomas1995avirtualmusicali,
  author = {Thomas, Geoffrey},
  title = {A virtual musical instrument exhibit for a science centre.},
  school = {University of Canterbury},
  year = {1995},
  doi = {10.26021/1897},
  abstract = {Virtual reality is a technology rapidly gaining interest from research and commercial groups around the world, but it's introduction into New Zealand has been slow. The majority of the general public have no concept of virtual reality, and only a few research institutes have begun virtual reality programmes of any sort. Partially this is due to the high cost of 'off the shelf' virtual reality systems, which is usually beyond the range of many organisations. Also the complexity of the software and the knowledge required to create and manipulate this software makes it a daunting prospect for many. This work describes the development of an economical system for the demonstration of virtual reality and some of its concepts and applications to the general public, in the form of an educational science centre exhibit. The system creates virtual musical instruments, overlayed onto the real world, and the user experiences these instruments as if they were in physical existence.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:incerti1996soundsynthesisby,
  author = {Incerti, Eric},
  title = {Sound synthesis by means of physical modeling of vibrating structures. Applications to computer music},
  school = {Grenoble INPG},
  year = {1996},
  url = {https://theses.fr/1996INPG0115},
  abstract = {La simulation informatique par modele physique permet de modeliser la chaine causale qui va de l'action humaine (le geste) a l'emission du son selon une serie de composants structurels (systemes excitateurs, structures vibrantes, resonateurs). Le theme central de ce travail de these est l'etude de la structure vibrante, objet producteur du phenomene sonore. Sur ce theme s'articulent plusieurs niveaux theoriques et experimentaux axes sur la mise au point d'un systeme de modelisation et simulation complet pour la creation musicale},
  collection = {Theses},
  note = {Found in theses.fr; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:bresciani1996studyoftheradiat,
  author = {BRESCIANI, JEAN FRANCOIS},
  title = {Study of the radiation of musical instruments in order to control reproduction with loudspeakers},
  school = {Le Mans},
  year = {1996},
  url = {https://theses.fr/1996LEMA1015},
  abstract = {L'objectif de ce travail est de carateriser experimentalement le rayonnement des instruments de musique : le but ultime etant de controler sa reproduction par des haut-parleurs, il s'agit donc d'aboutir a une caracterisation simple qui assure la faisabilite du controle, celui-ci devant respecter les criteres perceptifs. Le travail se limite aux instruments a sons entretenus et a leur regime permanent, et prend quelques exemples types : le trombone qui rayonne par une seule source etendue, la clarinette qui rayonne par plusieures sources localisees, enfin le violon. Plusieurs methodes ont ete mises en oeuvre : la mesure de directivite en excitation pseudo-aleatoire avec une antenne de 20 microphones, la mesure en frequence pure avec rotation d'un microphone, enfin, pour le violon, la mesure des harmoniques spheriques par la methode de weinreich, mis en oeuvre par filippi et coll. , les instruments etant excites artificiellement. Pour le trombone, les resultats mettent en evidence un rayonnement assez simple, comme attendu. Il n'en est pas de meme pour la clarinette : en particulier juste au-dessus de la frequence de coupure, les figures de directivite evoluent rapidement en fonction de la frequence. Un modele simple a permis d'analyser le role du nombre de trous et de leur rayon dans cette directivite. A propos du violon, pour lequel une etude bibliographique exhaustive est presentee, l'analyse en harmoniques spheriques est pousse jusqu'au terme quadrupolaire et permet d'envisager la restitution avec peu de sources. Au dessus de 900 hz, les harmoniques d'ordre 0 et 1 suffisent, precisant les resultats de weinreich. },
  collection = {Theses},
  note = {Found in theses.fr; selected by its English title, the abstract being in another language; NIME-topic probability 0.93}
}

@phdthesis{thesis:coyle1996themusicalsuperh,
  author = {Coyle, Thomas Edward},
  title = {The musical superhighway : the internet for the performing musician},
  school = {Griffith University},
  year = {1996},
  url = {https://hdl.handle.net/10072/443510},
  abstract = {This dissertation investigates the applications of the Internet for the performing musician. The various Internet tools (such as email, gopher and the World -Wide -Web) and the resources they make available are discussed relative to their potential use by musicians. The paper gives an overview of the various types of Internet resources and the manner in which they may be useful. The scope and rate of change in the Internet precludes any attempt at an inclusive analysis hence a more general approach is taken which gives typical examples of Internet people and places, and suggestions of how to locate them. A particular emphasis is given to trombone related sites as this is the author's instrument. For the purposes of this paper the Internet is divided into two main categories. The first category is the communication possibilities through email, discussion groups and other methods. The second category is the information which may be accessed directly through files which are stored on computers connected to the Internet. A theoretical discussion of the possible uses each of these by performing musicians is followed by examples of some of the approaches the author has employed in using the Internet for purposes related to his performance and teaching activities. World -Wide -Web and email addresses are given which provide a good starting point for further exploration of the Internet's resources. It is still too early to have any accurate idea of the future role the Internet will play for musicians, however it does seem certain that it will have a significant impact in whatever guise it eventually takes. Already it has made fast efficient information exchange available to all users and it is becoming continually more accessible in its cost. availability and ease of use. The main limitations of the Internet is that much of its content is of little value, and locating addresses of useful sites/ people can be difficult. This is ameliorated by its size and variety which ensures that if used wisely it can provide opportunities for communication, research and information retrieval far superior to previous methods. There is much on the Internet that can be of great benefit to musicians of any type. and this seems likely to continue to improve as search methods and listings develop.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:faria1997waveletsapplicat,
  author = {Faria, Regis Rossi Alves},
  title = {Wavelets application on the analysis of musical gestures in timbres of traditional acoustic instruments.},
  year = {1997},
  url = {https://doi.org/10.11606/D.3.1997.tde-18072013-104904},
  abstract = {A expressividade é um elemento chave para o transporte de emoções em música, e seu modelamento, vital para a concepção de sistemas de síntese mais realistas. Gestos musicais executados durante a interpretação usualmente portam a informação responsável pela expressividade percebida, e podem ser rastreados por meio de padrões sônicos a eles associados em diversas escalas de resolução. Um conjunto relevante de gestos musicais expressivos foi estudado através de uma análise em multiresolução utilizando-se a transformada wavelet. A escolha deve-se principalmente à capacidade natural desta ferramenta em realizar análises de tempo-escala/frequência, e suas semelhanças com o processamento dos estágios primários do sistema auditivo. Vinte e sete eventos musicais foram capturados em interpretações de violino e flauta, e analisados com o objetivo de avaliar a aplicabilidade desta ferramenta na identificação e segregação de padrões sônicos associados a gestos musicais expressivos. Os algoritmos wavelet foram implementados na plataforma MATLAB utilizando-se bancos de filtros organizados em esquema piramidal. Rotinas para análises gráfica e sônica e uma interface ao usuário foram também implementadas. Verificou-se que as wavelets permitem a identificação de padrões sônicos associados a gestos expressivos exibindo diferentes propriedades em níveis diferentes da análise. A técnica mostrou-se útil para isolar ruídos oriundos de fontes diversas, extrair transientes associados a gestos súbitos e/ou intensos, e para segregar a estrutura harmônica de tons musicais, entre outras potencialidades não menos importantes. Particularidades da técnica e efeitos secundários observados são discutidos, e os padrões sônicos observados nos níveis wavelets são correlacionados com os gestos musicais que lhes deram origem. São propostos trabalhos futuros objetivando a investigação de certos eventos musicais e fenômenos verificados, bem como o estudo de implementações alternativas.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.91}
}

@phdthesis{thesis:driscoll1999amachinevisionsy,
  author = {Driscoll, Michael Thomas},
  title = {A Machine Vision System for Capture and Interpretation of an Orchestra Conductor's Gestures},
  school = {Worcester Polytechnic Institute},
  year = {1999},
  url = {https://digitalcommons.wpi.edu/etd-theses/808},
  abstract = {This work involves the design and implementation of a real-time Machine Vision-based Human Computer Interface (HCI) that analyzes and interprets a music conductor's gestures to detect the musical "beat". This HCI system interfaces directly with the "Virtual Orchestra", an electronic MIDI sequenced "orchestra". Prior to the development of this HCI system, the real time control of the tempo of the "Virtual Orchestra" could only be controlled by tapping a tempo on a MIDI controller device--a process that is foreign to most music conductors. The real-time beat information detected by this HCI system allows a conductor to conduct the "Virtual Orchestra" as if it were a live orchestra. This system was developed using the Broadway real-time color image capture board manufactured by Data Translation, Incorporated. The implementation involved the use of Microsoft Visual C++, Microsoft Foundation Classes (MFC) for the Graphical User Interface (GUI), Video For Windows (VFW), MIDI note generation, and Intel assembly level code optimization. Algorithms were developed for rapid RGB color thresholding, multiple contour extraction, fast contour based area and center of mass calculations, and gesture interpretation. Real time, live-video interpretation has been achieved and an end-to-end system has been demonstrated in conjuction with a MIDI sequencer.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:rochaiturbide1999thegranulartechn,
  author = {Rocha Iturbide, Manuel},
  title = {The granular techniques in sound synthesis},
  school = {Paris 8},
  year = {1999},
  url = {https://theses.fr/1999PA081565},
  abstract = {Cette these a ou comme principal but la creation d'un outil de synthese sonore puissante cl integrale pour la composition electroacoustique, pouvant developper simultanement l'aspect spectral et l'aspect morphologique dans la musique. La decouverte dos techniques granulaires m'a pousse a essayer de travailler sur une possible theorie de convergence entre deux approches opposees : les techniques granulaires d'analyse-synthese, et les techniques granulaires qui ne se servent pas d'une analyse prealable. La recherche dans ce travail a degage des analogies entre les theories de la physique quantique (qui sont a la base des theories granulaires), la philosophie et l'esthetique. A partir d'ici, j'ai developpe une conception quantique du son qui va au-dela du domaine electroacoustique pour couvrir aussi les champs de la musique instrumentale contemporaine ainsi que celui de l'art sonore. Mon travail theorique et pratique m'a fait decouvrir que certains principes des theories quantiques (comme celui de l'incertitude d'heisenberg) empechent la creation d'une technique globale de synthese sonore ideale. L'integration totale des domaines du temps et de la frequence est peut-etre impossible. Neanmoins, en utilisant des fonctions d'ondes formantiques (rodet, 1979), j'ai decouvert la possibilite d'etablir des ponts entre le domaine micro temporel et le domaine macro temporel, ainsi qu'entre le domaine du continu et le domaine du discontinu. Mes experiences dans la composition avec les differentes techniques granulaires de synthese, ainsi qu'avec la technique gist de synthese granulaire formantique developpe par moi et par gerhardf eckel (eckel et rocha iturbide, 1995), ont constitue te laboratoire d'experimentation de toutes mes idees theoriques ; or, ces experiences constituent aussi la preuve du developpement d'une esthetique quantique de la musique.},
  collection = {Theses},
  note = {Found in theses.fr; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:hammond2000multimodalmixing,
  author = {Hammond, Edward Vickers},
  title = {Multi-modal mixing : gestural control for musical mixing systems},
  school = {Massachusetts Institute of Technology},
  year = {2000},
  url = {http://hdl.handle.net/1721.1/69188},
  abstract = {Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2000.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.99}
}

@phdthesis{thesis:levin2000painterlyinterfa,
  author = {Levin, Golan},
  title = {Painterly interfaces for audiovisual performance},
  school = {Massachusetts Institute of Technology},
  year = {2000},
  url = {http://dspace.mit.edu/handle/1721.1/61848},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:omodhrain2000playingbyfeelinc,
  author = {O'Modhrain, Sile},
  title = {Playing by Feel: Incorporating Haptic Feedback into Computer-Based Musical Instruments},
  school = {Stanford University},
  year = {2000},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:mary2001controltechnique,
  author = {Mary, Mario},
  title = {Control techniques of computer music programs},
  school = {Paris 8},
  year = {2001},
  url = {https://theses.fr/2001PA082000},
  abstract = {Le sujet abordé dans ce travail appartient au domaine de l'informatique musicale et se consacre plus précisément, à l'utilisation des logiciels de Composition Assistée par Ordinateur qui produisent les données nécessaires pour un contrôle plus performant de certains logiciels de synthèse et de traitement du son. Ce texte ne prétend pas ^etre un catalogue des possibilités actuelles. Les techniques de contrôle développées ici concernent quelques cas particuliers,dans lesquels les logiciels Patch Work et Open Music contrôlent respectivement la synthèse additive dans le logiciel Csound, ainsi que la synthèse croisée et quelques fonctions de traitement du son dans le logiciel AudioSculpt. Les outils informatiques créés à cet effet seront décrits et analysés. Certains aspects théoriques et les principes de fonctionnement des logiciels utilisés seront également abordés pour une meilleure compréhension du sujet. . .},
  collection = {Theses},
  note = {Found in theses.fr; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:jehan2001perceptualsynthe,
  author = {Jehan, Tristan},
  title = {Perceptual Synthesis Engine: An Audio-Driven Timbre Generator},
  school = {Massachusetts Institute of Technology},
  year = {2001},
  url = {http://hdl.handle.net/1721.1/61543},
  abstract = {Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; NIME-topic probability 0.82}
}

@phdthesis{thesis:billingham2001thedevelopmentof,
  author = {Billingham, Lisa Adalade},
  title = {The development of a gestural vocabulary for choral conductors based on the movement theory of Rudolf Laban},
  school = {The University of Arizona},
  year = {2001},
  url = {http://hdl.handle.net/10150/290423},
  abstract = {The purpose of this study was to create a conductor's gestural vocabulary that can be used to demonstrate stylistic elements in choral music. Specifically, the study assigned Laban Movement Theory elements of Effort and Body to specific choral music examples that demonstrate differences in articulation, rhythm and phrase shape. This study explored Laban Movement Theory and Bartenieff Fundamentals as they relate to body movement and application to the conducting gesture. Gestures were designed following musical analysis and subsequent study with Janice Meaden, an internationally recognized movement instructor and certified LMA/Bartenieff Movement Analyst. These gestures were based on Rudolf Laban's Eight Effort Elements in Combination (float, wring, glide, press, flick, dab, slash and punch). Modifications to the gestures were based from ongoing feedback from a college level choir. At the conclusion of the study, all gestures were evaluated in terms of their ability to communicate the desired response. Six of the eight designed gestures were deemed to be successful, with two needing further modification. Implications for teaching choral conducting as well as conducting choirs are drawn. Conclusions drawn from the study support the application of Laban Movement Theory to the conducting gesture as an useful tool for creating expressive conducting gestures.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.81}
}

@phdthesis{thesis:kirschenmann2002compositionimpro,
  author = {Kirschenmann, Mark Steven},
  title = {Compositionimprovisation: Spiraling towards their confluence. Concerto for wind ensemble and MIDI/electric trumpet.},
  school = {University of Michigan},
  year = {2002},
  url = {https://hdl.handle.net/2027.42/132966},
  abstract = {Composition↔Improvisation: Spiraling towards their Confluence explores the convergence of composition and improvisation. Chapter One is a comparison of their similarities and differences as music-making processes. Chapter Two is an abridged historical perspective of composer/improvisers and theorists within the Western musical canon. Chapter Three looks at recent interactive developments, some of which test the boundaries of the Western classical and jazz traditions. Chapter Four focuses on Olivier Messiaen and a scene of improvising composer/organists emanating from Paris in the early twentieth century. Chapter Five is an analysis of portions of Messiaen's Messe de la Pentecote, a collection of improvisations for organ. Embedded within this collection of improvisations is unmistakable evidence of his compositional language. I conclude that not only can improvisation be used to stimulate one's compositional powers, but that the opposite can occur; that composition can influence and inform improvisation. Therefore, the relationship between composition and improvisation becomes more comprehensive than many have previously thought, and their recent separation becomes worthy of our reconsideration. The Concerto for Wind Ensemble and MIDI/Electric Trumpet is a six-movement work; the outer movements feature the soloist with the entire ensemble while the inner movements place the soloist with more specific instrumental collections. The soloist will open the work with an improvised solo prelude, close it with a postlude, and connect the movements with a solo improvisation. By accessing the soloist's improvisatory skills, I hope to reinvigorate the concerto form by initializing a return to its origins. However, the music for the ensemble is not improvisational, nor is most of the soloist's music within the movements. The solo part also explores my interest in using a trumpet to trigger electronic timbres, and to use signal processing and MIDI to extend the traditional boundaries of the instrument. For example, the solo part includes chords and sudden leaps into registers beyond the trumpet's normal range, and the soloist will trigger sampled, synthesized, and processed timbres. The score includes a preface on equipment and setup suggestions for the soloist, and throughout I have included prose descriptions of the timbres I have in mind for the solo part.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.91}
}

@phdthesis{thesis:badu2002ewecultureasexpr,
  author = {Badu, Zelma C. M.},
  title = {Ewe culture as expressed in Ghana West Africa through Adzogbo dance ceremony : a foundation for the development of interactive multimedia educational materials},
  year = {2002},
  doi = {10.82308/33259},
  abstract = {This dissertation project is a preparation for development of a method for teaching traditional Ewe culture to people of Western or non-Ewe background, using dance ethnology as an approach to conducting research, and digital video recording as a means for documentation. The study focuses on one of the Ewe's oldest and most powerful religious dance and music ceremonies, Adzogbo, as it is performed by the Mawuli Kpli Mi Adzogbo Group from the village of Aflao in Ghana, West Africa. Adzogbo, originally from Dahomey (now Benin), was brought to Ghana in the late 19th Century, and was formally performed for the Dahomeyan war gods to transmit pertinent information to warriors preparing for battle. It is still considered one of the most complex dance and music systems, having intricate polyrhythmic texture and specific relationship between the master drummer and the vigorous and articulated movements of the dancers, which are emphasized by their elaborate costume. Presently, the dance functions as a recreational ceremony and is performed during specific special occasions. It is used to display mental, physical and spiritual power and still carries some of its original war dance characteristics. This project consists of a written thesis document and one hour digital video documentary of the Adzogbo Dance Ceremony, outlining its background and importance, form and structure, and a comparative analyses of the organization and structure of both the dance and music. The text provides information on Ewe culture, including their historical, social, and geographical background, their dance, music and related activities and an exploration of Interactive multimedia technologies to in future develop electronic educational material.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.81}
}

@phdthesis{thesis:castagn2002genesisacomputer,
  author = {Castagné, Nicolas},
  title = {Genesis : a computer environment for creating music by means of mass-interaction physical modeling},
  school = {Grenoble INPG},
  year = {2002},
  url = {https://theses.fr/2002INPG0094},
  abstract = {Les ''modèles physiques'' sont de plus en plus utilisés en Informatique Musicale. Ils sont souvent envisagés comme de nouveaux modèles de synthèse de son venant étendre les techniques plus traditionnelles. C'est une position réductrice dans la mesure où ils permettent aussi d'aborder la création de la macro-structure musicale. L'environnement informatique GENESIS basé sur les modèles particulaires CORDIS-ANIMA fait des modèles physiques un véritable langage d'écriture musicale, dont les symboles sont des objets physiques virtuels. Avec lui, l'utilisateur est invité à développer une démarche conceptuelle nouvelle, une ''pensée physique'' intuitive. Dans un premier temps, l'approche est caractérisée en regard d'autres démarches de création avec l'ordinateur. Les processus de création attenants sont spécifiés. Dans un second temps, on introduit les fonctionnalités et l'ergonomie qui permettent et soutiennent ces processus et on présente leur mise en oeuvre au sein de l'environnement complet pour la création musicale GENESIS. },
  collection = {Theses},
  note = {Found in theses.fr; selected by its English title, the abstract being in another language; NIME-topic probability 0.91}
}

@phdthesis{thesis:feldmeier2002largegroupmusica,
  author = {Feldmeier, Mark and Paradiso, Joseph A. and Malinowski, Mateusz},
  title = {Large Group Musical Interaction using Disposable Wireless motion sensors},
  school = {Massachusetts Institute of Technology},
  year = {2002},
  url = {http://hdl.handle.net/1721.1/33547},
  abstract = {One of the di#culties in interactive music and entertainment is creating environments that reflect and react to the collective activity of groups with tens, hundreds, or even thousands of participants. Generating content on this scale involves many challenges. For example, how is the individual granted low latency control and a sense of causality, while still allowing for information retrieval from all participants so that the environment responds to the behavior of the entire group? These issues are particularly pertinent in the area of interactive dance. To address these issues, a low-cost, wireless motion sensor has been developed. The sensor is inexpensive enough to be considered disposable, allowing it to be given away to participants at large dance events, enabling the dancers to participate concurrently in a realtime, interactive musical performance. The sensors are either worn or held by participants and transmit a short RF pulse when accelerated past a certain threshold. The RF pulses are received by a base station and analyzed to detect rhythmic features and estimate the general activity level of the group. These data are then used to generate music that can either lead or follow the participants' actions, thereby tightening the feedback loop between music and dancer.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 1 archive entries; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:pladott2002meaningmotionand,
  author = {Pladott, Udi},
  title = {Meaning, Motion and Gesture In Psychedelic Trance Music},
  school = {Tel Aviv University},
  year = {2002},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.90}
}

@phdthesis{thesis:aird2002musicalinstrumen,
  author = {Aird, Marc-Laurent},
  title = {Musical instrument modelling using digital waveguides},
  year = {2002},
  url = {https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.760800},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.92}
}

@phdthesis{thesis:carlton2003aguideforconduct,
  author = {Carlton, William Geoffrey},
  title = {A Guide for Conducting Teachers: Physical Movement Taught in Six Selected Instrumental Conducting Textbooks and an Annotated Bibliography},
  school = {University of Southern Mississippi},
  year = {2003},
  url = {https://aquila.usm.edu/dissertations/1853},
  abstract = {The purpose of the dissertation was to provide a comparative guide of conducting textbooks for conducting teachers and students. In order not to replicate M. Johnson's (1967) dissertation only instrumental conducting textbooks available to conducting teachers and students between 1967 and 1997 were considered. The survey determined that the most common area emphasized by textbook authors was physical movement. Six textbooks by the following authors were selected for comparison of approaches to physical movement: E. A.H. Green (1997), D. Hunsberger and R. E. Ernst (1992), D. Kohut and J. W. Grant (1990), J. A. Labuta (1995), B. McElheran (1989), and M. Rudolf (1994). Authors' approaches to baton grips, beat patterns, dynamics, expressive gestures, changing tempo, cuing, left hand, preparatory and release motions, holds and fermatas, and body language were examined along with related warm-up, conducting, and diagnostic skills exercises. Methodology of approach and emphasis on specific techniques were compared and analyzed. An extensive annotated bibliography was included of all instrumental conducting textbooks surveyed between 1967 and 1997. The author of the dissertation noted areas of strong agreement and disagreement among texts. He concluded that the six textbooks compared served specific types of students based on their educational level, ability, number of students enrolled in the class, course requirements, additional resources available to both the instructor and students, one- or two-semester sequence, and personal preferences of the instructor.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.76}
}

@phdthesis{thesis:rasamimanana2003gestureanalysiso,
  author = {Rasamimanana, Nicolas},
  title = {Gesture Analysis of Bow Strokes Using an Augmented Violin},
  school = {IRCAM},
  year = {2003},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.91}
}

@phdthesis{thesis:krstich2003installationarta,
  author = {Krstich, Vesna},
  title = {Installation art and viewer participation : a video based study of The dark pool by Janet Cardiff and George Bures Miller},
  school = {Concordia University},
  year = {2003},
  url = {https://spectrum.library.concordia.ca/2246/1/MQ82656.pdf},
  abstract = {This qualitative video study documents how physical experience within contemporary installation art aids or confounds the interpretation of meaning. For this thesis, I use Lachapelle's (Informant Made Video) method to study how three adult participants with different levels of art expertise respond to the multimedia sound installation by Janet Cardiff and George Bures Miller entitled: The Dark Pool . Installation art differs from traditional art forms and art viewing experiences because of the physical and multi-sensory relationship between the viewer and the work. Viewers must become active participants . However, museum visitors mayor may not acknowledge or understand the additional responsibilities required of them once inside an installation. By examining how active participation within installation art unfolds within a museum setting, I illuminate how participants behave and interact within the work.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.86}
}

@phdthesis{thesis:weinberg2003interconnectedmu,
  author = {Weinberg, Gil and Machover, Tod},
  title = {Interconnected musical networks: bringing expression and thoughtfulness to collaborative group playing},
  school = {Massachusetts Institute of Technology},
  year = {2003},
  url = {http://hdl.handle.net/1721.1/28287},
  abstract = {Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 4 archive entries; NIME-topic probability 0.90}
}

@phdthesis{thesis:bossis2003lavocalitartific,
  author = {Bossis, Bruno},
  title = {La vocalité artificielle : un nouvel espace pour l'imaginaire : Etude des modèles de simulation et de traitement vocaux dans les répetoires des musiques éléctroacoustique et informatique},
  year = {2003},
  url = {https://www.theses.fr/2003PA040204},
  abstract = {What relationship do composers have with the voice simulation and processing? To understand the artistic implications behind the techniques of voice simulation and processing, we shall examine the means and the models employed, as well as their stylistic consequences. The vital lead in this research is therefore the study of the contributions made by artificial processes in association with vocality to the electroacoustic and computer musics so as to define, consolidate and prolong the concept of artificial vocality. Beyond exposing the conditions required for the emergence of artificial vocality and its blossoming, we shall point out the existence of musical gestures that are either distinct or influenced by mechanical processes. Finally, the paradigms of artificial vocality - between rupture and continuity, figuration and disembodiment, ambiguity and paradox - nourish the future of artificial vocality and open the perspective of its imaginary space.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:jrvelinen2003perceptionofattr,
  author = {Järveläinen, Hanna},
  title = {Perception of attributes in real and synthetic string instrument sounds},
  school = {Aalto University},
  year = {2003},
  url = {https://aaltodoc.aalto.fi/handle/123456789/2049},
  abstract = {This thesis explores the perceptual features of natural and synthetic string instrument sounds. The contributions are in formal listening experiments on a variety of features in musical sounds that have not been studied in detail previously. The effects of inharmonicity on timbre and pitch have been measured. The results indicate that the implementation of inharmonicity is not always necessary. The timbre effect is more salient in natural instruments, but for high tones a pitch difference may also be detected. Guidelines were given for compensation of the pitch effect. A perceptual study of the decaying parameters showed that large deviations from the reference value are tolerated perceptually. The studies on the audibility of initial pitch glides and dual-polarization effects provides practical knowledge that helps in the implementation of these features in digital sound synthesis. Related to expression rather than basic string behavior, the study on perception-based control of the vibrato parameters has a sligthly different background. However, all of the studied features are more or less player-controlled by different ways of plucking the string or pressing the key. The main objective of the thesis is to find answers to current problems in digital sound synthesis, such as parameter quantization. Another aim is to gain more general understanding of how we perceive musical sounds.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 1 archive entries; selected by similarity to the archives; NIME-topic probability 0.79}
}

@phdthesis{thesis:dahl2003strikingmovement,
  author = {Dahl, Sofia},
  title = {Striking movements: Movement strategies and expression in percussive playing},
  school = {Royal Institute of Technology},
  year = {2003},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:nichols2003thevbowanexpress,
  author = {Nichols, C.},
  title = {The Vbow: An Expressive Musical Controller Haptic Human-Computer Interface},
  school = {Stanford University},
  year = {2003},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:holmes2003jngestureaninter,
  author = {Holmes, Douglas B.},
  title = {jn4.gesture: An interactive composition for dance.},
  year = {2003},
  doi = {10.12794/metadc4212},
  abstract = {jn4.gesture is an interactive multimedia composition for dancer and computer designed to extend the possibilities of artistic expression through the use of contemporary technology. The software produces the audiovisual materials, which are controlled by the movement of the dancer on a custom rug sensor. The software that produces the graphic and sonic material is created using a modular design. During run-time, the software's modules are directed by a scripting language developed to control and adjust the audiovisual production through time. The visual material provides the only illumination of the performer, and the projections follow the performer's movements. The human form is isolated in darkness and it remains the focal point in the visual environment. These same movements are used to create the sonic material and control the diffusion of sound in an eight channel sound system. The video recording of the performance was made on April 22, 2002. The work was produced in a specialized performance space using two computer projectors and a state of the art sound system. Arleen Sugano designed the costumes, choreographed and performed the composition in the Merrill Ellis Intermedia Theatre (MEIT) at the University of North Texas. The paper focuses on the design of the program that controls the production of the audiovisual environment. This is achieved with a discussion of background issues associated with gesture capture. A brief discussion of human-computer interface and its relationship with the arts provides an overview to the software design and mapping scenarios used to create the composition. The design of the score, a graphical user interface, is discussed as the element that synchronizes the media creation in "scenes" of the composition. This score delivers a hybrid script to the modules that controls the production of audiovisual elements. Particular modules are discussed and related to sensor mapping routines that give multiple mapping control to computer function enabling a single gesture o have multiple outcomes.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 2 archive entries; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:kessous2004bimanualgestural,
  author = {Kessous, Loïc},
  title = {Bi-manual gestural control of sound processes},
  school = {Paris 8},
  year = {2004},
  url = {https://theses.fr/2004PA082585},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:kolesnik2004conductinggestur,
  author = {Kolesnik, Paul},
  title = {Conducting gesture recognition, analysis and performance system},
  school = {McGill University},
  year = {2004},
  doi = {10.82308/5725},
  abstract = {A number of conducting gesture analysis and performance systems have been developed over the years. However, most of the previous projects either primarily concentrated on tracking tempo and amplitude indicating gestures, or implemented individual mapping techniques for expressive gestures that varied from research to research. There is a clear need for a uniform process that could be applied toward analysis of both indicative and expressive gestures. The proposed system provides a set of tools that contain extensive functionality for identification, classification and performance with conducting gestures. Gesture recognition procedure is designed on the basis of Hidden Markov Model (HMM) process. A set of HMM tools are developed for Max/MSP software. Training and recognition procedures are applied toward both right-hand beat- and amplitude-indicative gestures, and left-hand expressive gestures. Continuous recognition of right-hand gestures is incorporated into a real-time gesture analysis and performance system in Eyesweb and Max/MSP/Jitter environments.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.82}
}

@phdthesis{thesis:merrill2004flexigestureasen,
  author = {Merrill, David J.},
  title = {FlexiGesture : a sensor-rich real-time adaptive gesture and affordance learning platform for electronic music control},
  year = {2004},
  url = {http://resenv.media.mit.edu/pubs/theses/dmerrill_thesis.pdf},
  abstract = {Acoustic musical instruments have traditionally featured static mappings from input gesture to output sound, their input affordances being tied to the physics of their soundproduction mechanism. More recently, the advent of digital sound synthesizers and electronic music controllers has abolished the tight coupling between input gesture and resultant sound, making an exponentially large range of input-to-output mappings possible, as well as an infinite set of possible timbres. This revolutionary change in the way sound can be produced and controlled brings with it the burden of design: Compelling and natural mappings from gesture to sound now must be created in order to create a playable electronic music instrument. The goal of this thesis is to present a device that allows flexible assignment of input gesture to output sound, so acting as a laboratory to help further understanding about the connection from gesture to sound. An embodied multi-degree-of-freedom gestural input device was constructed. The device was built to support six-degree-of-freedom inertial sensing, five isometric buttons, two digital buttons, two-axis bend sensing, isometric rotation sensing, and isotonic electric field sensing of position. Software was written to handle the incoming serial data, and to implement a trainable interface by which a user can explore the sounds possible with the device, associate a custom inertial gesture with a sound for later playback, make custom input degree-of-freedom (DOF) to effect modulation mappings, and play with the resulting configuration. A user study with 25 subjects was run to evaluate the system in terms of its engaging-ness, enjoyability, ability to inspire interest in future play and performance, ease of gesturing and novelty. In addition to these subjective measures, implicit data was collected about the types of gesture-to-sound and input-DOF-to-effect mappings that the subjects created. Favorable and interesting results were found in the data from the study, indicating that a flexible trainable musical instrument is not only a compelling performance tool, but is a useful laboratory for understanding the connection between human gesture and sound. Thesis Supervisor: Joseph A. Paradiso Title: Associate Professor of Media Arts and Sciences},
  collection = {Theses},
  note = {Found in OpenAlex; cites 6 archive entries; NIME-topic probability 0.98}
}

@phdthesis{thesis:khorshed2004newtechnologyfor,
  author = {Khorshed, Wail Mohamed Hosni},
  title = {New technology for creative scenography},
  school = {Paris 8},
  year = {2004},
  url = {https://theses.fr/2004PA082300},
  abstract = {Electronic revolution has introduced new technologies in several fields, especially in Arts such as Cinematographic Art, Video Art, Virtual environmental Art, Communication Art, Cybernetics Art, Interactive Art and, of course, Digital Art which is found in these Arts as well as in painting, sculpture, photography, Lighting (it is to do with Laser Art and Holographic Art) and theatrical scenography. The theatre gather them all in its space to create the setting and the atmosphere which correspond to show. We come to the conclusion that the new technologies must work with care, experience, skill and extreme sensibility in the theatrical space. We also have to take into account that they are not a goal in themselves, but that they do take part in a dramatic creation by the living actor who always dominates the show as well as the theatrical substance. The relationship between the living actor and the theatrical space with its different times, spaces, philosophies and tendencies, represents the relationship between the human being and the world in a aesthetical and dramatical style. },
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.86}
}

@phdthesis{thesis:kang2005chinoiserieasmus,
  author = {Kang, Angela},
  title = {Chinoiserie as musical gesture},
  year = {2005},
  doi = {10.5353/th_b4004024},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:gambetta2005conductingoutsid,
  author = {Gambetta, Charles L.},
  title = {Conducting Outside the Box: Creating a Fresh Approach to Conducting Gesture Through the Principles of Laban Movement Analysis},
  school = {The University of North Carolina at Greensboro},
  year = {2005},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:gentry2005dancingcheektoch,
  author = {Gentry, Sommer Elizabeth},
  title = {Dancing cheek to cheek: Haptic communication between partner dancers and swing as a flnite state machine},
  year = {2005},
  url = {https://dspace.mit.edu/bitstream/handle/1721.1/33207/67554584-MIT.pdf?sequence=2},
  abstract = {To see two expert partners, one leading and the other following, swing dance together is to watch a remarkable two-agent communication and control system in action. Even blindfolded, the follower can decode the leader’s moves from haptic cues. The leader composes the dance from the vocabulary of known moves so as to complement the music he is dancing to. Systematically addressing questions about partner dance communication is of scientific interest and could improve human-robotic interaction, and imitating the leader’s choreographic skill is an engineering problem with applications beyond the dance domain. Swing dance choreography is a finite state machine, with moves that transition between a small number of poses. Two automated choreographers are presented. One uses an optimization and randomization scheme to compose dances by a sequence of shortest path problems, with edge lengths measuring the dissimilarity of dance moves to each bar of music. The other solves a two-player zero-sum game between the choreographer and a judge. Choosing moves at random from among moves that are good enough is rational under the game model. Further, experiments presenting conflicting musical environments to two partners demonstrate that although musical expression clearly guides the leader’s choice of moves, the follower need not hear the same music to properly decode the leader’s signals. Dancers embody gentle interaction, in which each participant extends the capabilities of the other, and their cooperation is facilitated by a shared understanding of the motions to be performed. To demonstrate that followers use their understanding of the move vocabulary to interact better with their leaders, an experiment paired a haptic robot leader with human followers in a haptically cued dance to a swing music soundtrack. The subjects’ performance differed significantly between instances when the subjects could determine which move was being led and instances when the subjects could not determine what the next move would be. Also, two-person teams that cooperated haptically to perform cyclical aiming tasks showed improvements in the Fitts’ law or Schmidt’s law speed-accuracy tradeoff consistent with a novel endpoint compromise hypothesis about haptic collaboration. Thesis Supervisor: Eric Feron Title: Associate Professor of Aeronautics and Astronautics},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.90}
}

@phdthesis{thesis:puig2005digitallutheriec,
  author = {Puig, Sergi Jordà},
  title = {Digital Lutherie Crafting musical computers for new musics' performance and improvisation},
  year = {2005},
  url = {http://mtg.upf.edu/node/449},
  abstract = {Esta tesis estudia el uso del ordenador como instrumento musical, para la ejecucion e improvisacion de musica en tiempo real, Su principal objetivo es la construccion de un marco teorico que nos permita evaluar el potencial, las posibilidades y la diversidad de estos nuevos instrumentos musicales digitales. Los sistemas musicales interactivos se remontan a finales de los anos sesenta, cuando se desarrollan los primeros sintetizadores analogicos controlados por ordenador para uso en conciertos e instalaciones interactivas. Lamentablemente, casi cuatro decadas despues de los primeros pioneros, el diseno de instrumentos musicales basados en ordenador asi como, de forma mas general, la improvisacion musical empleando ordenadores, son todavia areas multidisciplinarias inmaduras en las cuales los conocimientos no parecen sedimentarse de forma incremental o acumulativa, y la rueda es reinventada permanentemente. El diseno de nuevos instrumentos musicales digitales es un campo muy amplio, que abarca areas altamente tecnologicas (e.g. electronica y tecnologias de sensores, tecnicas de sintesis y de procesado de sonido, programacion informatica, etc.) asi como disciplinas ligadas al estudio del comportamiento humano (e.g. psicologia, fisiologia, ergonomia, interaccion humano-computadora, etc.), con todas las conexiones posibles entre ellas. Mucha de la investigacion aplicada existente, intenta solucionar partes independientes del problema. Este planteamiento, que constituye un enfoque esencial para cualquier progresion verdadera en este campo, resulta ser tambien, como demostraremos mas adelante, claramente insuficiente. Estudios integrales, que tengan en cuenta no solo factores ergonomicos o tecnologicos, sino tambien psicologicos, filosoficos, conceptuales, musicologicos, historicos, y por encima de todo, musicales, aunque no puedan ser totalmente sistematicos, son absolutamente necesarios. En esta tesis},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:gallops2005theeffectofcondu,
  author = {Gallops, Ronald Wayne},
  title = {The Effect of Conducting Gesture on Expressive-Interpretive Performance of College Music Majors},
  school = {University of South Florida},
  year = {2005},
  url = {https://digitalcommons.usf.edu/etd/2885},
  abstract = {The purpose of this study was to examine the effect of non-verbal conducting gesture on musicians’ stylistic response and whether conducting gestures alone elicit consistent musical responses from musicians. Through an analysis that utilized a Gestural Response Instrument (GRI) it was determined that, even if the use of verbal and facial cues were eliminated, some experienced conductors successfully utilized non-verbal conducting gestures to communicate specific musical interpretations. It appeared that musicians responded in specific ways to the musical interpretation of conductors who had command of a variety of conducting gestures. The results illustrated the existence of a perceptual contract that facilitates the non-verbal communication expressed through gestural conducting. As demonstrated through this study, some experienced conductors lacked the gestural technique and vocabulary necessary to convey prescribed musical decisions while others were proficient in this area.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:maestre2006codinginstrument,
  author = {Maestre, Esteban},
  title = {Coding Instrumental Gestures. Towards a quantitative description of instrumental gestures in excitation-continuous musical instruments},
  year = {2006},
  doi = {10.5281/zenodo.3743136},
  abstract = {The subject of this work is the exploration of methods for the characterization of instrumental gestures in music performance. More concretely, we face the case of excitation-continuous monophonic musical instruments. Instrumental gestures are understood here as the actions applied by a musician to produce the sound conveying the musical message contained in the piece or composition being performed. These actions have been measured either from the recorded audio or from physical movement measurements. After surveying some relevant research carried out in the field of instrumental gesture analysis in music performance, as well as the control techniques applied in some of state-of-the-art synthesis trends, we propose some approaches for describing quantitatively instrumental gestures as temporal contours of variables belonging to both the sound domain and the physical action domain, with the final aim of improving existing synthesis methods and opening new ways of gestural synthesis.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:burns2006computervisionme,
  author = {Burns, Anne-Marie},
  title = {Computer Vision Methods for Guitarist Left-Hand Fingering Recognition},
  school = {McGill University},
  year = {2006},
  doi = {10.13140/rg.2.1.3586.1527},
  abstract = {This thesis presents a method to visually detect and recognize fingering gestures of the left hand of a guitarist. The choice of computer vision to perform that task is motivated by the absence of a satisfying method for realtime guitarist fingering detection. The development of this computer vision method follows preliminary manual and automated analyses of video recordings of a guitarist. These first analyses led to some important findings about the design methodology of such a system, namely the focus on the effective gesture, the consideration of the action of each individual finger, and a recognition system not relying on comparison against a knowledge-base of previously learned fingering positions. Motivated by these results, studies on three important aspects of a complete fingering system were conducted. One study was on realtime finger-localization, another on string and fret detection, and the last on movement segmentation. Finally, these concepts were integrated into a prototype and a system for left-hand fingering detection was developed. Such a data acquisition system for fingering retrieval has uses in music theory, music education, automatic music and accompaniment generation and physical modeling.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 6 archive entries; selected by similarity to the archives; NIME-topic probability 0.72}
}

@phdthesis{thesis:sinyor2006digitalmusicalin,
  author = {Sinyor, Elliot},
  title = {Digital musical instruments : a design approach based on moving mechanical systems},
  school = {McGill University},
  year = {2006},
  doi = {10.82308/54889},
  abstract = {This thesis describes the design and use of two novel digital musical instruments (DMIs) based on moving mechanical systems. The motivation behind using mechanical devices was threefold: to explore the effect of physical effort on DMIs, to make use of the device's inherent haptic and visual feedback, and to serve as a starting point for sound mappings. It was hoped that their mechanical nature would give the instruments a character that could emerge through each of the mappings. The first DMI built was the Gyrotyre, a hand-held DMI based around a small bicycle wheel outfitted with sensors that measure its speed of rotation and as well as its angle of orientation. The second DMI built was the Springwave, which consists of a loose metal spring stretched to one meter and fixed at both ends to a metal frame. The frame is in turn mounted horizontally on a hi-hat stand so that it can be raised and lowered with the pedal, thus inducing oscillation in the spring. Various mappings were designed to reflect and make use of the physical nature of both instruments. It was found that the nature of interaction with each instrument was very different depending on the mapping used. The use of mechanical devices was found to be a useful starting point for the development of mappings, and made playing the instruments engaging for the performer by the relationship between DMIs and musical contexts, a framework for characterizing DMIs that takes musical context into account is presented.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 13 archive entries; NIME-topic probability 0.95}
}

@phdthesis{thesis:aramburu2006expandingguitarp,
  author = {Aramburu, Roberto Horacio},
  title = {Expanding guitar production techniques : building the guitar application toolkit (GATK)},
  school = {Florida International University},
  year = {2006},
  doi = {10.25148/etd.fi14032330},
  abstract = {The purpose of this thesis was to build the Guitar Application ToolKit (GATK), a series of applications used to expand the sonic capabilities of the acoustic/electric stereo guitar. Furthermore, the goal of the GATK was to extend improvisational capabilities and the compositional techniques generated by this innovative instrument. During the GATK creation process, the current production guitar techniques and overall sonic result were enhanced by planning and implementing a personalized electroacoustic performance set up, designing custom-made performance interfaces, creating interactive compositional strategies, crafting non-standardized sounds, and controlling various music parameters in real-time using the Max/MSP programming environment. This was the first thesis project of its kind. It is expected that this thesis will be useful as a reference paper for electronic musicians and music technology students; as a product demonstration for companies that manufacture the relevant software; and as a personal portfolio for future technology related-jobs.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.94}
}

@phdthesis{thesis:legroux2006fromsensetosound,
  author = {Le Groux, Sylvain},
  title = {From Sense to Sound Mapping High-Level Sonic Percepts to Sound Generation},
  year = {2006},
  doi = {10.5281/zenodo.3743120},
  abstract = {This research report deals with the problem of mapping sonic percepts to sound generation, i.e. mapping high-level perceptually meaningful descriptors to sound synthesis parameters. We give an overview of different models that are used for sound description, sound generation and suggest a classification of the techniques that allow mappings from the descriptive to the generative domain. Based on our study of the state of the art, we describe our own novel system for intuitive control of an additive sound synthesis model. We in fact propose a general framework for the extraction, abstraction, reproduction and transformation of timbrical characteristics of a sound analyzed from recordings. We give a detailed description of our analysis/synthesis paradigm which is well-suited for a machine learning approach to a non-linear mapping problem. We also suggest an elegant way to reduce the dimensionality of the synthesis parameter space, while preserving the auditory quality of the resynthesis. We finally give a complete and coherent framework to train, tune and evaluate our system in an automatic, consistent and reproducible fashion. The results are promising, and this type of architecture yields various original audio and musical applications.},
  collection = {Theses},
  note = {Found in DataCite; cites 7 archive entries; NIME-topic probability 0.94}
}

@phdthesis{thesis:nevile2006gestureanalysist,
  author = {Nevile, Ben},
  title = {Gesture analysis through a computer’s audio interface: The Audio-Input Drum},
  school = {University of Victoria},
  year = {2006},
  url = {http://hdl.handle.net/1828/267},
  abstract = {When people first started to use digital technology to generate music, they were thrilled with their new ability to create novel and different sounds; accordingly, much research effort has been directed towards rich and complex methods of sound synthesis. Unfortunately the deep physical connection that exists between a musician and an instrument has not received as much attention, and so although we have machines capable of synthesizing fantastic new sounds, we don’t have the ability to use these sounds with any immediate finesse, of developing virtuosity with our new instruments. The work presented in this thesis is an exciting step towards a more dynamic future for computer-based musical performance. The Radio Drum was designed in 1987 at AT&T labs as a prototype of a three-dimensional mouse. Max Mathews later repurposed the apparatus as a musical instrument known as the Radio Baton, which in its most modern form outputs data using the MIDI protocol. The result of this work, a new system called the Audio-Input Drum, provides high-resolution gesture capture, a simplified apparatus, and access to the extremely flexible Max/MSP/Jitter real-time software signal processing environment.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 1 archive entries; selected by similarity to the archives; NIME-topic probability 0.87}
}

@phdthesis{thesis:roetenberg2006inertialandmagne,
  author = {Roetenberg, Daniel},
  title = {Inertial and Magnetic Sensing of Human Motion},
  school = {Universiteit Twente},
  year = {2006},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.85}
}

@phdthesis{thesis:penttinen2006loudnessandtimbr,
  author = {Penttinen, Henri},
  title = {Loudness and timbre issues in plucked stringed instruments - analysis, synthesis, and design},
  school = {Aalto University},
  year = {2006},
  url = {https://aaltodoc.aalto.fi/handle/123456789/2735},
  abstract = {This thesis explores acoustical properties of plucked stringed instruments and proposes sound synthesis methods for plucked stringed instruments. In this thesis the investigations of the kantele, the acoustic guitar, the harpsichord, and the guqin provide analysis results, a control algorithm, and two model-based sound synthesis methods in the following way. For a modified design of the kantele, acoustical measurements and formal listening tests support the assumption of increased loudness. The investigation also provides design rules to make a plucked stringed instrument louder. An automatic plucking-point estimation algorithm is proposed for acoustic guitars with an under-saddle pickup. The automatic plucking-point estimation can be used for controlling synthesis algorithms or sound effects. Model-based sound synthesis algorithms are proposed for the harpsichord and the guqin. It was found that the harpsichord exhibits dynamic behavior, albeit limited, when the tangent is pressed down with different speeds. Moreover, the string vibrations and the body response show changes according to the playing level. Hence, the proposed synthesis algorithm is dynamic. The analysis of the guqin reveals the existence of phantom partials in the tones, differences in tones according to the termination technique, and extensive use of flageolet tones and sliding of tones. The model-based sound synthesis algorithm takes these features into account.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 7 archive entries; NIME-topic probability 0.81}
}

@phdthesis{thesis:marlire2006studyanddesignof,
  author = {Marlière, Sylvain},
  title = {Study and design of a new tool with mixed realities and force feedback to touch and manipulate nanoworlds : Multisensory NanoManipulator},
  school = {Grenoble INPG},
  year = {2006},
  url = {https://theses.fr/2006INPG0013},
  abstract = {The recent introduction of virtual realities into scientific data processing tools inaugurates a major turning in the history of the man machine interfaces, by allowing a real-time interaction with virtual spaces. Ln parallel, the emergence of nanosciences requires the installation of innovative tools which, beyond the measurement and classical data display, will allow action and understanding at a scale where physical phenomena are singular and typically intangible. This work aims to develop of a nanomanipulator, an instrumental interface of augmented reality based on the coupling of an Atomic Force Microscope, a simulator and a multisensory platform. This nanomanipulator conforms like a real tool allowing to interact naturally and directly with the environment of the nanoworld. The multisensoriality is allowed by the real-lime rebuilding of a mixed space (real and virtual), energetically and dynamically coherent, where the user can interact with force feedback, animated images and sounds. Reality is increased thanks to the insertion of virtual mass-point physical mOdels, interacting conjointly with the user and nanoscene. The modularity and the opening of this instrument are presented, besides the issues induced by the scaling and by the technological and modeling systems. The teaching impact of such a device, for the formal training of intangible physical phenomena, within a practical teaching framework in nanophysic, constitutes a first evaluation of the tool. Its potential for research was highlighted through some applications of determination of real nanometric situations through recursive modeling and sensory comparisons with their virtual counterparts. },
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:mustard2006theintegratedsou,
  author = {Mustard, Jonathan},
  title = {The integrated sound, space and movement environment : The uses of analogue and digital technologies to correlate topographical and gestural movement with sound},
  year = {2006},
  url = {https://ro.ecu.edu.au/theses/84},
  abstract = {This thesis investigates correlations between auditory parameters and parameters associated with movement in a sensitised space. The research examines those aspects of sound that form correspondences with movement, force or position of a body or bodies in a space sensitised by devices for acquiring gestural or topographical data. A wide range of digital technologies are scrutinised to establish what the most effective technologies are in order to achieve detailed and accurate information about movement in a given space, and the methods and procedures for analysis, transposition and synthesis into sound. The thesis describes pertinent work in the field from the last 20 years, the issues that have been raised in those works and issues raised by my work in the area. The thesis draws conclusions that point to further development of an integrated model of a space that is sensitised to movement, and responds in sound in such a way that it can be appreciated by performers and audiences. The artistic and research practices that are cited, are principally from the areas of danceand- technology, sound installation and alternative gestural controllers for musical applications.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.99},
  school = {Edith Cowan University}
}

@phdthesis{thesis:wozniewski2007aframeworkforint,
  author = {Wozniewski, Michael},
  title = {A framework for interactive three-dimensional sound and spatial audio processing in a virtual environment},
  school = {McGill University},
  year = {2007},
  doi = {10.82308/27133},
  abstract = {Les environnements virtuels immersifs peuvent procurer une interaction naturelle au sein d'un monde virtuel qui soit familière aux usagers car ils sont basés sur des actions de tous les jours. L'utilisation de tels environnements pour la représentation et le contrôle de sons 3-D reste largement inexplorée. On propose un nouveau paradigme pour l'interaction avec le son et l'utilisation d'un espace virtuel comme instrument pour le traitement spatial du son. Une architecture logicielle procurant des fonctionnalité qui ne sont pas disponibles dans d'autres systèmes pour sons 3-D a été développée, offrant un contrôle puissant sur la direction du son et la capacité de déformer les règles de la physique dans des buts musicaux. Ces fonctionnalités procurent les outils nécessaires pour créer des scènes virtuelles pour l'ingénierie du son, la création, l'écoute et l'interprétation musicale. L'utilisation de technologies de suivis de mouvements permet l'utilisation de techniques naturelles basées sur les gestes pour le contrôle de l'environnement, ce qui ouvre la voie à plusieurs nouvelles applications.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:young2007amethodologyfori,
  author = {Young, Diana S.},
  title = {A methodology for investigation of bowed string performance through measurement of violin bowing technique},
  school = {MIT},
  year = {2007},
  abstract = {Virtuosic bowed string performance in many ways exemplifies the incredible potential of human physical performance and expression. Today, a great deal is known about the physics of the violin family and those factors responsible for its sound capabilities. However, there remains much to be discovered about the intricacies of how players control these instruments in order to achieve their characteristic range and nuance of sound. Today, technology offers the ability to study this player control under realistic, unimpeded playing conditions to lead to greater understanding of these performance skills. Presented here is a new methodology for investigation of bowed string performance that uses a playable hardware measurement system to capture the gestures of right hand violin bowing technique. Building upon previous Hyperstring research, this measurement system was optimized to be small, lightweight, and portable and was installed on a carbon fiber violin bow and an electric violin to enable study of realistic, unencumbered violin performances. Included in the system are inertial and force sensors, and an electric field position sensor. In order to maximize the applicability of the gesture data provided by this system to related fields of interest, all of the sensors were calibrated in SI units. The gesture data captured by these sensors are recorded together with the audio data from the violin as they are produced by violinists in typical playing scenarios. To explore the potential of the bowing measurement system created, a study of standard bowing techniques, such as detache, martele and spiccato, was conducted with expert violinist participants. Gesture data from these trials were evaluated and input to a classifier to examine physical distinctions between bowing techniques, as well as between players. Results from this analysis, and their implications on this methodology will be presented. In addition to this examination of bowing techniques, applications of the measurement system for study of bowed string acoustics and digital music instrument performance, with focus on virtual instruments created from physical models, will be discussed.},
  collection = {Theses},
  note = {Found in Zotero; cites 3 archive entries; selected by similarity to the archives; NIME-topic probability 0.92}
}

@phdthesis{thesis:jensenius2007actionsounddevel,
  author = {Jensenius, Alexander Refsum},
  title = {Action–Sound: Developing Methods and Tools to Study Music-Related Body Movement},
  school = {University of Oslo},
  year = {2007},
  url = {http://urn.nb.no/URN:NBN:no-18922},
  abstract = {Body movement is integral to both performance and perception of music, and this dissertation suggests that we also think about music as movement. Based on ideas of embodied music cognition, it is argued that ecological knowledge of action-sound couplings guide our experience of music, both in perception and performance. Then follows a taxonomy of music-related body movements, before various observation studies of perceiver's music-movement correspondences are presented: air instrument performance, free dance to music, and sound-tracing. These studies showed that both novices and experts alike seem to associate various types of body movement with features in the musical sound. Knowledge from the observation studies was used in the exploration of artificial action- sound relationships through the development of various prototype music controllers, including the Cheapstick, music balls, and the Music Troll. This exploration showed that it is possible to create low-cost and human-friendly music controllers that may be both intuitive and creatively interesting. The last part of the dissertation presents tools and methods that have been developed throughout the project, including the Musical Gestures Toolbox for the graphical programming environment Max/MSP/Jitter; techniques for creating motion history images and motiongrams of video material; and development of the Gesture Description Interchange Format (GDIF) for streaming and storing music-related movement data. These tools may be seen as an answer to many of the research questions posed in the dissertation, and have facilitated the analysis of music-related movement and creation of artificial action-sound relationships in the project.},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:shang2007combinationtimog,
  author = {Shang, Xinhuai},
  title = {Combination Timogun Murut dance movement and modern dance technique in modern dance choreography},
  year = {2007},
  url = {http://eprints.ums.edu.my/6800/},
  abstract = {In modern world, when the culture from West and East meets, the traditional and modern collide, the artistic development tends to be multicultural. The dance is being influence by in the modern social environment and culture. Variety of form and style harmonized together forming a new conception that has been used widely in the modern dance choreography. The aim of the research is to combine the Malaysian ethnical dance movement derived from Timogun Murut with the modern dance techniques namely Martha Graham, Doris Humphrey, Merce Cunningham, Jose Limon and Erik Hawkins. This research is conducted through the experimental design. It also includes the reference and compilation from the literature review and the field work. The focus of the research is based on the combination. In this research, the combination is analyzed in two way namely the internal and the external movement. The internal movement is related with the natural movement such as breathing, plie, standing, gesture, flow of movement and jump. The external movement includes 4 four main modern dance element. The elements are space, time, dynamism, and meta kinesis. The result of the combination is discussed in detail. The result is discussed in two aspect the such as suitable for combination and unsuitable for combination. The practical usage and restriction of dance is also being emphasized. Improvement methods are suggested in the research. The principle result of the research is drawn out from here. In this way, it gives clear and sufficient ideas to the reader. The result is used in the practical way. It also considered the other elements of choreography. The practical way is analyzed specifically. The result after the combination will be an enhancement and impressive result for the modern dance composition. At the same time, through the modern dance composition it could present the excellent local Malaysian ethnical Timogun Murut culture internationally.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.90}
}

@phdthesis{thesis:osullivan2007developmentofagr,
  author = {O’Sullivan, Liam},
  title = {Development of a Graphical Sound Synthesis Controller Exploring Cross-Modal Perceptual Analogies},
  year = {2007},
  url = {https://www.mee.tcd.ie/~lmosulli/files/Liam%20O%20Sullivan_MPhil_Thesis_Hardbound%20Version.pdf},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 4 archive entries; NIME-topic probability 0.99}
}

@phdthesis{thesis:sinclair2007forcefeedbackhan,
  author = {Sinclair, Stephen},
  title = {Force-Feedback Hand Controllers for Musical Interaction},
  school = {McGill University},
  year = {2007},
  abstract = {This thesis investigates the possibility of exploiting haptic force-feedback technology for interacting with virtual musical instruments. A survey of current software solutions for creating haptic virtual environments is provided, with a discussion on the need to integrate such a platform with currently accepted solutions for audio research. A system was developed to combine a haptic programming library with a physical dy- namics engine and to expose its functionality through the Open Sound Control (OSC) protocol, an increasingly accepted standard for communication within the audio software and hardware domain. Using OSC messaging, simple 3D ob jects can be instantiated and constraints on their movement can be specified, allowing the description of physically dy- namic mechanisms. Collision events as well as properties of the ob jects can be transmitted to the audio system continually to be used for modulating audio synthesis parameters. Some examples of simple virtual musical instruments created with the aid of this system are provided.},
  collection = {Theses},
  note = {Found in Zotero; cites 14 archive entries; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:marosek2007jonchristopherne,
  author = {Marosek, Scott},
  title = {Jon Christopher Nelson’s Fantasies and Flourishes: An Interactive Concerto for Disklavier and Orchestra: A Performance Analysis},
  year = {2007},
  doi = {10.12794/metadc3941},
  abstract = {Jon Christopher Nelson’s Fantasies and Flourishes: An Interactive Concerto for Disklavier and Orchestra (1995) is the first interactive work to present the Disklavier as the solo instrument in a concerto with orchestra. The purpose of this study is to provide an analysis of Fantasies and Flourishes and advice on how to successfully present it in performance. Fantasies and Flourishes reveals the composer’s interest in the music of Elliot Carter, in particular his A Symphony of Three Orchestras. The entire work is based on the two all-interval tetrachords also used by Carter; in Fantasies and Flourishes, these tetrachords are combined to form seven octachords that are used in various manipulations. The Disklavier is an acoustic piano that can be played by a performer, can play by itself, or can be controlled by a computer program. In interactive works for Disklavier, a pianist plays on the Disklavier while the Disklavier plays by itself, much like if a pianist were to play on a player piano while the piano was also playing by itself. However, in interactive Disklavier music the pianist’s performance affects what the Disklavier plays; particular notes in the piano part trigger the Disklavier’s music. Chapter I provides an introduction to the dissertation and background on the composition. Chapter II gives a formal analysis of the work, with focus on the composer’s use of musical constraints to delineate form. Chapter III supplies information that will help a pianist to prepare for a performance of the concerto and includes discussion of extended techniques used in performance. Chapter IV gives a detailed discussion of Max, the computer program used to control the Disklavier. Analysis and description of the computer program give the performer insight into how the Disklavier’s music works, especially for algorithmically-composed sections that vary between performances. A chart is provided that details information regarding each trigger that the performer must play in order for the Disklavier to function properly.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.74}
}

@phdthesis{thesis:lozada2007modelinghapticco,
  author = {Lozada, José},
  title = {Modeling, haptic control and novel concepts for musical keyboards},
  school = {Palaiseau, Ecole polytechnique},
  year = {2007},
  url = {https://theses.fr/2007EPXX0041},
  abstract = {The traditional acoustic piano action mechanism is composed of many different parts of wood, wool felt, leather, metal, and steel-springs. These parts form a multi-degree-of freedom system that transmits energy from the player to the hammer. In return, the action mechanism generates a specific tactile rendering that is felt by the pianist during playing. The haptic feedback is essential for a precise control of timing and loudness. The action mechanisms used in numerical pianos are much simpler and therefore provide a poor haptic feedback. In the last few years, many developments have been carried out by keyboard manufacturers in order to improve the feeling of touch of their products. Most of these systems are not actively controlled and are based on simplified models of the dynamical behaviour of traditional pianos. According to users, improvements are still required in terms of size, performance and realism of the device. Active systems capable of reproducing the dynamics of traditional piano have been developed as laboratory prototypes and commercial products. They are based on simplified models or pre-recorded dynamics that do not satisfactorily match the dynamical behaviour of the traditional piano key. Moreover, the size of these systems often based on electromagnetic actuators is not suitable for an industrial keyboard implementation. The resistant force provided by the traditional piano action mechanism varies from 0. 5 N (the minimum force that initiates key motion), to 15 N (at fortissimo nuance). Extensive measurements of the kinematics of a grand piano action mechanism indicate that the duration of the key motion varies from 20 to 250 ms depending on the nuance whereas the key velocity varies from 0. 1 m. S−1 to 0. 6 m. S−1. The main objective of this research work is to develop a novel digital keyboard capable of reproducing the behaviour of a grand piano action mechanism. It is composed of two main parts. First, the dynamics of traditional piano is studied, then the design and the control of a novel haptic interface based on magneto-rheological fluids are presented. The dynamic model of the traditional piano action mechanism presented in this thesis takes into account the six degrees of freedom of the system under the hypothesis of rigid bodies. It is completed by the contacts and rotational links elementary models. A set of experimental procedures is used to identify the parameters of the model. Finally, a numerical simulation using Matlab/Simulink is presented. The modelling and the identification of an original operation mode for MR fluids is presented and used for the design of the haptic interface for musical keyboards. An analytical model of the interface key is built and used to develop the control law. The mechatronic model is numerically simulated and compared to the real behaviour of the interface. Finally a real time control loop coupled to a virtual model is used to command the interface (for instance the dynamical mode},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.75}
}

@phdthesis{thesis:rauhala2007physicsbasedpara,
  author = {Rauhala, Jukka},
  title = {PHYSICSBASED PARAMETRIC SYNTHESIS OF INHARMONIC PIANO TONES},
  school = {Aalto University},
  year = {2007},
  url = {https://aaltodoc.aalto.fi/handle/123456789/2974},
  abstract = {This dissertation studies methods for developing a parametric piano synthesis model using the physics-based approach. The goal is to develop a model that can be controlled with physically meaningful parameters. Moreover, the model is required to be computationally efficient for real-time implementation. The basis of this work is to use the digital waveguide technique for implementing a piano string model. The excitation signal, simulation of dispersion, the beating effect, and simulation of sympathetic resonances are considered. Novel and improved simulation methods are developed for each of these aspects by applying signal processing techniques and knowledge of the human auditory system. The new simulation methods include a novel excitation model with parametric control and the first closed-form design method for dispersion filter design. In addition, two new beating effect simulation methods suitable for parametric real-time synthesis are created. One of the developed methods can be also used for modifying the partial envelopes in recorded tones. Furthermore, an efficient and improved method for simulation of sympathetic resonances has been suggested. Additionally, a novel analysis method for estimating inharmonicity coefficient values from recorded tones, which is needed for high-quality synthesis, is developed giving good results. Finally, a real-time piano synthesis model without any sampled sounds is implemented using the developed simulation methods in collaboration with the Sibelius Academy. The model can be controlled in real-time using physical parameters, such as the fundamental frequency and the inharmonicity coefficient value. The implementation suggests that the goals set for this thesis work are met. The results can be applied to physics-based piano synthesis. The methods can be used to implement a synthesis model for restricted environments, and they can be used to produce test tones for evaluating properties of the human auditory system and testing signal analysis algorithms.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.85}
}

@phdthesis{thesis:mcdonald2007playingwithtechn,
  author = {McDonald, Iain},
  title = {Playing with technology - an approach to composition},
  school = {The University of Glasgow},
  year = {2007},
  url = {https://theses.gla.ac.uk/669/3/index.html},
  abstract = {Approaches to the use of technology in music composition can be organised into two categories characteristic of the concepts of bricoleur and engineer as found in Claude Levi-Strauss' "The Savage Mind". This paper begins by arguing that the engineer approach is of more importance to the future of technology in music composition. It then documents the creation of five pieces, each intimately entwined with the use of technology and utilizing an engineer approach, outlining their associated intentions, technical implementations and concerns. Finally, the ambiguous nature of the role of composer in these pieces is outlined and discussed.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; NIME-topic probability 0.83}
}

@phdthesis{thesis:mamoumani2007prestressesandvi,
  author = {Mamou-Mani, Adrien},
  title = {Prestresses and vibration of a soundboard : towards the modelling of the know-how of the musical instruments makers},
  school = {Paris 6},
  year = {2007},
  url = {https://theses.fr/2007PA066630},
  abstract = {Le savoir-faire des fabricants contient de multiples techniques à l'origine de la qualité de l'instrument. L'objectif est ici d'apporter des éléments de compréhension de ces techniques grâce à la modélisation mécanique. L'étude s'est concentrée sur deux étapes de la fabrication du piano nommées ''la charge'' et ''le bombé'' des tables d'harmonie. Des modèles de structures précontraintes sont proposés pour évaluer les effets vibratoires de ces techniques de fabrication. Un calcul numérique sur une structure proche d'une table de piano montre que ''la charge'' et ''le bombé'' ont des effets complémentaires sur ses propriétés vibratoires. Ces effets sont retrouvés analytiquement sur des systèmes simples précontraints. Excités proche de points critiques, ces systèmes montrent des caractéristiques vibratoires non-linéaires. Ces résultats sont retrouvés expérimentalement sur un monocorde avec une table d'harmonie précontrainte. Le son de ce prototype est largement modifié par les précontraintes. },
  collection = {Theses},
  note = {Found in theses.fr; selected by its English title, the abstract being in another language; NIME-topic probability 0.95}
}

@phdthesis{thesis:shiratori2007synthesisofdance,
  author = {Shiratori, Takaaki},
  title = {Synthesis of Dance Performance Based on Analyses of Human Motion and Music},
  year = {2007},
  doi = {10.15083/00002393},
  abstract = {Recently, demands for synthesizing realistic human motions are rapidly increasing in computer graphics (CG) and robotics fields. One of the easy solutions to this issue is to use a motion capture system. However, it still remains difficult to capture the motion data that animators really want, and most prior work aimed to solve this problem by editing motion capture data, seamlessly blending or connecting motion capture data sets, or modifying them according to physical properties. In most cases, human movements, however, are induced by external signals: people first receive visual information such as environmental obstacles from eyes, or audio information such as speech or music from ears, and then recognize essential information or feel some emotions from the obtained information, and finally perform movements. Considering these aspects makes it possible to automatically synthesize more human-like motion, and, despite this possibility, only a few methods considering these aspects have been developed. To meet this need, we are focusing on dance performance as an experimental subject. Dance performance strongly depends on musical features such as rhythm, speed, mood, intensity, or genre of played music recognized by dance performers, and is well-suited to the issue. The ultimate goal of our study is to realize dancing-to-music ability for CG characters and humanoid robots. This dissertation describes three novel studies. The first study is to analyze the relationship between motion and musical rhythm. According to observation of human dance motion, motion rhythm is represented with stop motion called a keypose, at which dancers clearly stop their movements, and the motion rhythm is synchronized with musical rhythm to perform dance performance. The proposed method aims to reveal the relationship and consists of music analysis step that estimates musical rhythm, and motion analysis step that extract keypose candidates. By integrating these information, keyposes that are very similar to dancers'understandings are extracted. The second study is to model how to modify upper body motion based on the speed of played music. When we observed structured dance motion performed at a normal music playback speed and motion performed at faster music playback speed, we found that the detail of each motion is slightly different while the whole of the dance motion is similar in both cases. This phenomenon is derived from the fact that dancers omit the details and perform the essential part of the dance in order to follow the faster music speed. To prove this, we analyzed the motion differences in the frequency domain, and obtained two insights on the omission of motion details: (1) The keyposes mentioned in the first study are preserved, and (2) High frequency components are gradually reduced depending on the musical speed. Based on these insights, we modeled the motion modification using musical rhythm and kinematic constraints that humans have. We show the effec},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:liu2007usercenteredcomp,
  author = {Liu, Jie (author)},
  title = {User-centered computing and design in ESP: a driving interface for musical expression synthesis},
  school = {University of Southern California},
  year = {2007},
  doi = {10.25549/usctheses-m964},
  abstract = {This dissertation is in the area of user-centered computing and design, which is concerned with the usability of human-computer systems. User-centered computing is computing that takes into account human response and reaction. User-centered design accounts for users' needs in the design process. We focus on these aspects of system design and implementation in this dissertation on the Expression Synthesis Project (ESP).},
  collection = {Theses},
  note = {Found in DataCite; cites 5 archive entries; NIME-topic probability 0.96}
}

@phdthesis{thesis:jrgensen2007whatarethosegrun,
  author = {Jørgensen, Kristine},
  title = {What are Those Grunts and Growls Over There?' Computer Game Audio and Player Action},
  school = {University of Copenhagen},
  year = {2007},
  doi = {10.5281/zenodo.20343893},
  abstract = {This dissertation concerns the functionality of sound in computer games, with focus on the relationship between game audio, player actions and events in the game. The central questions of investigation in the project centre on how game sound affects player actions, and how auditory information enables the player to take action in the game world. On this basis, the focus lies on the relationship between the use of audio and the player, with emphasis on the player’s actions and responses. The point of departure is that the functionality of game audio depends on the dual nature of computer games as a game world and a user system. As a game world, the computer game is seen as a coherent virtual environment in which the player acts and which utilizes sound to enhance the sense of presence in this game world. As a user system, the computer game is manipulated by the player through an interface consisting of input devices such as game controller or mouse/keyboard and audiovisual output. This user system emphasises sound as a usability feature that provides reactive and proactive information to the player. Computer game audio combines these roles by making usability sounds merge into sounds that seem to be motivated by a sense or presence and the illusion of realism in the game world. The project draws on theory primarily from two different angles. The first is film theory on sound and music, which studies the use of sound in an audiovisual context where it seeks to emphasise a specific fictive world. The division between diegetic sound that appears to belong naturally to the game universe and extradiegtic sound that seems to comment on what happens within the game world from an external perspective has been central in understanding how audio works to support the virtual game world. The second theoretical angle is auditory display studies, which derives from ecological psychoacoustics and human-computer interface studies. Auditory display studies research and develop systems that utilize sound for communicative purposes in computer systems, virtual simulators and the everyday life. The ideas of how different types of sound signals may be used to provide different kinds of responsive and urgent information have been fruitful in understanding how game audio works for usability purposes. The study is also based on empirical studies of computer game players and game audio developers. Game developer interviews have revealed purposes and intentions behind audio in computer games, and pointed out possibilities and constraints in connection with game audio development, while the interviews with and observations of players of two different games have demonstrated how actual players understand and utilize sound in the gaming context.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.88}
}

@phdthesis{thesis:malloch2008aconsortofgestur,
  author = {Malloch, Joseph W.},
  title = {A consort of gestural musical controllers : design, construction, and performance},
  school = {McGill University},
  year = {2008},
  doi = {10.82308/17421},
  abstract = {This thesis project presents the T-Sticks, a new family of digital musical instruments (DMIs). Most DMIs are either entirely unique interfaces, or exist as design iterations in which each incarnation is intended to improve on the last. The T-Sticks are instead intended to form a complementary group or consort which may be performed ensemble and also performed individually in solo pieces or works for mixed instrumentation. Each of the T-Sticks is based on the same general structure and sensing platform, but each also differs from its siblings in size, weight, timbre and register. This document explores some of the issues challenging and motivating the field of DMI design and performance, and describes the motivations behind the T-Stick project in this context. Several existing DMIs are examined for similarities to the T-Stick and compared in terms of design intention, implementation, and usage. The hardware and software designed and built for this project is presented, along with insights gained through collaboration with performers and composers in the context of McGill University's Digital Orchestra project. The performers in question have collectively practiced and performed with the T-Stick for hundreds of hours in the lab, practice room, and on the concert stage. The consort of T-Sticks will be featured as an ensemble in a piece to be performed during the 2008 MusiMarch festival in Montreal.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 2 archive entries; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:peng2008agesturalinterfa,
  author = {Peng, Lijuan},
  title = {A gestural interface in a computer-based conducting system.},
  year = {2008},
  doi = {10.82465/6782},
  abstract = {Over the past few years, a number of computer-based conducting systems have been designed and implemented.However, only a few of them have been developed to help a user learn and practice musical conducting gestures.Few systems provide both visual representation for a conducting gesture and aural feedback.This thesis is intended to address research related to this area.It focuses on a gestural interface designed and developed for a computer-based conducting system.This gestural interface utilizes an infrared technique to track the motions of the right arm and an acceleration sensor for the gestures of the left arm.The infrared sensor enables the system to be used in a natural environment and has little influence on the conducting.The gesture recognition is based on the inherent characteristics of conducting gestures including positions and amplitudes.It is an accurate and relatively simple process.The conducting is interpreted using a few visual items that show a conducting gesture very clearly and straightforwardly reveal its quality.In addition, this gestural interface supports both tempo following and dynamics following and provides straightforward visual representations for them.The aural representation included in the interface is to inform users of the occurrence of beats i Abstract Over the past few years, a number of computer-based conducting systems have been designed and implemented.However, only a few of them have been developed to help a user learn and practice musical conducting gestures.Few systems provide both visual representation for a conducting gesture and aural feedback.This thesis is intended to address research related to this area.It focuses on a gestural interface designed and developed for a computer-based conducting system.This gestural interface utilizes an infrared technique to track the motions of the right arm and an acceleration sensor for the gestures of the left arm.The infrared sensor enables the system to be used in a natural environment and has little influence on the conducting.The gesture recognition is based on the inherent characteristics of conducting gestures including positions and amplitudes.It is an accurate and relatively simple process.The conducting is interpreted using a few visual items that show a conducting gesture very clearly and straightforwardly reveal its quality.In addition, this gestural interface supports both tempo following and dynamics following and provides straightforward visual representations for them.The aural representation included in the interface is to inform users of the occurrence of beats i completion of my thesis.His invaluable suggestions and comments placed me on the right path and were essential to the process of completing my graduate studies.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 2 archive entries; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:gimenes2008anapproachtomach,
  author = {Gimenes, Marcelo},
  title = {AN APPROACH TO MACHINE DEVELOPMENT OF MUSICAL ONTOGENY},
  school = {University of Plymouth},
  year = {2008},
  doi = {10.13140/rg.2.2.32259.40489},
  abstract = {This Thesis pursues three main objectives: (i) to use computational modelling to explore how music is perceived, cognitively processed and created by human beings; (ii) to explore interactive musical systems as a method to model and achieve the transmission of musical influence in artificial worlds and between humans and machines; and (iii) to experiment with artificial and alternative developmental musical routes in order to observe the evolution of musical styles. In order to achieve these objectives, this Thesis introduces a new paradigm for the design of computer interactive musical systems called the Ontomemetical Model of Music Evolution - OMME, which includes the fields of musical ontogenesis and memetlcs. OMME-based systems are designed to artificially explore the evolution of music centred on human perceptive and cognitive faculties. The potential of the OMME is illustrated with two interactive musical systems, the Rhythmic Meme Generator (RGeme) and the Interactive Musical Environments (iMe). which have been tested in a series of laboratory experiments and live performances. The introduction to the OMME is preceded by an extensive and critical overview of the state of the art computer models that explore musical creativity and interactivity, in addition to a systematic exposition of the major issues involved in the design and implementation of these systems. This Thesis also proposes innovative solutions for (i) the representation of musical streams based on perceptive features, (ii) music segmentation, (iii) a memory-based music model, (iv) the measure of distance between musical styles, and (v) an impi*ovisation-based creative model.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 9 archive entries; NIME-topic probability 0.95}
}

@phdthesis{thesis:konttinen2008conductinggestur,
  author = {Konttinen, Anu},
  title = {Conducting Gestures : Institutional and Educational Construction of Conductorship in Finland, 1973-1993},
  year = {2008},
  url = {http://hdl.handle.net/10138/19379},
  abstract = {Anu Konttinen: Conducting Gestures Institutional and Educational Construction of Conductorship in Finland, 1973-1993. This doctoral thesis concentrates on those Finnish conductors who have participated in Professor Jorma Panula s conducting class at the Sibelius Academy during the years 1973 1993. The starting point was conducting as a myth, and the goal has been to find its practical opposite the practical core of the profession. What has been studied is whether one can theorise and analyse this core, and how. The theoretical goal has been to find out what kind of social construction conductorship is as a historical, sociological and practical phenomenon. In practical terms, this means taking the historical and social concept of a great conductor apart to look for the practical core gestural communication. The most important theoretical tool is the concept of gesture. The idea has been to sketch a theoretical model based on gestural communication between a conductor and an orchestra, and to give one example of the many possible ways of studying the gestures of a conductor.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.90},
  school = {University of Helsinki}
}

@phdthesis{thesis:rasamimanana2008gesteinstrumenta,
  author = {Rasamimanana, Nicolas H.},
  title = {Geste instrumental du violoniste en situation de jeu : analyse et modélisation},
  school = {Sciences et Technologies de la Musique et du Son},
  year = {2008},
  url = {https://theses.hal.science/tel-00351267},
  abstract = {Gesture sensing technologies allow musicians to control sound synthesis processes through their body movements. Reflections on how to map "gestures" and "sound" therefore lead to question the essential links between a musician and his/her instrument. In this context, the study of acoustic instruments and of performers gestures used to control acoustic sounds can bring fundamental understanding for electronic music performance. This thesis studies such a control in the case of bowed strings, using a framework defined by the instrument's acoustic constraints and the player's biomechanical constraints. Results are presented in four articles. Papers I and III propose to explore various strategies used by players in different contexts involving several bowing techniques, tempos and nuances. Paper II focuses on transitions between bow strokes, producing different qualities of note articulations, and underlines their importance in bow mastery. Paper IV presents movement models inspired from biomechanical works and notably putting forth the influence of musical context. Applications of the results to music creation and music pedagogy are also presented.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 5 archive entries; NIME-topic probability 0.84}
}

@phdthesis{thesis:jones2008intimatecontrolf,
  author = {Jones, Randall},
  title = {Intimate Control for Physical Modeling Synthesis},
  school = {University of Victoria},
  year = {2008},
  abstract = {Physical modeling synthesis has proven to be a successful method of synthesizing realistic sounds, but providing expressive controls for performance remains a major challenge. This thesis presents a new approach to playing physical models, based on multidimensional signals. Its focus is on the long-term research question, “How can we make a computer-mediated instrument with control intimacy equal to the most expressive acoustic instruments?” In the material world, the control and sounding properties of an instrument or other object are intimately linked by the object's construction. Multidimensional signals, used as connections between a gestural controller and a physical model, can in principle provide the same intimacy. This work presents a new, low-cost sensor design capable of generating a 2D force signal, a new implementation of the 2D digital waveguide mesh, and two experimental computer music instruments that combine these components using different metaphors. The new instruments are evaluated in terms of intimacy, playability and plausibility. Multidimensional connections between sensors and a physical model are found to facilitate a high degree of control intimacy, and to reproduce as emergent behavior some important phenomena associated with acoustic instruments.},
  collection = {Theses},
  note = {Found in Zotero; cites 8 archive entries; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:hosale2008nonlinearmediaas,
  author = {Hosale, Mark-David},
  title = {Nonlinear Media as Interactive Narrative},
  school = {University of California},
  year = {2008},
  abstract = {As an interdisciplinary artist and composer I have found that, beyond the common language of new media, the connecting tissue between various art practices and music can be found in narrative. In particular, the kind of narrative that is structured using nonlinear representations of information, time, and space. Nonlinear narrative is an inherent aspect of new media that provides a common baseline whereby media artworks can be evaluated and understood. The discussion of nonlinear narrative as interactive media is an exploration of the question, “what is the form of nonlinear interactive narrative?” providing the impetus for a theoretical discussion, and a formal approach to the understanding of my past works, while providing a basis for the creation of new works that have a dynamic nonlinear structure and reflect on our modern understanding of knowledge and nature. The domain of this document falls within the field of media art and is motivated by a transmodal aesthetic that developed and matured in tandem with my participation in a series of seminars led by Marcos Novak on the subject of transvergence. The terms and ideas presented in support of the concepts put forth in this document are derived from a variety of sources, including the histories of art, music, and literature; concepts in philosophy (in particular Deleuzeian philosophy); and pattern language as found in the field of software engineering. The result of this discussion is the definition, evaluation, and exploration of a transmodal, generalized description of nonlinear narratives in an abstract formal model called the Universe. It is important to clarify that the term Universe is not intended to describe what can be understood as a “universal model.” The Universe is a reference to the concept of worlds borrowed from Virtual Reality terminology in order to describe the qualities of immersive interactive artworks as immersive environments. Thus the Universe Model is a description of the formalized approach taken in the realization of my own work and, although not strictly about music, this document follows a long line of documents in music whereby composers formally define the techniques and theory used in their work.},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:demoucron2008onthecontrolofvi,
  author = {Demoucron, Matthias},
  title = {On the Control of Virtual Violins: Physical Modelling and Control of Bowed String Instruments},
  school = {Université Pierre et Marie Curie (UPMC), Paris & Royal Institute of Technology (KTH), Stockholm},
  year = {2008},
  abstract = {This thesis treats the control of sound synthesis of bowed string instruments based on physical modelling. The work followed two approaches: (a) a systematic exploration of the influence of control parameters (bow force, bow velocity, and bow-bridge distance) on the output of a physical model of the violin, and (b) measurements and analyses of the bowing parameters in real violin playing in order to model and parameterize basic classes of bowing patterns for synthesis control. First a bowed-string model based on modal solutions of the string equation is described and implemented for synthesis of violin sounds. The behaviour of the model is examined through simulations focusing on playability, i.e. the control parameter space in which a periodic Helmholtz motion is obtained, and the variations of the properties of the simulated sound (sound level and spectral centroid) within this parameter space. The response of the model corresponded well with theoretical predictions and empirical expectations based on observations of real performances. The exploration of the model allowed to define optimal parameter regions for the synthesis, and to map sound properties on the control parameters. A second part covers the development of a sensor for measuring the bow force in real violin performance. The force sensor was later combined with an optical motion capture system for measurement of complete sets of bowing parameters in violin performance. In a last part, measurements of the control parameters for basic classes of bowing patterns (sautillé, spiccato, martelé, tremolo) are analyzed in order to propose a realistic control of the sound synthesis. The time evolution of the bowing parameters were modelled by analytical functions, which allowed to describe and control simulated bowing patterns by a limited set of control parameters. For sustained bowing patterns such as détaché, control strategies for basic elements in playing (variations in dynamic level, bow changes) were extracted from exemplary measurements, and simple rules deduced, which allowed extrapolation of parameters to modified bow strokes with other durations and at different dynamic levels. Keywords: Bowed string, physical modelling, sound synthesis, performance control, violin playing.},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:casciato2008onthechoiceofges,
  author = {Casciato, Carmine},
  title = {On the choice of gestural controllers for musical applications : an evaluation of the Lightning II and the Radio Baton},
  school = {McGill University},
  year = {2008},
  doi = {10.82308/16792},
  abstract = {This thesis evaluates the Lightning II and the Radio Baton gestural controllers for musical applications within two main perspectives. The first involves a technical specification of each in terms of their construction and sensing technology. This step, along with an analysis of the insights by long-term users on the controllers in question, provides an understanding about the different musical contexts each controllers can be and have been used in. The second perspective involves studying the Radio Baton and the Lightning within a specific musical context, namely that of a simulated acoustic percussion instrument performance. Three expert percussionists performed basic percussion techniques on a real drum, a drum-like gestural controller (the Roland V-Drum), the Radio Baton and the Lightning II. The motion capture and audio data from these trials suggest that certain acoustic percussion playing techniques can be successfully transferred over to gestural controllers. This comparative analysis between gestural controllers adds to the ongoing discussion on the evaluation of digital musical instruments and their relationship to acoustic instruments.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 15 archive entries; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:janer2008singingdrivenint,
  author = {Janer, Jordi},
  title = {Singing-Driven Interfaces for Sound Synthesizers},
  school = {Universitat Pompeu Fabra},
  year = {2008},
  abstract = {Together with the sound synthesis engine, the user interface, or controller, is a basic component of any digital music synthesizer and the primary focus of this dissertation. Under the title of singing-driven interfaces, we study the design of systems, that based on the singing voice as input, can control the synthesis of musical sounds. From a number of preliminary of experiments and studies, we identify the principal issues in- volved in voice-driven synthesis. We propose one approach for controlling a singing voice synthesizer and another one for controlling the synthesis of other musical instruments. In the former, input and output signals are of the same nature, and control to signal mappings can be direct. In the latter, mappings become more complex, depending on the phonetics of the input voice and the characteris- tics of the synthesized instrument sound. For this latter case, we present a study on vocal imitation of instruments showing that these voice signals consist of syllables with musical meaning. Also, we suggest linking the characteristics of voice signals to instrumental gestures, describing these signals as vocal gestures. Within the wide scope of the voice-driven synthesis topic, this dissertation studies the relation- ship between the human voice and the sound of musical instruments by addressing the automatic description of the voice and the mapping strategies for a meaningful control of the synthesized sounds. The contributions of the thesis include several voice analysis methods for using the voice as a control input: a) a phonetic alignment algorithm based on dynamic programming; b) a seg- mentation algorithm to isolate vocal gestures; c) a formant tracking algorithm; and d) a breathiness characterization algorithm. We also propose a general framework for defining the mappings from vocal gestures to the synthesizer parameters, which are configured according to the instrumental sound being synthesized. As a way to demonstrate the results obtained, two real-time prototypes are implemented. The first prototype controls the synthesis of a singing voice and the second one is a generic controler for other instrumental sounds.},
  collection = {Theses},
  note = {Found in Zotero; cites 20 archive entries; selected by similarity to the archives; NIME-topic probability 0.91}
}

@phdthesis{thesis:wang2008thechuckaudiopro,
  author = {Wang, Ge},
  title = {The ChucK Audio Programming Language: An Strongly-timed and On-the-fly Environ/mentality},
  school = {Princeton University},
  year = {2008},
  abstract = {The computer has long been considered an extremely attractive tool for creating, manipulating, and analyzing sound. Its precision, possibilities for new timbres, and potential for fantastical automation make it a compelling platform for expression and experimentation - but only to the extent that we are able to express to the computer what to do, and how to do it. To this end, the programming language has perhaps served as the most general, and yet most precise and intimate interface between humans and computers. Furthermore, domain-specific languages can bring additional expressiveness, conciseness, and perhaps even different ways of thinking to their users. This thesis argues for the philosophy, design, and development of ChucK, a general-purpose programming language tailored for computer music. The goal is to create a language that is expressive and easy to write and read with respect to time and parallelism, and to provide a platform for precise audio synthesis/analysis and rapid experimentation in computer music. In particular, ChucK provides a syntax for representing information flow, a new time-based concurrent programming model that allows programmers to flexibly and precisely control the flow of time in code (we call this strongly-timed), and facilities to develop programs on-the-fly - as they run. A ChucKian approach to live coding as a new musical performance paradigm is also described. In turn, this motivates the Audicle, a specialized graphical environment designed to facilitate on-the-fly programming, to visualize and monitor ChucK programs in real-time, and to provide a platform for building highly customizable user interfaces. In addition to presenting the ChucK programming language, a history of music and programming is provided (Chapter 2), and the various aspects of the ChucK language are evaluated in the context of computer music research, performance, and pedagogy (Chapter 6). As part of an extensive case study, the thesis discusses ChucK as a primary teaching and development tool in the Princeton Laptop Orchestra (PLOrk), which continues to be a powerful platform for deploying ChucK 1) to teach topics ranging from programming to sound synthesis to music composition, and 2) for crafting new instruments, compositions, and performances for computer-mediated ensembles. Additional applications are also described, including classrooms, live coding arenas, compositions and performances, user studies, and integrations of ChucK into other software systems. The contributions of this work include the following. 1) A time-based programming mechanism (both language and underlying implementation) for ultra-precise audio synthesis, naturally extensible to real-time audio analysis. 2) A non-preemptive, time/event-based concurrent programming model that provides fundamental flexibility and readability without incurring many of the difficulties of programming concurrency. 3) A ChucKian approach to writing code and designing audio programs on-},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:steiner2008thehidtoolkitfor,
  author = {Steiner, Hans-Christoph},
  title = {The [hid] Toolkit for Pd},
  school = {Masters thesis. New York: New York University},
  year = {2008},
  url = {http://at.or.at/hans/misc/itp/thesis/Hans-Christoph%20Steiner%20-%20ITP%20Thesis%20-%20Fall%202004.pdf},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.73}
}

@phdthesis{thesis:lee2008towardsanimprove,
  author = {Lee, Ki-Sun},
  title = {Towards an Improved Baton Technique: The Application and Modification of Conducting Gestures Drawn from the Methods of Rudolf, Green and Saitō for Enhanced Performance of Orchestral Interpretations},
  school = {The University of Arizona},
  year = {2008},
  url = {http://hdl.handle.net/10150/193786},
  abstract = {Since the early nineteenth century, a conductor has led orchestras in concert, rather than the concertmaster or the composer from a keyboard instrument. There is no theory about the function of the conductor or technique for conducting an orchestra or choir in that early period. Early conductors probably imitated the bow motions of the concertmaster, who was the leader of the group of instrumental players. The increasing importance of conducting resulted in conductors who not only cued to indicate entrances and cut offs as the concertmaster did, but also helped the musicians to understand his musical interpretation and play as a unified musical body. The establishment of this new role soon required the training of future generations of conductors and eventually conducting textbooks, with guidelines and other educational material for the apprentice conductor. In this paper, the author explores the historical background of conducting technique and the development of conducting textbooks in the twentieth century. Three conducting textbooks were chosen representing different approaches: Max Rudolf's The Grammar of Conducting; Elizabeth A. H. Green's The Modern Conductor; and Hideo Saitō's The Saitō Conducting Method. The author analyzes the conducting theory presented in each textbook and pinpoints the strengths and weaknesses of the three schools. He then suggested integrates beat patterns, combining elements from them, proposes more effective conducting gestures for his interpretation of the music. The focus for these integrated beat patterns is on the physical gestures and patterns of the right hand, not left hand gestures or specific expressive gestures. Chapter 2 summarizes the characteristics of the three conducting theories. Chapter 3 analyzes the basic characteristic motions of each school. Chapters 4 through 6 propose adaptations of conducting gestures, drawing from the three schools to interpret challenging sections of the examples: "Marche royale" from Histoire du Soldat by Igor Stravinsky, Adagio for Strings by Samuel Barber, and the Ouverture: Die Hebriden by Felix Mendelssohn. For the most effective performance of the author's interpretations, proposed integrated beat patterns are suggested for the phrases shown in the musical examples. Some of the beat patterns are presented in diagrams to show the integrated beat pattern, derived from the author's synthesis of the basic 'five motions' of the three schools adapted from the three schools.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.75}
}

@phdthesis{thesis:haag2009abrushwiththerea,
  author = {Haag, John Christopher},
  title = {A brush with the real world : the future of inertial motion capture in live performance},
  year = {2009},
  url = {http://eprints.qut.edu.au/30213/1/John_Haag_Thesis.pdf},
  abstract = {3D Motion capture is a medium that plots motion, typically human motion, converting it into a form that can be represented digitally. It is a fast evolving field and recent inertial technology may provide new artistic possibilities for its use in live performance. Although not often used in this context, motion capture has a combination of attributes that can provide unique forms of collaboration with performance arts. The inertial motion capture suit used for this study has orientation sensors placed at strategic points on the body to map body motion. Its portability, real-time performance, ease of use, and its immunity from line-of-sight problems inherent in optical systems suggest it would work well as a live performance technology. Many animation techniques can be used in real-time. This research examines a broad cross-section of these techniques using four practice-led cases to assess the suitability of inertial motion capture to live performance. Although each case explores different visual possibilities, all make use of the performativity of the medium, using either an improvisational format or interactivity among stage, audience and screen that would be difficult to emulate any other way. A real-time environment is not capable of reproducing the depth and sophistication of animation people have come to expect through media. These environments take many hours to render. In time the combination of what can be produced in real-time and the tools available in a 3D environment will no doubt create their own tree of aesthetic directions in live performance. The case study looks at the potential of interactivity that this technology offers.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 1 archive entries; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:seago2009anewuserinterfac,
  author = {Seago, Allan},
  title = {A new user interface for musical timbre design},
  school = {The Open University},
  year = {2009},
  doi = {10.21954/ou.ro.0000a8f6},
  abstract = {This thesis characterises and addresses problems and issues associated with the design of intuitive user interfaces for timbral control. The usability of a range of synthesis methods and representative implementations of these methods is assessed, and three interface architectures - fixed architecture, architecture specification and direct specification - are identified. The characteristics of each of these architectures, as well as problems of usability inherent to each of them are discussed; it is argued that none of them provide intuitive tools for the manipulation and control of timbre. The study examines the nature of timbre and the notion of timbre space; different kinds of timbre space are considered and criteria are proposed for the selection of suitable timbre spaces as vehicles for synthesis. A number of listening tests, designed to demonstrate the feasibility of subsequent work, were devised and carried out; the results of these tests provide evidence that, where Euclidean distances between sounds located in a given timbre space are reflected in perceptual distances, the ability of subjects to detect relative distances in different parts of the space varies with the perceptual granularity of the space. Three contrasting timbre spaces conforming to the proposed criteria for use in synthesis are constructed; the purpose of these spaces is to provide an environment for a novel user interaction approach for timbral design which incorporates a search strategy based on weighted centroid localization. Two prototypes which exemplify the proposed approach in alternative ways are designed, implemented and tested with potential users in order to validate the approach; a third contrasting prototype which represents a simple contrasting alternative is tested for purposes of comparison. The results of these tests are evaluated and discussed, and areas of further work identified.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.80}
}

@phdthesis{thesis:costalonga2009biomechanicalmod,
  author = {Costalonga, Leandro},
  title = {Biomechanical Modelling of Musical Performance: A Case Study of the Guitar},
  school = {University of Plymouth},
  year = {2009},
  doi = {10.24382/3145},
  abstract = {Computer-generated musical performances are often criticised for being unable to match the expressivity found in performances by humans. Much research has been conducted in the past two decades in order to create computer technology able to perform a given piece music as expressively as humans, largely without success. Two approaches have been often adopted to research into modelling expressive music performance on computers. The first focuses on sound; that is, on modelling patterns of deviations between a recorded human performance and the music score. The second focuses on modelling the cognitive processes involved in a musical performance. Both approaches are valid and can complement each other. In this thesis we propose a third complementary approach, focusing on the guitar, which concerns the physical manipulation of the instrument by the performer: a biomechanical approach. The essence of this thesis is a study on capturing, analyzing and modelling information about motor and biomechanical processes of guitar performance. The focus is on speed, precision, and force of a guitarist's left-hand. The overarching questions behind our study are: 1) Do unintentional actions originating from motor and biomechanical functions during musical performance contribute a material "human feel" to the performance? 2) Would it be possible determine and quantify such unintentional actions? 3) Would it be possible to model and embed such information in a computer system? The contributionst o knowledgep ursued in this thesis include: a) An unprecedented study of guitar mechanics, ergonomics, and playability; b) A detailed study of how the human body performs actions when playing the guitar; c) A methodologyt o formally record quantifiable data about such actionsin performance; d) An approach to model such information, and e) A demonstration of how the above knowledge can be embeddedin a system for music performance.},
  collection = {Theses},
  note = {Found in DataCite; cites 5 archive entries; NIME-topic probability 0.92}
}

@phdthesis{thesis:prez2009enhancingspectra,
  author = {Pérez, Alfonso},
  title = {Enhancing spectral synthesis techniques with performance gestures using the violin as a case study},
  year = {2009},
  url = {http://mtg.upf.edu/node/1578},
  abstract = {En esta tesis se investigan nuevas tecnicas de sintesis de sonidos de instrumentos musicales, poniendo el violin como caso de estudio, Es una investigacion multidisciplinar que cubre varios campos como sintesis espectral, aprendizaje automatico, gestos musicales y acustica musical. Se ocupa de la produccion de sonido a traves de un enfoque muy empirico, basado en el analisis de gestos interpretativos musicales asi como en la medicion de propiedades acusticas del violin. Debido a las caracteristicas de los principales elementos vibradores del violin, el estudio se divide en dos partes, a saber, vibracion de la cuerda frotada y radiacion de sonido del cuerpo del violin.Respecto a la cuerda frotada, nos interesa modelar la influencia de los controles del arco en el espectro de la vibracion de la cuerda. Para poderlo llevar a cabo, se desarrollo un sistema de medida que permite la adquisicion de parametros de control de arco durante interpretaciones musicales reales. El analisis de estas interpretaciones permiten un mejor conocimiento del espacio de control, su uso por los violinistas y el efecto de dichos controles en el sonido producido. Ademas, tecnicas de aprendizaje automatico son usadas para disenar un modelo generativo de timbre que es capaz de predecir envolventes espectrales correspondientes a una secuencia de controles de arco. Estas envolventes pueden posteriormente ser rellenadas con componentes armonicos y con ruido para producir una senal sintetica de vibracion de la cuerda.En cuanto al cuerpo del violin, se diseno un nuevo metodo para medir respuestas acusticas a impulso, basado en grabaciones de glissandi y en un algoritmo de deconvolucion desenales no impulsivas.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.94}
}

@phdthesis{thesis:magnusson2009epistemictoolsth,
  author = {Magnusson, Thor},
  title = {Epistemic tools : the phenomenology of digital musical instruments},
  year = {2009},
  url = {http://hdl.handle.net/10068/961488},
  abstract = {Digital music technologies, and instruments in particular, are the result of specific systems of thought that define and enframe the user’s creative options. Distinctive divisions between digital and acoustic instruments can be traced, contrasting the conceptually based design of software with the affordances and constraints of physical artefacts. Having lost the world’s gift of physical properties, the digital instrument builder becomes more than a mere luthier. The process of designing and building the instrument is transformed into a process of composition, for it typically contains a greater degree of classification and music theory than its acoustic counterpart. Part I of this thesis begins by framing musical systems in the context of the philosophy of technology. Here technological conditions are questioned and theories introduced that will assist the investigation into the relationship between creativity and technology. After this general grounding, the ramifications digital technologies pose to the human body are explored in the context of human expression through tool use. The human-machine relationship is described from phenomenological perspectives and relevant theories of cognitive science. This analysis serves as a foundation for the concept of epistemic tools, defined as the mechanism whereby techno-cultural models are inscribed into technological artefacts. The cultural element of tool use and tool origins is therefore emphasised, an aspect that is highly relevant in musical technologies. Part I thus frames the material properties of acoustic and digital instruments in relation to human culture, cognition, performance and epistemology. Part II contextualises these theories in practice. The ixiQuarks, the live improvisation musical environment that resulted from the current research, are presented as a system addressing some of the vital problems of musical performance with digital systems (such as the question of embodiment and theoretical inscriptions), proposing an innovative interaction model for screen-based musical instruments. The concept of virtual embodiment is introduced and framed in the context of the ixi interaction model. Two extensive user studies are described that support the report on ixiQuarks. Furthermore, comparative surveys on the relationship between expression and technology are presented: a) the phenomenology of musical instruments, where the divergence between the acoustic and the digital is investigated; b) the question of expressive freedom versus time constraints in musical environments is explored with practitioners in the field; and c) the key players in the design of audio programming environments explain the rationale and philosophy behind their work. These are the first major surveys of this type conducted to date, and the results interweave smoothly with the observations and findings in the chapters on the nature and the design of digital instruments that make up the majority of Part II. This inter},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:bosi2009extendingphysica,
  author = {Bosi, Mathieu},
  title = {Extending Physical Computing On The Reactable},
  year = {2009},
  doi = {10.5281/zenodo.1162632},
  abstract = {Multi-touch Tangible User Interfaces (MTUI) offer new possibilities for the control of sound and music, but they often lack of effective responsiveness to some musically important gestures such as tapping or pressing force. The proposed project has been aimed at improving the quality of interaction with the Reactable audiovisual MTUI. A prototype system based on force sensing has been developed. The system is able to detect impacts and continuous pressures exerted on the Reactable perimeter in more points at the same time. The system's development has been based on a tight loop between the tuning of the hardware and software, and personal testing of musical control effectiveness. After the description of the peculiarities of the implemented system, a set of new possible Reactable objects is proposed. The developed prototype system opens the door to the further expansion of the Reactable system, allowing for a richer and more enticing music creation experience.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 5 archive entries; selected by similarity to the archives; NIME-topic probability 0.79}
}

@phdthesis{thesis:lebeux2009gesturalcontrolo,
  author = {Le Beux, Sylvain},
  title = {Gestural control of prosody and voice quality},
  school = {Paris 11},
  year = {2009},
  url = {https://theses.fr/2009PA112267},
  abstract = {Today, expressive speech generation constitutes one of the new challenges for Text-to-Speech systems. A direct means to give synthesis expressive capabilities consists of controlling in real time using an operator’s gestures. Our research has been conducted along two main axes : on the one hand, the modification of pitch and duration of recorded speech, either natural or synthetic, and on the other hand, synthesis of vowels, based on a glottal source model. Concerning prosody modification, we implemented in real time an algorithm capable of achieving the joint modification of pitch and duration of a recorded speech utterance. Thanks to our tool, we carried out several experiments in order to validate and evaluate prosody modification. Our experimental results proved that by using manual gesture, we were capable of reproducing a given intonation accurately. Our second research axis focused on the development of a vowel synthesizer, which can modify voice quality within a perceptual space. The first development of our glottal source synthesizer consisted of the implementation of a real time version of the glottal source waveform, together with vocal source aperiodicities. Thus, we are able to simultaneously control fundamental frequency, vocal effort, tension, breath, structural aperiodicities and laryngeal mechanisms. Particular attention was paid to the realization of the phonetogram, as well as the perceptual mappings between parameters of the model and vocal dimensions. Our study allows us to envisage in the long-term the conjoint modification, in real time, of prosodic components and voice quality. },
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:lai2009handsonstageaper,
  author = {Lai, Chi-Hsia},
  title = {Hands on stage : a performance media space},
  school = {The Australian National University},
  year = {2009},
  doi = {10.25911/5d51423f88554},
  collection = {Theses},
  note = {Found in DataCite; cites 6 archive entries; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:hall2009heterocorporeali,
  author = {Hall, Joanna Louise},
  title = {Heterocorporealities: Popular Dance and Cultural Hybridity in UK Drum 'N' Bass Club Culture.},
  school = {The University of Surrey},
  year = {2009},
  url = {http://epubs.surrey.ac.uk/854806/1/27557450.pdf},
  abstract = {In this thesis I examine popular dance practice within contemporary UK Drum ‘n’ Bass club culture. Despite an active focus by cultural analysts on club and rave events where dancing is the central focus and ‘dance music’ is played, the dancing body is noticeably absent from previous discussion. I provide a discursive framework for the introduction of the dancing body into club cultural research by documenting and examining the dance practices in one specific genre of dance music: Drum ‘n’ Bass. Drum ‘n’ Bass is a sub-genre of electronic dance music that first developed in the UK in the early 1990s with its origins in US Hip Hop, Detroit and European Techno, and Jamaican Reggae and Ragga. In this thesis I argue that the intertextual, inter-generic and inter-cultural development of Drum ‘n’ Bass musical and clubbing culture is represented in the dancing body. I situate dancing as the central way in which Drum ‘n’ Bass club-goers construct, perform and reiterate specific personal and collective identities, which are informed, although not defined, by the musical genre’s history. Empirical research examining the popular dance practices within contemporary Drum ‘n’ Bass club culture reveals complex networks of association with, and dissociation from, other ‘dance music’ and Drum ‘n’ Bass clubbing crowds, which is demonstrated through the ‘appropriation’ and revaluation of specific racial, class-based and gendered identities. My central hypothesis is that the Drum ‘n’ Bass dancing body is heterocorporeal: a hybridized body where knowledge and beliefs about cultural groups, articulated in terms of class, race, gender, age and sexuality, actively intersect to create new meaning and significance through dance. The thesis is structured into two parts; in Part One I examine discourse regarding the construction and performance of identity in contemporary youth cultures and in Part Two I analyse fieldwork data from Drum ‘n’ Bass club culture.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.79}
}

@phdthesis{thesis:robertson2009interactiverealt,
  author = {Robertson, Andrew J.},
  title = {Interactive real-time musical systems},
  year = {2009},
  url = {http://hdl.handle.net/10068/963975},
  abstract = {This thesis focuses on the development of automatic accompaniment systems. We investigate previous systems and look at a range of approaches that have been attempted for the problem of beat tracking. Most beat trackers are intended for the purposes of music information retrieval where a `black box' approach is tested on a wide variety of music genres. We highlight some of the diffculties facing offline beat trackers and design a new approach for the problem of real-time drum tracking, developing a system, B-Keeper, which makes reasonable assumptions on the nature of the signal and is provided with useful prior knowledge. Having developed the system with offline studio recordings, we look to test the system with human players. Existing offline evaluation methods seem less suitable for a performance system, since we also wish to evaluate the interaction between musician and machine. Although statistical data may reveal quantifiable measurements of the system's predictions and behaviour, we also want to test how well it functions within the context of a live performance. To do so, we devise an evaluation strategy to contrast a machine-controlled accompaniment with one controlled by a human. We also present recent work on a real-time multiple pitch tracking, which is then extended to provide automatic accompaniment for harmonic instruments such as guitar. By aligning salient notes in the output from a dual pitch tracking process, we make changes to the tempo of the accompaniment in order to align it with a live stream. By demonstrating the system's ability to align offline tracks, we can show that under restricted initial conditions, the algorithm works well as an alignment tool.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:johnston2009interfacesformus,
  author = {Johnston, Andrew},
  title = {Interfaces for musical expression based on simulated physical models},
  school = {University of Technology, Sydney},
  year = {2009},
  url = {http://hdl.handle.net/2100/1210},
  abstract = {This thesis is concerned with the design of interactive virtual musical instruments intended to augment acoustic instruments in live performance. For the purposes of this work, a virtual musical instrument is defined as a computer system designed to facilitate musical expression and/or exploration. The aim of the research is to develop understanding of the nature of virtual instruments and how musicians interact with them. The approach has been to use participatory design techniques to develop a series of virtual instruments for use in live performance and then to examine closely the experiences of musicians who use them. An interaction design strategy which uses simulated physical models to mediate between the sounds produced by acoustic instruments and computer generated sounds and visuals has been developed. In this approach, a simple physical system is modelled in software and characteristics of acoustic sounds are mapped to forces and other parameters which affect the model. In response the model moves in ways that are physically realistic. These movements are then used as parameters to control video and audio synthesis. Using a research approach which draws on action research, design science and participatory design, a series of virtual instruments which use this interaction technique were developed and used in live performances. A set of initial design criteria which guided development were identified. In order to refine these criteria and better understand the impact that using these virtual instruments has on musicians' musicmaking, a series of user studies were conducted. A number of expert musicians used the virtual instruments and discussed their experiences. These sessions were video-recorded, transcribed and analysed using grounded theory techniques. The results of the study identified three modes of interaction with the virtual instruments: instrumental, conversational and ornamental. Musicians interacting with the virtual instruments in instrumental mode emphasise the importance of being in control and being able to trust that the instrument will respond consistently. When musicians use a virtual instrument ornamentally, they surrender detailed control of the generated sound and visuals to the computer, allowing it to create audio-visual layers that are added to the musicians' sound. The more complex, (and difficult to design for) conversational interaction involves the sharing of control between the musician and the virtual instrument. The balance of power is in flux, allowing the virtual instrument to talk back to the musician, reflecting and transforming the sonic input in ways that move the performance in new musical directions. The contributions of this thesis are therefore:- a set of virtual musical instruments which use a unique interaction paradigm in which simulated physical models mediate between live sounds produced on acoustic instruments and computer generated sounds and visuals; a theory of musician-virtual instrumen},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:schoonderwaldt2009mechanicsandacou,
  author = {Schoonderwaldt, Erwin},
  title = {Mechanics and acoustics of violin bowing : Freedom, constraints and control in performance},
  school = {KTH Royal Institute of Technology},
  year = {2009},
  url = {http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-9826},
  abstract = {This thesis addresses sound production in bowed-string instruments from two perspectives: the physics of the bowed string, and bow control in performance. Violin performance is characterized by an intimate connection between the player and the instrument, allowing for a continuous control of the sound via the main bowing parameters (bow velocity, bow force and bow-bridge distance), but imposing constraints as well. In the four included studies the focus is gradually shifted from the physics of bow-string interaction to the control exerted by the player. In the first two studies the available bowing parameter space was explored using a bowing machine, by systematically probing combinations of bow velocity, bow force and bow-bridge distance. This allowed for an empirical evaluation of the maximum and minimum bow force required for the production of a regular string tone, characterized by Helmholtz motion. Comparison of the found bow-force limits with theoretical predictions by Schelleng revealed a number of striking discrepancies, in particular regarding minimum bow force. The observations, in combination with bowed-string simulations, provided new insights in the mechanism of breakdown of Helmholtz motion at low bow forces. In the second study the influence of the main bowing parameters on aspects of sound quality was analyzed in detail. It was found that bow force was totally dominating the control of the spectral centroid, which is related to the perceived brightness of the tone. Pitch flattening could be clearly observed when approaching the upper bow-force limit, confirming its role as a practical limit in performance. The last two studies were focused on the measurement of bowing gestures in violin and viola performance. A method was developed for accurate and complete measurement of the main bowing parameters, as well as the bow angles skewness, inclination and tilt. The setup was used in a large performance study. The analyses revealed clear strategies in the use of the main bowing parameters, which could be related to the constraints imposed by the upper and lower bow-force limits and pitch flattening. Further, it was shown that two bow angles (skewness and tilt) were systematically used for controlling dynamic level; skewness played an important role in changing bow-bridge distance in crescendo and diminuendo notes, and tilt was used to control the gradation of bow force. Visualizations and animations of the collected bowing gestures revealed significant features of sophisticated bow control in complex bowing patterns.},
  collection = {Theses},
  note = {Found in OpenAlex (author); selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:gadd2009metamuseusingmet,
  author = {Gadd, Ashley},
  title = {MetaMuse : using metaphor to design and play expressive instruments},
  school = {University of British Columbia},
  year = {2009},
  doi = {10.14288/1.0065369},
  abstract = {This thesis provides a framework for understanding and predicting the expressive nature of devices. We introduce transparency, or the ease with which a device's mapping can be understood, as the main pillar of this framework. Transparency is a predictor for expressivity, the ease with which meaning or emotion can be communicated through the device. We explore the role of metaphor for improving the amount of expression possible with a device, and examine its use as both a design aid and an affordance during use. To validate this theory we built MetaMuse, a controller for a rain-sound synthesiser that employs water metaphors to obviate its use. MetaMuse uses physical props to embody three metaphors: pouring, rainfall, and landscape. These metaphors acted as a guide during MetaMuse's design, and aid users in the prediction of system operation and sound output. We performed a series of experiments comparing MetaMuse to two other interfaces to test our claim that metaphor can be used to improve expressivity. The tests measured controllability with speed and accuracy of sound target acquisition, and expressivity with qualities such as creativity. Accuracy was similar across all interfaces, and speed slightly improved for MetaMuse, but the controllability results lacked significance. Results for expressivity were significant, however: users preferred MetaMuse as more creative than two more traditional controllers (F=6.0, p<0.01). From these results we conclude that metaphor is a worthy design approach to creating expressive devices. This thesis also presents a novel form of synthesis combining techniques from real-time stochastic synthesis and granular synthesis. Finally, it includes a software library for simplifying the use of the Polhemus Fastrak magnetic sensor used in the project.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.80}
}

@phdthesis{thesis:bounard2009synthesisofmusic,
  author = {Bouënard, Alexandre},
  title = {Synthesis of Music Performances: Virtual Character Animation as a Controller of Sound Synthesis},
  year = {2009},
  url = {https://theses.hal.science/tel-00497292},
  abstract = {The last few decades have witnessed the emergence of a plethora of musical interfaces aiming at expanding musical performance experiences. The design of these interfaces generally emphasizes the expertise of musicians in managing heterogenous sensory informations (visual, sound and tactile). Such musical interfaces involve therefore the processing of these various sensory data for designing novel interaction modes. This thesis addresses more specifically the analysis, modeling and synthesis of percussion performances. We propose a system that realizes the synthesis of the visual and sound feedback of percussion performances in which a virtual percussionist controls sound synthe- sis processes. The analysis step of our work shows the importance of the fine control of mallet extremity trajectories by expert percussion performers playing timpani. It includes the collection of instrumental gesture data from several per- cussionists. We extract movement parameters from the recorded mallet extremity trajectories for different per- cussion playing variations. Such parameters are quan- titatively evaluated with respect to their ability to repre- sent the various playing variations under study. We then propose a system for synthesizing timpani performances involving the physical modeling of a vir- tual percussionist that interacts with sound synthesis processes. The physical framework includes a novel scheme for controlling the motion of the virtual percus- sionist solely by the specification of trajectories of mal- let tips. This control mode is shown to be consistent with the predominant control of mallet extremity pre- sented in the previous analysis step. The physical ap- proach is also used for allowing the virtual percussionist to interact with a physical model of a timpani. Finally, the proposed system is used in a musical performance perspective. A composition process based on gesture scores is proposed to achieve the synthesis of novel percussion performances. Such gesture scores are obtained by the assembly and articulation of gesture units available in the recorded data. This compositional approach is applied to the synthesis of several percussion exercises, and is informally evaluated by a percussion professor.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 10 archive entries; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:riedenklau2009taostangibleacti,
  author = {Riedenklau, Eckard},
  title = {TAOs - Tangible Active Objects for table-top interaction},
  school = {Bielefeld University},
  year = {2009},
  url = {https://pub.uni-bielefeld.de/record/2306541},
  abstract = {Personal Computers have arrived in almost every part of our life to do work faster and better. They are used for writing texts, creating music or drawings, or simply organizing and guiding everyday tasks. Nearly all these tasks are done with computers which are operated using screen, keyboard and mouse even if their use may be sometimes cumbersome or even unsuitable for some tasks. Human Computer Interaction (HCI) aims to analyze the way people use computers and suggest new methods for interaction. One area of this research field is called "Tangible Interaction". Tangible Interaction tries to use everyday objects as tangible representations for digital data. It is hoped that by pulling the data into the tangible real world (in contrast to the virtual world) they can be made more vivid and graspable and thereby better understandable. These real-world representations are called Tangible User Interface Objects (TUIOs) and the systems they are used in Tangible User Interfaces (TUIs).\nThe main goal of this work is to create active objects as a new kind of TUIO. These active objects extend the concept of TUIOs by the possibility to be not only manipulated by the user but also by the computer. Many different ways of manipulation are possible, e.g. adding LEDs or liquid crystal displays, sound output or tactile and haptic feedback with vibration, etc. One of the most challenging manipulation possibilities is computer controlled planar movement for instance on a desk surface, which will be developed in this work. The developed objects are constructed as modular as possible to be open for future extensions and modifications. A software structure for the coordination of the objects is implemented. Furthermore some applications shown to give examples for the potential of this novel technique.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.71}
}

@phdthesis{thesis:penny2009theextendedflaut,
  author = {Penny, Margaret Jean},
  title = {The Extended Flautist: Techniques, Technologies and Performer Perceptions in Music for Flute and Electronics},
  school = {Griffith University},
  year = {2009},
  doi = {10.25904/1912/3188},
  abstract = {As musical and performance practices have evolved over the last half-century, the realm of the solo flautist has expanded to encompass an extensive array of emerging techniques and technologies. This research examines the impact of electronics on the flautist. It explores and confronts this expanding musicological nexus through forwarding the voice of the performer: defining the search for knowledge through the actuality of performance, reflection and narrative. The investigation is based around two recitals of music for flute with electronics, incorporating ideas of spatialisation and interactive live electronics. These recitals presented music by Jean-Claude Risset, Mario Lavista, Thea Musgrave, Marco Stroppa, Kaija Saariaho, Russell Pinkston, Warren Burt and Georg Hajdu. The structure for the research is based on the model of this experience, a journey of evolving understanding corresponding to the processes of performance: conception, preparation, presentation and reflection. This model proposes a framework for musicological investigation incorporating a comprehensive survey of repertoire and literature, considerations of technological functionality, and personal engagement with specific music, techniques and performance. The use of electronics to reveal elements of electroacoustic performance informs and positions the research, and raises questions for analysis and further explorations and understanding. The ‘site of discovery’ here is the performance; the goal is to demystify, renew, and re-evaluate the performer’s world. Building on and finding support in research from an emerging body of discourse in the wider field, the discussion and findings are primarily addressed through self-observation, based on the author’s experience as performer, as flautist. Thus these findings display significant partiality, as they aim to expand understandings of performance with electronics from within; to articulate knowledge revealed only through engagement with performance itself, and to provide a platform for the performer as writer. The focus on the self in this research approach promotes further understanding of how a performer or listener engages with the sonic, emotional, conceptual and connective capacities of the music. The project draws together historical perspectives, performance and reflective The Extended Flautist critiques, documentation of the processes of performance, the connections to technology, to others and the self. The embodiment of music through learning, rehearsal and performance is a journey that leads to the revelation of otherwise inaccessible performance knowledge. This revelation is approached here through centering the research on this very act. It is the doing, the experience, and the observation of performance with electronics that creates the responses and material of this discourse. The instrumentalist, electronics and space become an entity, a meta-instrument, incited by the microphone to construct new sounds, new expres},
  collection = {Theses},
  note = {Found in OpenAlex; cites 12 archive entries; NIME-topic probability 0.90}
}

@phdthesis{thesis:leupold2009theinterlopingbe,
  author = {Leupold, John K.},
  title = {The Interloping Beguiler: for Bass Clarinet and Orchestra},
  school = {University of Maryland},
  year = {2009},
  url = {http://hdl.handle.net/1903/9146},
  abstract = {The Interloping Beguiler is an nineteen-minute concerto in four movements for bass clarinet solo and orchestra. The title refers to the role of the solo instrument, which continually thrusts itself into the affairs of the orchestra, deceiving and diverting the members of the orchestra away from their task of performing a "serious" orchestral composition. The bass clarinet portrays a comical, cartoon-like character whose awkward, and sometimes goofy, interjections cause chaos. Attempts are made by various members of the orchestra, especially the horns, to regain control of the work, but the bass clarinet always succeeds in its distracting antics. By the final movement of the composition, the bass clarinet has propelled the work into a cartoon-like landscape of quickly changing textures, dissonant intervals, and overlapping themes. The first movement, Introduction, sets the serious tone of the music to follow, or so it would seem. The entrance of the bass clarinet immediately changes this texture with its out-of-rhythm alternations between high and low pitches. This gesture provides a glimpse into the personality of the bass clarinet, an instrument here to mislead the members of the orchestra. Deception truly begins in the second movement, The Interloping Initiates. The bass clarinet starts the movement with a driving theme and is immediately supported by the orchestra. As the movement progresses, the bass clarinet quickly begins altering the theme, making it more playful and cartoonish. A struggle ensues between the horns and the bass clarinet, with the bass clarinet catapulting the piece into a latin-inspired section. The struggle continues through to the end of the movement. The third movement, Calm, is exactly what the title suggests. A sectional form distinguishes this movement from the second movement. Throughout Calm, the bass clarinet behaves with decorum, except for very large melodic leaps. The seed of anarchy planted by the bass clarinet in the second movement comes to fruition in the final movement, The Beguiling Builds. Here, the bass clarinet sends the work into chaos with sections recalling Looney Tunes cartoons, Hollywood western music, and children's folk songs.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.92}
}

@phdthesis{thesis:miskalo2009theperformanceas,
  author = {Miskalo, Vitor Kisil},
  title = {The performance as a compositional element in electroacoustic interactive music},
  year = {2009},
  url = {https://doi.org/10.11606/D.27.2009.tde-18092009-132904},
  abstract = {A dissertação busca compreender e dimensionar a influência da performance, enquanto elemento composicional, na atividade musical eletroacústica interativa de concerto, assim como suas conseqüências nos processos de composição derivados da tradição musical de concerto. O trabalho contextualiza historicamente e propõe reflexão sobre música interativa; expõe o conceito de interação e o funcionamento dos sistemas musicais interativos; analisa obras do repertório de concerto que se utilizam destes sistemas e apresenta duas peças multimídia compostas coletivamente, nas quais o autor foi responsável pela elaboração e programação das ferramentas musicais interativas utilizadas. Por fim, conclui que a influência da performance no processo composicional da música interativa de concerto é significativa. O compositor determina, no momento da criação, a forma e a intensidade com que a performance pode alterar, em tempo real, as dimensões temporais da obra musical. Por outro lado, as características dos sistemas digitais estimulam o desenvolvimento de obras multimídia.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.94}
}

@phdthesis{thesis:jessop2010agesturalmediafr,
  author = {Jessop, Elena Naomi},
  title = {A gestural media framework : tools for expressive gesture recognition and mapping in rehearsal and performance},
  year = {2010},
  url = {https://dspace.mit.edu/handle/1721.1/57806},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 8 archive entries; NIME-topic probability 0.99}
}

@phdthesis{thesis:mungan2010algorithmiccompo,
  author = {Mungan, Remzi Yagiz},
  title = {Algorithmic Composition with Virtual Instrument in MATLAB and on FPGA},
  year = {2010},
  url = {https://odr.chalmers.se/bitstream/20.500.12380/124124/1/124124.pdf},
  abstract = {Music is an important part of most people’s lives; it is dominantly created by humans. In this thesis, an alternate source of music, which is hardware in the form of a field programmable gate array (FPGA), is presented. The designed FPGA can create and play its own music. The music is composed by an algorithm, which was developed in MATLAB by combining genetic programming concepts with music theory in order to increase performance of the composer. Initially, a population made of composition pieces created with respect to harmony, is generated. Later, the population goes through genetic processes resulting with the final composition. The fitness function that determines the individual’s ability to survive was optimized through listening tests. The virtual instrument was also developed in MATLAB as a waveform and an attack-decay-sustain-release (ADSR) envelope by recording and analysing an acoustic-electric guitar. The synthesizer like approach allows use of less circuit elements then does a physical model. Hardware implementation is done in a Xilinx University Program Virtex II-Pro board. The audio coder/decoder, AC97 is used as the interface between the digital-to-analog converter (DAC) and the circuit block that handles the composition. The sampling frequency in the FPGA implementation is kept at 9.765 KHz due to problems with the design suite and a smaller population is employed in order to fit into the FPGA. The compositional performance of the implementation in FPGA is comparable to the performance of the algorithm in MATLAB. This work shows that a portable music player that composes its own music seems a possibility in the future with improvements in compositional capability or the sound quality of the instrument. Introduction of a more complex generation conditions and a more complex elimination conditions could be an improvement. Another improvement would be to enable the creation of polyphonic compositions rather than monophonic compositions. On the instrument side, one possible improvement can be using industrially used sampled instruments.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.93}
}

@phdthesis{thesis:lhdeoja2010anapproachtoinst,
  author = {Lähdeoja, Otso},
  title = {An approach to instrument augmentation},
  school = {Paris 8},
  year = {2010},
  url = {https://theses.fr/2010PA083282},
  abstract = {This thesis approaches the notion of an augmented musical instrument from two complementary perspectives : an « objective » view aimed to outline a theoretical framework for instrument augmentation, as well as a subjective engagement in the process of creating an experimental augmented electric guitar and composing/performing music with it. The first part of the thesis discusses the nature and the history of instrument augmentation, establishing a basis for a view of the instrument as a system, comprising the musician, the instrument-object and the sound in a continuum of energy and/or information. The relationship between the musician and the instrument is studied in detail as a key element in the creation of an augmentation’s instrumental quality. A personal methodology for instrument augmentation presented, combining gesture, object and sound in a single conceptual tool. The second part presents the practical aspects of the research work. The technological specifications of our augmented electric guitar are described, in parallel to a discussion on the the technological and aesthetical choises. The guitar’s instrumental environment provides the basis for the development of nine specific augmentations with gestural, technological (sensor and software) and sonic aspects. A series of musical and intermedia works with the augmented guitar is presented and analysed at the end of the thesis. A CD-ROM and a DVD attached to the monograph provide sonic and visual illustrations of the augmentations and of the related artistic works. },
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.91}
}

@phdthesis{thesis:mitchell2010anexplorationofe,
  author = {Mitchell, Thomas J.},
  title = {An exploration of evolutionary computation applied to frequency modulation audio synthesis parameter optimisation},
  school = {University of the West of England},
  year = {2010},
  url = {http://eprints.uwe.ac.uk/18265/1/tmitchell-phd.pdf},
  abstract = {With the ever-increasing complexity of sound synthesisers, there is a growing demand for automated parameter estimation and sound space navigation techniques. This thesis explores the potential for evolutionary computation to automatically map known sound qualities onto the parameters of frequency modulation synthesis. Within this exploration are original contributions in the domain of synthesis parameter estimation and, within the developed system, evolutionary computation, in the form of the evolutionary algorithms that drive the underlying optimisation process. Based upon the requirement for the parameter estimation system to deliver multiple search space solutions, existing evolutionary algorithmic architectures are augmented to enable niching, while maintaining the strengths of the original algorithms. Two novel evolutionary algorithms are proposed in which cluster analysis is used to identify and maintain species within the evolving populations. A conventional evolution strategy and cooperative coevolution strategy are defined, with cluster-orientated operators that enable the simultaneous optimisation of multiple search space solutions at distinct optima. A test methodology is developed that enables components of the synthesis matching problem to be identified and isolated, enabling the performance of different optimisation techniques to be compared quantitatively. A system is consequently developed that evolves sound matches using conventional frequency modulation synthesis models, and the effectiveness of different evolutionary algorithms is assessed and compared in application to both static and timevarying sound matching problems. Performance of the system is then evaluated by interview with expert listeners. The thesis is closed with a reflection on the algorithms and systems which have been developed, discussing possibilities for the future of automated synthesis parameter estimation techniques, and how they might be employed.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 4 archive entries; NIME-topic probability 0.83}
}

@phdthesis{thesis:williams2010creatingarespons,
  author = {Williams, Valerie},
  title = {Creating a responsive, real-time, malleable environment for dancers},
  school = {Iowa State University},
  year = {2010},
  doi = {10.31274/etd-180810-2050},
  abstract = {The traditional choreographer/dancer paradigm uses the dancer as a tool of the choreographer. By contrast, a real-time responsive environment, consisting of rendered video and motion-generated video and sound allows the dancer to become a co-creator in both the rehearsal process and the performances. A malleable visual and sonic environment means that the dancer's relation to their environment becomes a self-directed mixture of expressive and responsive elements. This results in a more authentic experience, as the dancer can use his or her movement to not just alter the environment, but use that environment to accompany the dancer rather than having the environment direct the dancer. However, the selection of technology for such a malleable dance-performance envionment is by no means trivial. From piezo and flex sensors, radio frequency transceivers and bluetooth radios, to the ultimate development of a novel sensor system (the VDancer) that can eliminate the need for wires and breakable flex sensors, this thesis details the search for a system that is tough enough to withstand hard use no by modern dancers, and inexpensive enough for a modern dance company. Part of the intent of this thesis is to detail the application of interactive technologies that was developed to allow dancers to manipulate sound and video projections on any stage.\nThis thesis also documents similar previous work, the development of the VDancer, and a number of avenues for advancing that system and the interactions it can offer users.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.90}
}

@phdthesis{thesis:mealla2010effectsofphysiol,
  author = {Mealla, Sebastián},
  title = {Effects of Physiology-Based Interaction on Collaborative Performance},
  year = {2010},
  doi = {10.5281/zenodo.3753106},
  abstract = {Physiology-based systems have lead to implicit interaction models where signals coming from the human body are used to control devices and applications by means different to muscular movement or speech. However, most of these systems are focused on single-user modes, and its application in collaborative scenarios is still scarce. In this project we present a system for collaborative sound generation and control built from a Hybrid Brain-Computer Interface device (BCI) featuring Electroencephalogram (EEG) and Electrocardiogram (ECG), and the reactable, a music instrument based on a Tangible User Interface (TUI). We assessed collaborative performance and motivational variables in a task-oriented experiment based on the imitation of pre-recorded sound references. Measures were obtained through self-reported questionnaires. Teams of subjects with no previous experience on the reactable used two different methods for sound generation and control: implicit interaction, through physiological signals (EEG & ECG), and implicit interaction by means of physical manipulation. The study has revealed four main effects of physiology-based interaction applied to a collaborative performance in a TUI. (1) Teams working with a combination of implicit and explicit models of interaction declared less difficulty and greater ease to solve the tasks. (2) They also shown higher levels of confidence during the performance. (3) The distribution of control and leadership was balance and didn’t show significant difference between the two proposed interaction paradigms. (4) Teams have shown a significant correlation in key aspects for collaboration, such as confidence and motivation over time. These findings suggest that the physiological signal extraction and processing implemented in this system could be linked to subtler descriptors related to affective states, emotional responses or music perception, allowing more advanced and stable methods for sound generation and control. We also propose to include previous training sessions, and carrying on experiments with musicians to test the expressiveness of the proposed system. This work presents a friendly configuration for a collaborative sound composition experience. It encourages the development of Computer-Supported Collaborative Systems where subtle sources of information such as physiological states effectively support an explicit model of interaction, as in the case of tangible tabletops interfaces, by means of non-invasive, wireless devices that preserve adequate conditions for live performance.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.70}
}

@phdthesis{thesis:bachrat2010gestureinteracti,
  author = {Bachratá, Petra},
  title = {Gesture interaction in music for instruments and electroacoustic sounds},
  year = {2010},
  url = {http://hdl.handle.net/10773/3547},
  abstract = {Esta tese apresenta alguns aspectos em como o fenómeno do gesto musical pode ser compreendido na percepção da interação musical na música para instrumentos e sons electroacústicos. Através de exemplos de análise, classificação e categorização de diferentes relacões gestuais entre instrumentos e sons electroacústicos, pretende-se estabelecer modelos específicos de interacção que podem ser aplicados como método analítico assim como na composição musical. A pesquisa parte de uma variedade de definições sobre gesto musical na música em geral, na música contemporânea e na música electroacústica em particular, para subsequentemente incluir as relações entre dois eventos sonoros com características diferentes - o electroacústico e o instrumental. São essencialmente abordadas as relações entre gestos musicais através da análise de diversas características: altura, ritmo, timbre, dinâmica, características contrapontísticas, espectromorfológicas, semânticas e espaciais. O resultado da pesquisa teórica serviu de suporte à composição de diversas obras, onde estes aspectos são explorados sob o ponto de vista da criação musical.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:aspiazu2010implementacindeu,
  author = {Aspiazu, Laura Marianella Zapata and Samaniego, Diego Andres Herrera},
  title = {Implementación de un prototipo de una batería musical virtual},
  school = {Escuela Superior Politecnica del Litoral},
  year = {2010},
  url = {https://www.dspace.espol.edu.ec/bitstream/123456789/11610/1/Informe_Materia_de_Graduacion_Bateria_Virtual_2010.pdf},
  abstract = {This document presents the implementation of a prototype for a drum kit, through the use of Virtual Reality Technology and Multimedia. The prototype creates a proper 3D virtual environment, which is interactive and immersive, this lets you to play a simple musical instrument, with proper synchronization between user actions, visual feedback and the sound generated. By using a position sensing device (tracker), which sensors are attached to a pair of real drumsticks, the motion movements that the user makes are caught, then the images that correspond to these movements are generated, showing these on a Head Mounted Display (HMD) that allows you to have a three-dimensional view (3D). Each instrument is associated with an image and a virtual sound stage, the sound is generated through the hit made by the user. This reproduction is associated with different volume levels, so that a larger strike force will increase the volume of reproduction.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:booth2010inclusiveinterco,
  author = {Booth, Graham},
  title = {Inclusive Interconnections: Towards Open-Ended Parameter-Sharing for Laptop Ensemble},
  school = {University of Huddersfield},
  year = {2010},
  url = {http://eprints.hud.ac.uk/id/eprint/10989/1/gboothfinalthesis.pdf},
  abstract = {This research project concerns the use of networks in laptop performance, which allow \nplayers to directly shape the musical voices of their peers. The author’s recent work with the \nHuddersfield Experimental Laptop Orchestra has highlighted a need to develop player-­‐ \ncentred networks, in order to foster a wider exploration of interdependent approaches to \nmusical performance. The core of this thesis details the design of a parameter-­‐sharing \nsystem which aims to support a diverse set of approaches to performance, whilst allowing \ninterdependencies to be flexibly reconfigured by players. The resulting system has been \ntested and evaluated with a cross-­‐section of experienced laptop performers, with initial \nresults showing that the system enables players to bring their existing experience to \ninterdependent performance. In addition, the use of a high-­‐level graphical model for \nmanipulating interconnections allows a range of interdependencies to be explored at \nperformer-­‐level. Future work aims to support a broader range of performance practice and \nmake the process of manipulating interconnections more intuitive.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.80}
}

@phdthesis{thesis:stowell2010makingmusicthrou,
  author = {Stowell, Dan},
  title = {Making music through real-time voice timbre analysis: machine learning and timbral control},
  year = {2010},
  url = {http://hdl.handle.net/10068/977621},
  abstract = {People can achieve rich musical expression through vocal sound  see for example human beatboxing, which achieves a wide timbral variety through a range of extended techniques. Yet the vocal modality is under-exploited as a controller for music systems. If we can analyse a vocal performance suitably in real time, then this information could be used to create voice-based interfaces with the potential for intuitive and ful lling levels of expressive control. Conversely, many modern techniques for music synthesis do not imply any particular interface. Should a given parameter be controlled via a MIDI keyboard, or a slider/fader, or a rotary dial? Automatic vocal analysis could provide a fruitful basis for expressive interfaces to such electronic musical instruments. The principal questions in applying vocal-based control are how to extract musically meaningful information from the voice signal in real time, and how to convert that information suitably into control data. In this thesis we address these questions, with a focus on timbral control, and in particular we develop approaches that can be used with a wide variety of musical instruments by applying machine learning techniques to automatically derive the mappings between expressive audio input and control output. The vocal audio signal is construed to include a broad range of expression, in particular encompassing the extended techniques used in human beatboxing. The central contribution of this work is the application of supervised and unsupervised machine learning techniques to automatically map vocal timbre to synthesiser timbre and controls. Component contributions include a delayed decision-making strategy for low-latency sound classi cation, a regression-tree method to learn associations between regions of two unlabelled datasets, a fast estimator of multidimensional di erential entropy and a qualitative method for evaluating musical interfaces based on discourse analysis.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 7 archive entries; NIME-topic probability 0.81}
}

@phdthesis{thesis:thelle2010makingsensorsmak,
  author = {Thelle, Notto J. W.},
  title = {Making sensors make sense : challenges in the development of digital musical instruments},
  year = {2010},
  url = {http://hdl.handle.net/10852/26945},
  abstract = {Despite the fact that digital technology has become an inevitable tool in music production and distribution during the course of the past few decades, live performers of digital musical instruments (DMIs) remain enigmatic to a majority of music audiences. A combination of instrument design issues, limits to the human cognitive system, and cultural constraints may all be contributing factors to these circumstances. This thesis presents a theoretical overview of some challenges in the development of DMIs, weighed against an empirical study based on qualitative research interviews with six DMI performers. Additionally, instrument types are categorized according to the order of separation between action and sound when performing with the instrument (incorporated, direct, mechanical, analog electronic and digital), and a hypothesis regarding the influence of instrument types on the music cognition of performers is tested.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:vannort2010modularandadapti,
  author = {Van Nort, Douglas},
  title = {Modular and adaptive control of sound processing},
  school = {McGill University},
  year = {2010},
  doi = {10.82308/14806},
  abstract = {This dissertation presents research into the creation of systems for the control of sound synthesis and processing. The focus differs from much of the work related to digital musical instrument design, which has rightly concentrated on the physicality of the instrument and interface: sensor design, choice of controller, feedback to performer and so on. Often times a particular choice of sound processing is made, and the resultant parameters from the physical interface are conditioned and mapped to the available sound parameters in an exploratory fashion. The main goal of the work presented here is to demonstrate the importance of the space that lies between physical interface design and the choice of sound manipulation algorithm, and to present a new framework for instrument design that strongly considers this essential part of the design process. In particular, this research takes the viewpoint that instrument designs should be considered in a musical control context, and that both control and sound dynamics must be considered in tandem. In order to achieve this holistic approach, the work presented in this dissertation assumes complementary points of view. Instrument design is first seen as a function of musical context, focusing on electroacoustic music and leading to a view on gesture that relates perceived musical intent to the dynamics of an instrumental system. The important design concept of mapping is then discussed from a theoretical and conceptual point of view, relating perceptual, systems and mathematically-oriented ways of examining the subject. This theoretical framework gives rise to a mapping design space, functional analysis of pertinent existing literature, implementations of mapping tools, instrumental control designs and several perceptual studies that explore the influence of mapping structure. Each of these reflect a high-level approach in which control structures are imposed on top of a high-dimensional space of control and sound synthesis parameters. In this view, desired gestural dynamics and sonic response are achieved through modular construction of mapping layers that are themselves subject to parametric control. Complementing this view of the design process, the work concludes with an approach in which the creation of gestural control/sound dynamics are considered in the low-level of the underlying sound model. The result is an adaptive system that is specialized to noise-based transformations that are particularly relevant in an electroacoustic music context. Taken together, these different approaches to design and evaluation result in a unified framework for creation of an instrumental system. The key point is that this framework addresses the influence that mapping structure and control dynamics have on the perceived feel of the instrument. Each of the results illustrate this using either top-down or bottom-up approaches that consider musical control context, thereby pointing to the greater potential for refined s},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.88}
}

@phdthesis{thesis:wilcott2010musicinmotion,
  author = {Wilcott, Justin David and Finamore, Troy},
  title = {Music in motion},
  school = {University of Dhaka},
  year = {2010},
  doi = {10.17918/etd-3496},
  abstract = {Music in Motion is an innovation in musical performance where a relationship is built between audio, gestures, and dynamic imagery. The basis of this project is to capture the movements of a musician during a performance and use that information to manipulate music and graphics in real-time. The performance system consists of two parts. The first part captures the movements of an electric guitar player during a performance. This motion data is then used to drive different audio effects and parameters such as tone, pitch, volume, and overdrive. For example, pulling up on the guitar's neck will change the position of a wah pedal or increase gain and distortion. The second part is to create a visual presentation driven by the music and motion data. This real-time dynamic visualization can be projected during a performance, either on large screens behind the performers, on the sides of the stage, or on the floor and ceiling, depending on the venue. With both parts working together, a new genre of performance is born. A performance that connects the audience to the musician through dynamic visuals and physical body movements. This new relationship encourages a very expressive performance that gives an everlasting impression.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.81}
}

@phdthesis{thesis:dahlen2010osccontrollerenn,
  author = {Dahlen, Tommy Alfred},
  title = {OSCController: En ny musikkapplikasjon med Open Sound Control},
  school = {NTNU},
  year = {2010},
  collection = {Theses},
  note = {Found in Zotero; selected by its English title, the abstract being in another language; NIME-topic probability 0.94}
}

@phdthesis{thesis:yoder2010performancepract,
  author = {Yoder, Rachel M.},
  title = {Performance Practice of Interactive Music for Clarinet and Computer with an Examination of Five Works by American Composers},
  year = {2010},
  doi = {10.12794/metadc33219},
  abstract = {Since the development of interactive music software in the 1980s, a new genre of works for clarinet and computer has emerged. The rapid proliferation of interactive music resulted in a great deal of experimentation, creating a lack of standardization in both the composition and performance of this repertoire. In addition, many performers are reluctant to approach these works due to unfamiliarity with the genre and its technical and musical considerations. Performance practice commonly refers to interpretation of a written score, but the technology involved in interactive music requires a broader definition of performance practice; one that also addresses computer software, coordination between the performer and computer system, and technology such as microphones and pedals. The problems and potential solutions of interactive music performance practice are explored in this paper through review of the relevant published literature, interviews with experts in the field, and examination of musical examples from works for clarinet and computer by Lippe, May, Pinkston, Rowe, and Welch. Performance practice considerations of interactive music fall into the categories of notation, technology, collaboration, interpretation, and rehearsal. From the interviews and the literature, it is clear that the performance of interactive music requires specific knowledge and skills that performers may not encounter in other genres of contemporary music, including microphone technique, spatialization, sound processing, and improvisation. Performance practice issues are often mediated by close collaboration between performers and composers, but they can inhibit the accessibility of these works to new performers, and may be detrimental to the long-term viability of interactive music. Recommendations for resolving these issues are directed at both composers and performers of interactive music. A listing of over one hundred interactive works for clarinet and computer is also included.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 7 archive entries; NIME-topic probability 0.72}
}

@phdthesis{thesis:baudouin2010problmatiquesmus,
  author = {Baudouin, Olivier},
  title = {Problématiques musicales du recours aux techniques de synthèse sonore numérique aux États-Unis et en France de 1957 à 1977},
  school = {Paris-Sorbonne University},
  year = {2010},
  doi = {10.70675/74b9dcd2zff3cz4fb6z852bz19a2db9a191d},
  abstract = {Le répertoire musical produit au moyen de la synthèse numérique du son durant les vingt premières années de développement de ces techniques (1957-1977) n’avait jamais fait l’objet d’une étude musicologique exhaustive, malgré l’importance de ce domaine en ce qui regarde l’évolution de l’univers sonore contemporain, et les nombreux documents disponibles. Notre méthode, empruntée aux musicologues Leigh Landy et Marc Battier, a consisté à rendre justice à des œuvres et à des pièces souvent traitées de façon isolée ou purement illustrative, en reconstruisant autour d’elles un récit mêlant considérations historiques, analytiques, techniques, esthétiques et culturelles. À travers cette étude, les liens qui unirent art musical, science et technologie numérique dans les années 1960 et 1970 apparaissent ainsi clairement, en renouvelant l’appréhension de répertoires basés sur le matériau sonore.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 4 archive entries; NIME-topic probability 0.93}
}

@phdthesis{thesis:puputti2010realtimeimplemen,
  author = {Puputti, Tapio},
  title = {Real-time Implementation of the Virtual Air Slide Guitar},
  school = {Aalto University},
  year = {2010},
  url = {https://aaltodoc.aalto.fi/handle/123456789/3258},
  abstract = {Tässä diplomityössä esitellään reaaliaikainen slide-kitaran implementaatio ilmakitarakäyttöliittymällä. Aiempaa tutkimusta ja työn taustaa käydään lyhyesti läpi. Slide-kitaran analyysi- ja synteesimenetelmät kuvaillaan sekä käydään läpi myös vaihtoehtoisia menetelmiä. Tämä reaaliaikainen implementaatio koostuu kolmesta pääosasta. Infrapunakamera seuraa käyttäjän liikkeitä ja eleitä, kameraohjelma tunnistaa käyttäjän eleet ja hoitaa laskutoimitukset kameran datalle. Pure Data -ohjelma syntetisoi slide-kitaran äänen kameraohjelmalta saadun tiedon perusteella. Virtuaalista slide-kitaraa voi soittaa minimaalisella opettelulla. Käyttäjän tarvitsee vain heiluttaa käsiään kameran edessä kuullakseen kitaran äänen. Kuitenkin, jotta soittaja saisi aikaan oikeaa slide-kitaraa muistuttavaa soittoa, tulee käyttäjällä olla kokemusta kitaransoitosta, sillä käsin kosketeltavaa soitinta ei ole. Soitinjärjestelmällä on pieni viive ja se sisältää asetukset mm. slide-putken, kielten virityksen ja kielten valitsemiseen. Vaikka ohjelma on kokonaisuudessaan melko raskas varsinkin vanhemmille tietokoneille, sen tuottama ääni ja varsinkin slide-putken ja kielten välinen kontaktiääni on onnistunut ja soitin kuulostaa sekä käyttäytyy kuten oikea slide-kitara. Järjestelmää esittelevä video löytyy nimikkeellä "Virtual Slide Guitar" YouTube:sta (http://www.youtube.com/watch?v=eCPFYKq5zTk).},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 6 archive entries; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:ma2010scalablelivevide,
  author = {Ma, Xiaonan},
  title = {Scalable Live Video in MAX/MSP/Jitter},
  school = {Simon Fraser University},
  year = {2010},
  url = {http://summit.sfu.ca/item/10826},
  abstract = {This thesis describes the mcl.jit software library we developed to support scalable live video coding and transmission in Max/MSP/Jitter. Video codecs from this library have been successfully used in several telematic dance performances created by dancers and media artists from the School for the Contemporary Arts at Simon Fraser University during the last two years. The mcl.jit library also includes Region-Of-Interest (ROI) coding and motion detection objects, which can be used in a variety of interactive multimedia applications besides distributed dance performance.\nWe also developed a combined bit rate and frame rate control method for live video for the mcl.jit library. This method differs from previously developed frame rate control approaches in that it does not assume that video is prerecorded before frame rate adjustment. The proposed method was compared to another state-of-the-art method through an extensive subjective evaluation study, the results of which indicate the superiority of the proposed approach.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.90}
}

@phdthesis{thesis:wijnans2010thebodyasaspatia,
  author = {Wijnans, Hortense},
  title = {The body as a spatial sound generating instrument: defining the three dimensional data interpreting methodology (3DIM)},
  school = {Bath Spa University},
  year = {2010},
  doi = {10.17870/bathspa.00001483},
  abstract = {This practice-led research contributes to the field of interactive dance and spatial sound performance.The document describes a research journey into ways that emphasize the sonic spatiality in dance choreography by creating a range of ChoreoSonic experiments and compositions that succeed from the spatial perspectives of both disciplines.The project explores an active interrelationship between ambisonic surround sound design and contemporary improvised dance through the technological areas of wireless electronic tracking systems and computer programming.The research process incorporates discussions covering developments in interactive art performances including references from the field of spatial sound composition, dance, interactive technologies and computer mapping.Alongside these theoretical investigations, an original Three Dimensional Data Interpreting Methodology (3DIM) is presented as an artistic spatial mapping strategy in order to achieve an aesthetic conceptualization within the domain of visual and auditory interactive performance.The different parameters of 3DIM are sorted into four main categories: raw movement input data from the tracking system, deduced (algorithmic) spatial movement parameters, sonic output and sonic spatiality.Each of these categories consists of the relevant spatial movement or sonic parameters and is accompanied by a graphic of the implementation in the 3DIM software.The 3DIM has been designed in the visual programming environment Max/MSP/Jitter, and has been developed and tested in a range of practical interactive 'Sound Skeleton' research experiments and compositions.The resulting interactive ChoreoSonic performance environment enables dance movements in space to be transformed into real time 3D spatial sound composition.The written thesis also includes video extracts of the 'Sound Skeleton' creations and documentation of the 3DIM Max/MSP/Jitter software, with accompanying manual and supporting text.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 8 archive entries; selected by similarity to the archives; NIME-topic probability 0.89}
}

@phdthesis{thesis:torres2011ananalysistotheg,
  author = {Torres, Herber Manuel Pérez},
  title = {An Analysis to the Guitar Lab's gesture acquisition prototype with the aim of improving it},
  school = {Universitat Pompeu Fabra},
  year = {2011},
  doi = {10.5281/zenodo.3754100},
  abstract = {Our concern in this Thesis is to study gestures in classic guitar, it covers research made in the Mields of gestures analysis, sensors, gesture acquisition models and guitar gestures. Recent papers and books along with other Thesis are presented as scientiMic background for this project which is mainly inspired by the research of Guitar Lab 1, in fact their gesture acquisition model is used as a starting point, with the goals of (1) improving the gesture acquisition system and (2) get a deeper analysis of gestures that could help Guitar Lab's research towards expressivity. With regard to the gesture acquisition prototype, it is based on capacitive sensors that are able to detect the presence and pressure over a fret of the guitar a brief analysis of the original model is made to demonstrate it's capabilities and its weakness, the capacitive sensors were renewed using new components, an addition to the hardware was made by placing a linear potentiometer that detects the position of the thumb in the back of the neck of the guitar. The renewed prototype was probed and an deep analysis of the achievements and failures of the model is presented. Towards one of the aims of the Guitar lab to use the prototype for an application different to the gesture analysis, we created an augmented guitar using the sensors as controllers to generate sound and trigger music samples.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 1 archive entries; selected by similarity to the archives; NIME-topic probability 0.85}
}

@phdthesis{thesis:cobb2011anaccelerometerb,
  author = {Cobb, J. E.},
  title = {An accelerometer based gestural capture system for performer based music composition},
  school = {University of Leeds, The University of Sheffield, University of York},
  year = {2011},
  url = {https://etheses.whiterose.ac.uk/2252/1/YORK_THESIS_COBB_105033767_FINAL_ethesis.pdf},
  abstract = {Previous studies by research groups in the field of music technology have resulted in a variety of gestural capture systems that enable various levels of interaction and control in the generation of sound. The majority of approaches developed to date have focused on direct control of synthesis parameters. More recently there has been a move toward a higher level of abstraction in which performers can interact in the music composition process. This seems to be motivated by the desire to realise the full creative expression achievable through fusion of physical performance and music. Such a goal poses a number of technical challenges several of which have been explored in the current project. \nThe development of a small, low cost, low power accelerometer based gestural capture system is described. Using this device it is shown that significant subject to subject variation occurred (30% for a study group of n=36) when different test subjects executed the same movement. To compensate for this measurement uncertainty the development of a neural network based pattern recognition system is described which reduces variation to <5%. \nRefinement of the design of the gestural capture system is described to enable it to be implemented as a wireless network of body-worn sensors to capture movement data simultaneously from all four limbs. Theoretical consideration is then given to the scaling of the system to enable multiple performers to cooperate physically in the music composition process. This leads to the concept of a ‘performance orchestra’ where traditional musicians are replaced by instrumented dancers with direct control of accompanying sound. \n},
  collection = {Theses},
  note = {Found in OpenAlex; cites 9 archive entries; NIME-topic probability 0.95}
}

@phdthesis{thesis:poepel2011aninvestigationo,
  author = {Poepel, Cornelius},
  title = {An investigation of audio signal-driven sound synthesis with a focus on its use for bowed stringed synthesisers},
  school = {University of Birmingham},
  year = {2011},
  url = {http://etheses.bham.ac.uk/1479/1/Poepel11PhD.pdf},
  abstract = {This thesis proposes an alternative approach to sound synthesis. It seeks to offer traditional string players a synthesiser which will allow them to make use of their existing skills in performance. A theoretical apparatus reflecting on the constraints of formalisation is developed and used to shed light on construction-related shortcomings in the instrumental developments of related research. Historical aspects and methods of sound synthesis, and the act of musical performance, are addressed with the aim of drawing conclusions for the construction of algorithms and interfaces. The alternative approach creates an openness and responsiveness in the synthesis instrument by using implicit playing parameters without the necessity to define, specify or measure all of them. In order to investigate this approach, several synthesis algorithms are developed, sounds are designed and a selection of them empirically compared to conventionally synthesised sounds. The algorithms are used in collaborative projects with other musicians in order to examine their practical musical value. The results provide evidence that implementations using the approach presented can offer musically significant differences as compared to similarly complex conventional implementations, and that - depending on the disposition of the musician - they can form a valuable contribution to the sound repertoire of performers and composers.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 19 archive entries; NIME-topic probability 0.81}
}

@phdthesis{thesis:casey2011arttechnologyand,
  author = {Casey, Brian M.},
  title = {Art, Technology And The Future Of Musicianship: Questions Of Balance Between Live Performance And The Recorded Medium In Popular Music},
  year = {2011},
  doi = {10.34719/kbfq1242},
  abstract = {"This thesis examines live musicianship in terms of balancing audience expectations, perceptions of skill and the use of new technology in live performance with the aesthetic, artistic and sonic influences of the recording process. Developments in recording studio technology and techniques, live sound reinforcement and approaches to performance are examined from audience and artist perspectives, as a means of evaluating the current role and future development of musicianship in popular music. Complementing the research, a range of demonstrations will explore live performance by employing techniques and approaches to live musicianship discussed in the research."},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.91}
}

@phdthesis{thesis:palacioquintin2011compositiondoeuv,
  author = {Palacio-Quintin, Cléo},
  title = {Composition d'oeuvres pour hyper-flûtes et traitement audionumérique interactif},
  school = {Université de Montréal},
  year = {2011},
  doi = {10.71781/4173},
  abstract = {This dissertation presents the compositional processes of six pieces with live interactive electronics for hyper-flutes: flutes equipped with electronic motion sensors connected to a computer. Instrumental techniques are thus augmented by electroacoustic components that can be controlled by the performer. A significant portion of this document is focussed on the research framing these works. A brief history of «musique mixte» is presented, underlining the contribution of the flute to electroacoustic music. The challenges associated with the synchronization of instrumental and electronic sounds with which composers have been faced since the 1950’s are then addressed, providing the context for establishing the essential nature of interactive composition. After having defined the notion of instrumental gesture, particularly as it concerns flute techniques, details of the electronic design of the hyper-flute and the hyper-bass-flute are considered. The descriptions of these techniques are prefaced by observations about other augmented instruments and more specifically the different known flutes. This part concludes with a presentation of the interaction and mapping strategies of gestural data as it relates to the corresponding audio elements. The sections that follow focus attention on the compositions. I begin by elaborating my own perspective on interactive composition and improvisation. Six chapters then provide detailed descriptions of each of the pieces, starting with the sources of inspiration and a brief formal analysis. I go on to explain their instrumental and electroacoustic components, detailing the types of interactions used. Of particular note is the fact that four of these works were developed based on poetic texts. Lastly, a short conclusion summarizes the artistic objectives realized during my doctoral tenure as well as the potential opportunities for the continuation of my creative work with the hyper-flutes.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:cronje2011designingahyperi,
  author = {Cronje, Mario},
  title = {Designing a hyperinstrument with gesture interface for musical performance},
  school = {Stellenbosch University},
  year = {2011},
  url = {http://hdl.handle.net/10019.1/16602},
  abstract = {Thesis (M. Phil.)--University of Stellenbosch, 2005.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 7 archive entries; NIME-topic probability 0.99}
}

@phdthesis{thesis:katsaprakakis2011extendingthecont,
  author = {Katsaprakakis, Alexandros},
  title = {Extending the control of a musical tangible tabletop with mobile phones},
  school = {Universitat Pompeu Fabra},
  year = {2011},
  doi = {10.5281/zenodo.3754056},
  abstract = {This project proposes the use of the sensory features of modern mobile phones that were previously unavailable for the wide consumer public, such as the accelerometers and the multi-touch surfaces, as an input for a musical tangible tabletop. The development of a mobile application operating simultaneously with the reactable is carried out based on a conventional wireless connection. The application is a formant voice synthesizer controlled by both the mobile device and the reactable. The proposed system seeks to give an additional degree of freedom in the musical experience and expression with this instrument and tries to take advantage of the advancing mobile technology to extend the control of the reactable and provide alternative ways of musical interaction.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 11 archive entries; NIME-topic probability 0.87}
}

@phdthesis{thesis:koehly2011fabricationofsus,
  author = {Koehly, Rodolphe},
  title = {Fabrication of sustainable resistive-based paper touch sensors: Application to music technology},
  school = {McGill University},
  year = {2011},
  doi = {10.82308/45923},
  abstract = {Building novel Digital Music Instruments (DMIs) requires the use of a variety of sensors to transduce human actions to electronic signals that will control sound synthesis variables. Among them, contact (force/pressure) sensors such as the Force Sensing Resistors (FSR) are the most commonly used in the design of DMIs. Similar commercial sensor designs based on conductive materials also enable to detect position, displacement or flexion. Unfortunately, although commercial sensors can be easily found at electronic resellers, only a few standardised models with predefined sizes, shapes and electric characteristics can be purchased. Moreover, the quality of the sensor appears to depend on their shape and dimension. These limitations have direct implications on the design of novel DMIs, which actually need to be adapted to the existing offer of commercial sensors. After various investigations with polymers, textiles, adhesives and glues, we finally chose to focus on conductive paper as a generic material for producing sustainable, flexible and customisable contact sensors. This thesis study presents two directions on paper sensors investigations: We first began by studying the potential of building paper contact sensors using industrial paper. This type of paper is originally produced to provide optimal colour properties and is not optimised for use as a conductive material. Nevertheless, it has been shown that it provides a very efficient choice for the design of custom sensors. Several sensor prototypes were built using samples of four industrial papers from three main manufacturers (ArjoWiggins (Canson), Fabriano, and PASCO) and have been used in the design of various gesture controllers. In order to verify the electrical behaviour of these prototypes, we developed a special test machine that enabled us to characterise the sensor's properties in terms of repeatability, drift and hysteresis, and to compare the results with commercial sensors. The second step was to consider how to produce such a paper. Laboratory experiments were performed to evaluate the influence of the papermaking process as well as the chemicals to be added to optimise the retention and formation of a uniform mix of pigments and fibres, enabling the fabrication of a rough, porous, compressible but still elastic material. Papers with various amounts of pigment and different sheet structures were made and characterised in order to evaluate the influence of the paper characteristics onto their electrical resistance. Resulting materials were also characterised with the test machine and compared to other types of resistive materials. This research contributes to the promotion of alternative solutions for the development of contact sensors. In particular, it shows that conductive paper and inks are an ecological alternative to conducting polymers for producing custom contact sensors. Paper sensors can replace industrial sensors in many applications, as they are equally efficient. More},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.82}
}

@phdthesis{thesis:alsop2011mappinggesturesi,
  author = {Alsop, P},
  title = {Mapping gestures in the creation of intangible artworks},
  school = {RMIT University},
  year = {2011},
  url = {http://researchbank.rmit.edu.au/view/rmit:14819},
  abstract = {"Mapping gestures in the creation of intangible artworks" considers that what is normally understood as an artwork, such as a painting or music, is in fact a tangible thing experienced via excitation of the physical senses. It is the perceiver's interpretation of this excitation that creates their unique experience of the object, and this interpretation creates the artwork. Rather than a linear, single-trajectory interaction from the art-maker to the art-perceiver, “Mapping gestures ...” hypothesises that this relationship is best understood as having the qualities of a Möbius strip, in that the maker and perceiver are engaged in an interaction in which each are simultaneously creator and perceiver. "Mapping gestures ...” has two parts: the three art-objects, MOTION, SPEECH and VISION, and the accompanying exegesis, which discusses the ideas and processes that informed their development. Its process is to explore the making of these art-objects and the discoveries that that generates. These discoveries in turn influence the process of creating the art-objects, which consequently leads to more discoveries. MOTION, SPEECH, and VISION are designed to engage the perceiver both physically and mentally, and to represent that engagement through simultaneously showing the result of their physical and their mental interactions with it. "Mapping gestures in the creation of intangible artworks" coalesces a bricolage of diverse aspects, including: concepts and theories relating to art making and communication, various art works, and art making concepts and processes, into a set of art-objects that overtly, fundamentally, and in essence rely on the interaction and interpretation of the perceiver in order to become artworks.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.90}
}

@phdthesis{thesis:boutin2011methodsofactivec,
  author = {Boutin, Henri},
  title = {Methods of active control of musical instruments : cases of the xilophone bar and the violon},
  school = {Paris 6},
  year = {2011},
  url = {https://theses.fr/2011PA066621},
  abstract = {En acoustique musicale, la technique du contrôle actif est utilisée pour modifier les caractéristiques de vibration des instruments de musique. Pour de tels systèmes, le nombre de transducteurs utilisés est souvent réduit. De plus, leurs propriétés mécaniques et leurs positions sont optimisées de façon à ne pas perturber la vibration de l'instrument, ni le jeu du musicien. Nous proposons dans cette thèse une méthode de commande adaptée à ces contraintes. Elle permet de changer les caractéristiques des pics de résonance de la réponse fréquentielle du système. Pour cela, elle nécessite un seul capteur et calcule le signal des actionneurs uniquement à partir de la mesure qu'il fournit. La méthode proposée est appliquée à une lame de xylophone dont les propriétés mécaniques sont adaptées au contrôle actif, puis à un violon de bonne qualité fabriqué par un luthier. Dans les deux cas, elle parvient à modifier la fréquence et le gain maximal de leurs résonances. À travers ces expérimentations, la méthode de commande modale apparaît comme une technique capable d'attribuer les caractéristiques souhaitées au son rayonné par les instruments de musique. D'autre part, elle constitue un outil adapté pour étudier la relation entre leurs réponses fréquentielles et leurs propriétés mécaniques. },
  collection = {Theses},
  note = {Found in theses.fr; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:rodolfo2011mosaicmusicalart,
  author = {Rodolfo, Guilherme Weffort},
  title = {Mosaic Musical Artmediatic: The sound interface enabling creativity beyond the Black Box.},
  year = {2011},
  url = {https://doi.org/10.11606/D.93.2011.tde-19102011-091612},
  abstract = {O trabalho aqui apresentado observa a possibilidade de liberdade criativa através da interface musical na obra de arte bricolada com meios eletrônicos: a artemídia. Segundo o filósofo Vilém Flusser, perdemos a capacidade de criar e desenvolver o sentimento livre, uma vez introduzida a tecnologia em nossas vidas. Essas caixas pretas, as quais não sabermos ao certo o seu conteúdo, nos obriga a executar sempre a mesma rotina maquínica, nos aprisionando. Com o desenvolvimento da interface musical na artemídia essa realidade muda e, graças a ela, temos a possibilidade e a liberdade criativa restituída.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.97}
}

@phdthesis{thesis:scott2011musicalapplicati,
  author = {Scott, Calum Collinson},
  title = {Musical applications of physical computing},
  school = {The University of Glasgow},
  year = {2011},
  url = {https://theses.gla.ac.uk/2442/1/2010ScottMMusR.pdf},
  abstract = {This paper presents a music technology portfolio consisting of 5 distinct projects, which are each concerned with the concept of physicality in digital music. The work seeks to address acoustic ecologist R. Murray Schafer’s concept of schizophonia by imbuing digital music systems with signatures from the analog world through the use of emerging technologies of physical computing. Physical control methods were developed and explored for this purpose as well as the use of computer controlled mechanical actuators operating on acoustic objects. The resultant projects vary in form - encompassing aspects of automated musical performance, installation and interactive art as well as design and programming - but in all the link between sound and source is in some way given physical tangibility.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.81}
}

@phdthesis{thesis:pedrosa2011perceptionbasedd,
  author = {Pedrosa, Ricardo},
  title = {Perception-based design, including haptic feedback in expressive music interfaces},
  school = {University of British Columbia},
  year = {2011},
  doi = {10.14288/1.0052072},
  abstract = {When designing haptic feedback into human-computer interfaces the most common approach is to restrict its deployment to only one of the haptic channels (either force or vibrotactile feedback) and this decision is often biased according to the technological boundaries imposed by the interface design or its purpose. The research presented here outlines a methodology developed to include haptic feedback in a gesture interface used to implement a computer based music instrument. The primary goal of this research is to achieve an increased understanding of how different flavors of haptic feedback should be combined to support both controllability and comfort in expressive interfaces such as computer based musical instruments. The work reported here has two parts: 1) a description of an initial user experiment conducted for the purpose of assessing the use of vibrotactile stimuli as rhythmic cues, and 2) a proposed research trajectory which will constitute the theme for a PhD project. The main hypothesis guiding this research is that the best way to include haptic feedback into any design should start by understanding the role each haptic channel plays in the "real life scenario". The assumption we will put into test is that the feedback provided for each haptic channel could be developed individually and later on fine tuned when mixed in the final design, and this includes that the addition of any extra cues we might be interested in supplying to the end user to enhance the real life experience should be designed and mixed in each haptic channel before the final blend occurs. This methodology could be defined as a "perception-based design": a design approach that starts with a perceptual characterization of the interaction that is being addressed and fine tune the results according to the perceptual load put on the user senses. We expect that the knowledge gathered will be useful not only to a broader spectrum of expressive interfaces but could also be extrapolated to including haptic feedback in other interface designs.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 5 archive entries; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:merer2011perceptualandaco,
  author = {Merer, Adrien and YSTAD, Sølvi and KRONLAND-MARTINET, Richard},
  title = {Perceptual and acoustic characterization of movement evoked by sound for synthesis control},
  school = {theses.fr (ABES)},
  year = {2011},
  url = {http://www.theses.fr/2011AIX10038/document},
  abstract = {Un des grands enjeux actuels dans le domaine de la synthèse sonore consiste à proposer des stratégies de contrôle intuitif accessible à un grand nombre d'utilisateurs. Parmi les attributs fondamentaux du son, ceux qui sont liés au mouvement restent encore largement inexplorés et, de fait, difficilement contrôlables. Cette thèse s'intéresse à la perception des caractéristiques des sons monophoniques qui varient au cours du temps et qui sont à l'origine de la notion perceptive de ''mouvement évoqué'', ainsi qu'à la mise au point d'une stratégie de contrôle intuitif. Pour cela, nous avons mis au point une série d'expériences basées sur des protocoles de catégorisation et d'évaluation sonore par le biais de dessins via une interface graphique paramétrée. Afin de favoriser l'écoute sur les attributs intrinsèques du son, nous avons privilégié l'utilisation de sons dits ''abstraits" pour lesquels la source physique n'est pas facilement identifiable. Les résultats de ces expériences nous ont permis de définir un ensemble de dimensions perceptives importantes pour la caractérisation du mouvement évoqué, telles que la forme de la trajectoire, l'orientation ou bien la taille. Ces dimensions ont été par la suite validées grâce à un protocole expérimental exploitant la synthèse sonore. Le travail réalisé ouvre de nombreuses perspectives, notamment dans les domaines de la réalité virtuelle, du ''design sonore'' et de la musique. La méthodologie proposée vise à être suffisamment générale pour être transposable à l'étude d'autres attributs perceptifs liés au ressenti (émotions, qualité ...).},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.97}
}

@phdthesis{thesis:cook2011realtimehumanint,
  author = {Cook, Perry R. and Fiebrink, Rebecca},
  title = {Real-time human interaction with supervised learning algorithms for music composition and performance},
  school = {Princeton University},
  year = {2011},
  url = {http://www.cs.princeton.edu/~fiebrink/drop/thesis/thesis_plorkrevised.pdf},
  abstract = {This thesis examines machine learning through the lens of human-computer interaction in order to address fundamental questions surrounding the application of machine learning to real-life problems, including: Can we make machine learning algorithms more usable and useful? Can we better understand the real-world consequences of algorithm choices and user interface designs for end-user machine learning? How can human interaction play a role in enabling users to efficiently create useful machine learning systems, in enabling successful application of algorithms by machine learning novices, and in ultimately making it possible in practice to apply machine learning to new problems? The scope of the research presented here is the application of supervised learning algorithms to contemporary computer music composition and performance. Computer music is a domain rich with computational problems requiring the modeling of complex phenomena, the construction of real-time interactive systems, and the support of human creativity. Though varied, many of these problems may be addressed using machine learning techniques, including supervised learning in particular. This work endeavors to gain a deeper knowledge of the human factors surrounding the application of supervised learning to these types of problems, to make supervised learning algorithms more usable by musicians, and to study how supervised learning can function as a creative tool. This thesis presents a general-purpose software system for applying standard supervised learning algorithms in music and other real-time problem domains. This system, called the Wekinator, supports human interaction throughout the entire supervised learning process, including the generation of training examples and the application of trained models to real-time inputs. The Wekinator is published as a freely-available, open source software project, and several composers have already employed it in the creation of new musical instruments and compositions. This thesis also presents work utilizing the Wekinator to study human-computer interaction with supervised learning in computer music. Research is presented which includes a participatory design process with practicing composers, pedagogical use with non-expert users in an undergraduate classroom, a study of the design of a gesture recognition system for a sensor-augmented cello bow, and case studies with three composers who have used the system in completed artistic works. The primary contributions of this work include (1) a new software tool allowing real-time human interaction with supervised learning algorithms, which includes a novel “playalong” interaction for generating training data in real-time; (2) a demonstration of the important roles that interaction|encompassing both human-computer control and computer-human feedback|can play in the development of supervised learning systems, and a greater understanding of the differences between interactive and conventional mac},
  collection = {Theses},
  note = {Found in OpenAlex; cites 6 archive entries; selected by similarity to the archives; NIME-topic probability 0.72}
}

@phdthesis{thesis:vasconcelos2011refrainsmantrasa,
  author = {Vasconcelos, Francisco de Assis Guedes de},
  title = {Refrains, mantras and chaos: compossibility and contemplation in interactive art},
  year = {2011},
  url = {http://www.repositorio.ufc.br/handle/riufc/7858},
  abstract = {This research aims to restore, in the realms of cyberart, the notions of refrain, compossibility and contemplation, through the development of an interactive installation named Ritus. Based on the Deleuzian notion of refrain as an expressive material capable of creating territories, a study was conducted concerning repetition as an enabler of the difference in philosophy and contemporary art. The concept of compossibility was adopted as a narrative model to artistic processes based on computer programming. The question of contemplation in art was treated in order to conceive the possibility of a paradoxical contemplative situation in interactive works. Furthermore, a study was conducted about the potential of sonic material as a trigger of altered states of consciousness. Finally, was outlined the genesis path of the installation Ritus, based on an interactive environment in which sound and image repeated in loops are actualized by the interactor according its position in a room, evoking audiovisual contents captured on religious events performed in state of Ceará.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:bergstrom2011somaliveperforma,
  author = {Bergstrom, Ivy R.},
  title = {Soma : live performance where congruent musical, visual, and proprioceptive stimuli fuse to form a combined aesthetic narrative},
  school = {University College London},
  year = {2011},
  url = {http://discovery.ucl.ac.uk/1310143/3/1310143_01_-_Maria_Louisa_-_First_video_for_survey.mp4},
  abstract = {Artists and scientists have long had an interest in the relationship between music and visual art. Today, many occupy themselves with correlated animation and music, called 'visual music'. Established tools and paradigms for performing live visual music however, have several limitations: \nVirtually no user interface exists, with an expressivity comparable to live musical performance. \nMappings between music and visuals are typically reduced to the music‘s beat and amplitude being statically associated to the visuals, disallowing close audiovisual congruence, tension and release, and suspended expectation in narratives. \nCollaborative performance, common in other live art, is mostly absent due to technical limitations. \nPreparing or improvising performances is complicated, often requiring software development. \nThis thesis addresses these, through a transdisciplinary integration of findings from several research areas, detailing the resulting ideas, and their implementation in a novel system: \nMusical instruments are used as the primary control data source, accurately encoding all musical gestures of each performer. The advanced embodied knowledge musicians have of their instruments, allows increased expressivity, the full control data bandwidth allows high mapping complexity, while musicians‘ collaborative performance familiarity may translate to visual music performance. \nThe conduct of Mutable Mapping, gradually creating, destroying and altering mappings, may allow for a narrative in mapping during performance. \nThe art form of Soma, in which correlated auditory, visual and proprioceptive stimulus form a combined narrative, builds on knowledge that performers and audiences are more engaged in performance requiring advanced motor knowledge, and when congruent percepts across modalities coincide. \nPreparing and improvising is simplified, through re-adapting the Processing programming language for artists to behave as a plug-in API, thus encapsulating complexity in modules, which may be dynamically layered during performance. Design research methodology is employed during development and evaluation, while introducing the additional viewpoint of ethnography during evaluation, engaging musicians, audience and visuals performers.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 10 archive entries; NIME-topic probability 0.78}
}

@phdthesis{thesis:risnen2011sorminaanewmusic,
  author = {Räisänen, Juhani},
  title = {Sormina - a new musical instrument},
  school = {Aalto University},
  year = {2011},
  url = {https://aaltodoc.aalto.fi/handle/123456789/20093},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:peters2011sweetreproductio,
  author = {Peters, Nils},
  title = {Sweet [re]production: developing sound spatialization tools for musical applications with emphasis on sweet spot and off-center perception},
  school = {McGill University},
  year = {2011},
  doi = {10.82308/41272},
  abstract = {This dissertation investigates spatial sound production and reproduction technology as a mediator between music creator and listener. Listening experiments investigate the perception of spatialized music as a function of the listening position in surround-sound loud- speaker setups.Over the last 50 years, many spatial sound rendering applications have been developed and proposed to artists. Unfortunately, the literature suggests that artists hardly exploit the possibilities offered by novel spatial sound technologies. Another typical drawback of many sound rendering techniques in the context of larger audiences is that most listeners perceive a degraded sound image: spatial sound reproduction is best at a particular listening position, also known as the sweet spot.Structured in three parts, this dissertation systematically investigates both problems with the objective of making spatial audio technology more applicable for artistic purposes and proposing technical solutions for spatial sound reproductions for larger audiences.The first part investigates the relationship between composers and spatial audio technology through a survey on the compositional use of spatialization, seeking to understand how composers use spatialization, what spatial aspects are essential and what functionalities spatial audio systems should strive to include.The second part describes the development process of spatializaton tools for musical applications and presents a technical concept. The Virtual Microphone Control (ViMiC) system is an auditory virtual environment that recreates a recording situation through virtual sound sources, virtual room properties and virtual microphones. A technical concept is presented to facilitate artistic work with spatial audio systems and to allow the combination of different spatialization tools.The third part investigates the perception of spatialized sounds as a function of the listening positions in multichannel sound systems. Perceptual experiments were designed to understand the multidimensional nature of an off-center sound degradation and to propose concepts to improve the listening conditions for larger audiences.This research extends our understanding of spatial audio perception and has potential value to all those interested in spatial audio quality, including designers, creators and specialists in the fields of acoustics, music, technology and auditory perception.},
  collection = {Theses},
  note = {Found in DataCite; cites 5 archive entries; NIME-topic probability 0.91}
}

@phdthesis{thesis:vamvakousis2011theeyeharpagazec,
  author = {Vamvakousis, Zacharias},
  title = {The EyeHarp: A Gaze-Controlled Musical Instrument},
  school = {Universitat Pompeu Fabra},
  year = {2011},
  doi = {10.5281/zenodo.3754026},
  abstract = {In the thesis, we present the EyeHarp, a digital musical instrument based on eye tracking. The EyeHarp consists of a self-built low-cost eye-tracking device which communicates with an intuitive musical interface. The system allows the performer to produce music in real time by controlling sound settings and musical events only through eye movements. The instrument can also be controlled using any input device that can take control of the mouse pointer, and thus it could be appropriate for many cases of people with disabilities. Following the EyeWriter' s initiative instructions, a €50 eye tracking device was constructed and used along with the provided open source code for getting the user's gaze coordinates on the screen. Having that as an input, the EyeHarp digital musical instrument was implemented in openFrameworks C++ toolkit. The user can play music in real time controlling the chords and melody of his composition through an intuitive interface based on the pie menus. On top of it, an arpeggiator machine and a step sequencer provide the opportunity of creating a harmonic and rhythmic background. Depending on the desired task, dwell time or screen button gaze selection technique is applied. A preliminary discount usability experiment is conducted having the eye gaze versus the head movements as input.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.92}
}

@phdthesis{thesis:adeney2011theharmonygridmu,
  author = {Adeney, Roland},
  title = {The HarmonyGrid : music, space and performance in grid music systems},
  school = {Creative Industries Faculty},
  year = {2011},
  url = {https://eprints.qut.edu.au/46602/},
  abstract = {This research explores music in space, as experienced through performing and music-making with interactive systems. It explores how musical parameters may be presented spatially and displayed visually with a view to their exploration by a musician during performance. Spatial arrangements of musical components, especially pitches and harmonies, have been widely studied in the literature, but the current capabilities of interactive systems allow the improvisational exploration of these musical spaces as part of a performance practice. This research focuses on quantised spatial organisation of musical parameters that can be categorised as grid music systems (GMSs), and interactive music systems based on them. The research explores and surveys existing and historical uses of GMSs, and develops and demonstrates the use of a novel grid music system designed for whole body interaction. Grid music systems provide plotting of spatialised input to construct patterned music on a two-dimensional grid layout. GMSs are navigated to construct a sequence of parametric steps, for example a series of pitches, rhythmic values, a chord sequence, or terraced dynamic steps. While they are conceptually simple when only controlling one musical dimension, grid systems may be layered to enable complex and satisfying musical results. These systems have proved a viable, effective, accessible and engaging means of music-making for the general user as well as the musician. GMSs have been widely used in electronic and digital music technologies, where they have generally been applied to small portable devices and software systems such as step sequencers and drum machines. This research shows that by scaling up a grid music system, music-making and musical improvisation are enhanced, gaining several advantages: (1) Full body location becomes the spatial input to the grid. The system becomes a partially immersive one in four related ways: spatially, graphically, sonically and musically. (2) Detection of body location by tracking enables hands-free operation, thereby allowing the playing of a musical instrument in addition to “playing” the grid system. (3) Visual information regarding musical parameters may be enhanced so that the performer may fully engage with existing spatial knowledge of musical materials. The result is that existing spatial knowledge is overlaid on, and combined with, music-space. Music-space is a new concept produced by the research, and is similar to notions of other musical spaces including soundscape, acoustic space, Smalley's “circumspace” and “immersive space” (2007, 48-52), and Lotis's “ambiophony” (2003), but is rather more textural and “alive”—and therefore very conducive to interaction. Music-space is that space occupied by music, set within normal space, which may be perceived by a person located within, or moving around in that space. Music-space has a perceivable “texture” made of tensions and relaxations, and contains spatial patterns of these },
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.89}
}

@phdthesis{thesis:wilkins2011theinstrumentins,
  author = {Wilkins, Caroline},
  title = {The Instrument in Space: the Embodiment of Music in the Machine Age},
  school = {Brunel University London},
  year = {2011},
  url = {http://bura.brunel.ac.uk/handle/2438/6438},
  abstract = {The body exists in space and time. It moves through cultural spaces and temporal rhythms. In the combination of instantiated actions and environmental conditions a context is created, this through embodiment. In this thesis I will attempt to link definitions of embodiment with the process of creating and performing new sound theatre works that involve live interaction with media technology. I will also examine terms such as inscription or incorporation and their application to processes of learning and memory within a particular context of inter-disciplinary skills. Finally, in the light of this genre, I will approach the problematic of analytical procedures that change the very parameters of embodied knowledge. The term sound theatre could be defined as a shift of play between music, image and text, incorporating elements such as gesture, choreography, audio and visual technology into a compositional dialogue. However this approach demands a reexamination of the spatial and temporal aspects involved in such inter-activity and their consequent relation to the performer. Taking the starting-point of sound and},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.96}
}

@phdthesis{thesis:murphy2011theelectronicsen,
  author = {Murphy, Ben},
  title = {The electronic sensor bow: a new gestural control interface},
  school = {University of Wollongong},
  year = {2011},
  url = {https://ro.uow.edu.au/theses/3547},
  abstract = {This thesis discusses the ESBow (Electronic Sensor Bow). The ESBow is a traditional violin bow enhanced with electronic sensors for the creation of electronic chamber music. These sensors include two force sensing resistors, a tri-axial accelerometer and a trackball with select. Key issues regarding electronic violin controllers will also be examined in this thesis. This includes a discussion on the significance of extending the legacy of an existing instrument. Other issues discussed include mapping and the composed instrument, and the role of haptic feedback to the performer. Details of the ESBow project and its history will be discussed before the current prototype design is detailed and reviewed. This will include both the technical details of the bow as well as the objectives and ideals behind the bow. The remainder of this thesis will focus on compositional applications of the ESBow. This thesis will only address the use of the ESBow as a solo instrument.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 8 archive entries; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:vigliensonimartin2011touchlessgestura,
  author = {Vigliensoni Martin, Augusto},
  title = {Touchless gestural control of concatenative sound synthesis},
  school = {McGill University},
  year = {2011},
  doi = {10.82308/25475},
  abstract = {This thesis presents research on three-dimensional position tracking technologies used to control concatenative sound synthesis and applies the achieved research results to the design of a new immersive interface for musical expression. The underlying concepts and characteristics of position tracking technologies are reviewed and musical applications using these technologies are surveyed to exemplify their use. Four position tracking systems based on different technologies are empirically compared according to their performance parameters, technical specifications, and practical considerations of use. Concatenative sound synthesis, a corpus-based synthesis technique grounded on the segmentation, analysis and concatenation of sound units, is discussed. Three implementations of this technique are compared according to the characteristics of the main components involved in the architecture of these systems. Finally, this thesis introduces SoundCloud, an implementation that extends the interaction possibilities of one of the concatenative synthesis systems reviewed, providing a novel visualisation application. SoundCloud allows a musician to perform with a database of sounds distributed in a three-dimensional descriptor space by exploring a performance space with her hands.},
  collection = {Theses},
  note = {Found in DataCite; cites 7 archive entries; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:lee2012audienceparticip,
  author = {Lee, Sang Won},
  title = {Audience participation using mobile phones as musical instruments},
  school = {Georgia Institute of Technology},
  year = {2012},
  url = {http://hdl.handle.net/1853/44749},
  abstract = {This research aims at a music piece for audience participation using mobile phones as musical instruments in a music concert setting. Inspired by the ubiquity of smart phones, I attempted to accomplish audience engagement in a music performance by crafting an accessible musical instrument with which audience can be a part of the performance. The research begins by reviewing the related works in two areas, mobile music and audience participation at music performances, builds a charted map of the areas and its intersection to seek an innovation, and defines requisites for a successful audience participation where audience can participate in music making as musicians with their mobile phones. To make accessible audience participation, the concept of a networked multi-user instrument is applied for the system. With the lessons learnt, I developed echobo, a mobile musical instrument application for iOS devices (iPhone, iPad and iPod Touch). With this system, audience can download the app at the concert, play the instrument instantly, interact with other audience members, and contribute to the music by sound generated from their mobile phones. A music piece for echobo and a clarinet was presented in a series of performances and the application was found to work reliably and accomplish audience engagement. The post-survey results indicate that the system was accessible, and helped the audience to connect to the music and other musicians.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:callear2012audiovisualparti,
  author = {Callear, Stephen},
  title = {Audiovisual particles: parameter mapping as a framework for audiovisual composition},
  school = {Bath Spa University},
  year = {2012},
  doi = {10.17870/bathspa.00001878},
  abstract = {This thesis investigates the role of cross-modal correspondence within audiovisual composition, presenting both a conceptual model and a methodological framework for the creation of abstract audiovisual art. While this research is specifically aimed at the field of abstract digital animation it is also intended to act as a platform for the future development of concurrent audiovisual synthesis techniques within the general field of audiovisual art. Referencing literature regarding the psychophysiological bases for audiovisual integration, it is argued that temporal congruence offers a mechanism for the manipulation of cross-modal correspondence within audiovisual media. Further to this, electroacoustic and formalist theory is discussed with specific reference to the interrelationship of medium structures to enable the identification of a conceptual model for audiovisual composition. Referencing theory from the fields of musical instrument design and algorithmic composition, parameter mapping is identified as a mechanism for the modulation of temporal congruence. Its implementation within audiovisual composition is then discussed. Derived from both this and a conceptual parallel between the organisational structures of audio grains and visual particles, the audiovisual particles framework is presented as a methodological basis for the creation of abstract audiovisual art. The presented theory is supported by a series of demonstrative studies exploring both the practical application of the audiovisual particles framework and the role of parameter mapping within the process of audiovisual media generation. Experiential observations are discussed for each to inform future praxis. In addition, two audiovisual compositions are presented as both implementations of developed theory and as artworks in their own right.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 10 archive entries; NIME-topic probability 0.98}
}

@phdthesis{thesis:fencott2012computermusickin,
  author = {Fencott, Robin},
  title = {Computer musicking : designing for collaborative digital musical interaction},
  year = {2012},
  url = {https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667054},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 25 archive entries; NIME-topic probability 0.95}
}

@phdthesis{thesis:fdilialaoui2012dancegestureanal,
  author = {Fdili Alaoui, Sarah},
  title = {Dance Gesture Analysis and Visual Feedback based on Physical Models : Contributions of Movement Qualities in Whole Body Interaction},
  school = {Paris 11},
  year = {2012},
  doi = {10.70675/210c8d5fz8cf6z481dzacbaz288d0915db5e},
  abstract = {The thesis studies gesture in the context of Human-Computer interaction. It aims at creating new interaction paradigms that offer the user further expressive possibilities based on gestures. The theorists and practitioners of the dance call ''movement qualities” (MQ), a notion that conveys expressive content describing the way a gesture is performed. This notion has been rarely taken into consideration in the field of HCI. Our work draws on collaborations with the field of dance to explore the notion of movement qualities and to integrate it as interaction modality. The contributions of the thesis are in the formalism of the notion of movement qualities and evaluation of its integration as interaction modality in terms of user experience. We also provide computational tools for considering MQ in interactive systems in terms of analysis, representation and gesture control methods. On the representational level, our work have demonstrated that physical models based on masses and springs systems offer great opportunities for simulating dynamics related to MQs and for real-time gesture control. On the analysis level, we developed innovative approaches to automatic real time recognition of movement qualities. Finally, we implemented of a set of interaction techniques based on movement qualities that we applied and evaluated in the context of dance pedagogy and performance.},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:lympouridis2012designstrategies,
  author = {Lympouridis, Evangelos},
  title = {Design strategies for whole body interactive performance systems},
  year = {2012},
  url = {http://hdl.handle.net/1842/10434},
  abstract = {This practice-led research investigates a design framework within an artistic context for the implementation of Whole Body Interactive (WBI) performance systems that employ real-time motion capture technology. Following an Interaction Design perspective I engage in exploring the requirements for composers, dancers, musicians and performers and their expectations, within a series of transdisciplinary collaborative artistic projects. Integral to this investigation is a comprehensive review and analysis of the progression of interactivity in fine art, music, dance and performance practices, presented in this thesis. As I am particularly concerned with the seamless transfer of the tacit skills and the implicit knowledge of non-digital artists and practitioners to a WBI performance setting, my practical explorations emerged in the contexts of music improvisation - Untitled#1, contemporary dance - Untitled#2, contemporary music composition - Hiroshima, and traditional dance - Duende. Adopting a Holistic Design approach, the experience and knowledge gained from my first practical explorations led to the design and implementation of a WBI prototyping software environment called EnActor, used in tandem with the Orient wireless inertial motion capture system, developed by the Research Consortium in Speckled Computing, at the University of Edinburgh. EnActor provides a simple and effective solution to the problem of linking physical actions to rich digital media responses and can serve as a blueprint for the development of other WBI design software, since it has operated successfully as a prototype, addressing a wide range of WBI design briefs in various contexts. In this thesis I introduce the role of the WBI designer as a specialist interaction designer able to conceptualise WBI scenarios and implement complete systems that operate within various levels of body sensing and control. I also propose the development of WBI systems that are autonomous and unsupervised, and I explore various compositional concepts and mappings that are implemented as automatic, semi-automatic or manual modules and ultimately arranged into layers and to series of blocks that represent complete compositions. Following the understanding of interactivity as a property between systems, I identify the design of three basic types of WBI performance systems that differ in how a user engages with them: methodical, empirical and dialectic. Overall this research aims to facilitate designers and artists interested in the use of real-time motion capture systems in dance, music, theatre and performance art applications.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.92}
}

@phdthesis{thesis:taylor2012designingfromwit,
  author = {Taylor, Robyn L},
  title = {Designing from Within: Exploring Experience through Interactive Performance},
  school = {University of Alberta},
  year = {2012},
  doi = {10.7939/r39d0s},
  abstract = {This thesis describes a practice-based methodology in which an interdisciplinary team of computer scientists and musicians create, enact, and iteratively refine a series of technologically mediated participatory performances structured to investigate HCI research questions surrounding participant engagement with technological interfaces in public settings. We choose to “design from within” by taking active roles as performers in each piece, experiencing the performance alongside participants within an authentic public use context. We draw upon McCarthy and Wright’s pragmatic approach towards experience-centered design and evaluation, using their theoretical framework to interrogate the sensual, emotional, spatio-temporal and compositional aspects of collaborative behaviour through felt, lived experience. This self-situated manner of practice allows us to experience the enactment of our design interventions firsthand, and develop understanding of the performance scenario through our own personal processes of sense-making. Our participatory installations are intended for public consumption, meaning the works must always maintain production quality suitable for professional exhibition. However, they are intentionally implemented so that they may be constantly refined and re-configured, changing and developing as our understanding of and relationship to them grows over time. In this thesis, we describe the creation, performance, and evaluation of three in- teractive works: dream.Medusa (2007), humanaquarium (2009) and Nightingallery (2011). We explain how our experiences with the performances revealed insight into engagement with technologically mediated interaction in public spaces, allowing us to investigate how modifying performance design affected experiential issues such as the reduction of stage fright, the encouragement of collaboration, and the exploration of the relationship between legibility and expressivity. The novelty of our approach lies in how we have taken an active role as performer/designers within the use context of a series of performances, each subsequent performance being inspired by the research undertaken throughout the investigative trajectory. We draw upon personal, autobiographical experiences with the projects to develop understanding of public engagement with creative technologies, allowing our experiences with the projects to inspire avenues of HCI design intervention and research. Our method of investigation leverages interdisciplinary practice and expertise to inform interaction design for playful, ludic systems in a holistic, pragmatic, experience-centered way.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 4 archive entries; NIME-topic probability 0.96}
}

@phdthesis{thesis:odowichuk2012freespacegesture,
  author = {Odowichuk, Gabrielle},
  title = {Free-space gesture mappings for music and sound},
  school = {University of Victoria},
  year = {2012},
  url = {http://hdl.handle.net/1828/4288},
  abstract = {This thesis describes a set of software applications for real-time gesturally con- trolled interactions with music and sound. The applications for each system are varied but related, addressing unsolved problems in the field of audio and music technology. The three systems presented in this work capture 3D human motion with spatial sensors and map position data from the sensors onto sonic parameters. Two different spatial sensors are used interchangeably to perform motion capture: the radiodrum and the Xbox Kinect. The first two systems are aimed at creating immersive virtually-augmented environments. The first application uses human ges- ture to move sounds spatially in a 3D surround sound by physically modelling the movement of sound in a space. The second application is a gesturally controlled self- organized music browser in which songs are clustered based on auditory similarity. The third application is specifically aimed at extending musical performance through the development of a digitally augmented vibraphone. Each of these applications is presented with related work, theoretical and technical details for implementation, and discussions of future work.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 6 archive entries; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:bianco2012gesturalcontroli,
  author = {Bianco, Tommaso},
  title = {Gestural control in trumpet performance : experiments and modeling},
  school = {Paris 6},
  year = {2012},
  url = {https://theses.fr/2012PA066143},
  abstract = {This thesis focuses on trumpet performance. In particular, we analyze the way performers interact with the instrument in order to control the production of musical tones. Our study begins by analyzing the experimental measurements of real trumpet players. The results are then employed to model the temporal profiles of the measured parameters. This allows us to elaborate novel strategies for the control of sound – particularly for sound synthesis based on physical models – on two fronts. From a musical composition standpoint, we propose a framework for the generation of a gestural score, that is for the conversion of discrete musical units – the notes – into continuous profiles – the profiles of variables involved in the control of sound. From a real-time control standpoint, we elaborate new methodologies for the mapping between gestures and sound in the case of interaction with physical interfaces. In our research we give particular emphasis to the aspects of motor control that concern the mechanisms underlying musical performance. From on hand, we evaluated the gestural variations for the production of notes with different dynamics and performance rate. From the other hand, we studied the bio-mechanical and cognitive influences that emerge from the gestural profiles when multiple gestural units are serially ordered. Beside contributing to a better comprehension and to possible pedagogical suggestions for the human behavior in musical performance, this thesis also presents novel directions for improving the control of virtual instruments.},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:wang2012investigationofg,
  author = {Wang, Yizhong Johnty},
  title = {Investigation of gesture control for articulatory speech synthesis with a bio-mechanical mapping layer},
  school = {University of British Columbia},
  year = {2012},
  doi = {10.14288/1.0073129},
  abstract = {In the process of working with a real-time, gesture controlled speech and singing synthesizer used for musical performance, we have documented performer related issues and provided some suggestions that will serve to improve future work in the field from an engineering and technician's perspective. One particular, significant detrimental factor in the existing system is the sound quality caused by the limitations of the one-to-one kinematic mapping between the gesture input and output. In order to solve this a force activated bio-mechanical mapping layer was implemented to drive an articulatory synthesizer, and the results were and compared with the existing mapping system for the same task from both the performer and listener perspective. The results show that adding the complex, dynamic bio-mechanical mapping layer introduces more difficulty but allows a greater degree of expression to the performer that is consistent with existing work in the literature. However, to the novice listener, there is no significant difference in the intelligibility of the sound or the perceived quality. The results suggest that for browsing through a vowel space force and position input are comparable when considering output intelligibility alone but for expressivity a complex input may be more suitable.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:lexer2012liveelectronicsi,
  author = {Lexer, Sebastian},
  title = {Live Electronics in Live Performance: A Performance Practice Emerging from the piano+ used in Free Improvisation.},
  school = {University of London},
  year = {2012},
  doi = {10.13140/rg.2.2.33379.60960},
  abstract = {This thesis explores a performance practice within free improvisation. This is not a theory based improvisation – performances do not require specific preparation and the music refrains from repetition of musical structures. It engages in investigative and experimental approaches emerging from holistic considerations of acoustics, interaction and instrument, and also philosophy, psychology, sociopolitics and technology. The performance practice explores modes and approaches to working with the given potentiality of an electronically augmented acoustic instrument and involves the development of a suitably flexible computerised performance system, the piano+, combining extended techniques and real-time electroacoustic processes, which has the acoustic piano at its core. Contingencies of acoustic events and performance gestures – captured by audio analysis and sensors and combined to control the parameter space of computer processes – manipulate the fundamental properties of sound, timbre and time. Spherical abstractions, developed under consideration of Agamben’s potentiality and Sloterdijk’s philosophical theory of spheres, allow a shared metaphor for technical, instrumental, personal, and interpersonal concerns. This facilitates a theoretical approach for heuristic and investigative improvisation where performance is considered ‘Ereignis’ (an event) for sociopolitically aware activities that draw on the situational potentiality and present themselves in fragile and context dependent forms. Ever new relationships can be found and developed, but can equally be lost. Sloterdijk supplied the concept of knowledge resulting from equipping our ‘inner space’, an image suiting non-linearity of thought that transpires from Kuhl’s psychological PSI-theory to explain human motivation and behaviour. The role of technology – diversion and subversion of sound and activity – creates a space between performer and instrument that retains a fundamental pianism but defies expectation and anticipation. Responsibility for one’s actions is required to deal with the unexpected without resorting to preliminary strategies restricting potential discourses, particularly within ensemble situations. This type of performance embraces the ‘Ereignis’.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 19 archive entries; NIME-topic probability 0.93}
}

@phdthesis{thesis:martin2012mobilecomputermu,
  author = {Martin, Charles Patrick},
  title = {Mobile Computer Music for Percussionists},
  school = {Dalarna University},
  year = {2012},
  doi = {10.13140/rg.2.1.1688.9681},
  abstract = {This thesis traces the development of a number of mobile computer music systems and their use in ensemble percussion performances. The research is motivated by the challenges of working with laptop based computer music systems in ensemble situations. The aims were to develop elegant, portable, and flexible computer music tools, to make these tools accessible to other percussionists, and to discover the opportunities that they enable in performance practice.These aims have been explored through three musical projects for percussion and Apple's iOS devices: Nordlig Vinter, a suite of duo compositions; and two collaborative works, 3p3p and Snow Music developed together with two other percussionists.Articulated from a performer's perspective, this artistic research examines a number of software frameworks for developing mobile computer music applications. The development, rehearsal process and performances of the musical projects have been documented with video and audio recordings.An ethnographic investigation of this data has given insight into the limitations and affordances of mobile computer music devices in a variety of performance contexts. All of the projects implemented elegant computer music setups and the limited visual interfaces of the mobile devices demanded simple but clear interface design. In Snow Music in particular, "percussive" interaction with the mobile devices along with an improvised performance practice contributed to a collaborative development cycle. This process revealed some of the limits of expression with the computer sounds used and led to a very successful series of performance outcomes.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.88}
}

@phdthesis{thesis:willcock2012multimediaandliv,
  author = {Willcock, Ian},
  title = {Multimedia and live performance},
  school = {De Montfort University},
  year = {2012},
  url = {http://hdl.handle.net/2086/7988},
  abstract = {The use of interactive multimedia within live performance is now well established and a significant body of exciting and sophisticated work has been produced. However, almost all work in the field seems to start by creating at least some of the software and hardware systems that will provide the infrastructure for the project, an approach which might involve significant duplication of effort. The research described in this thesis sets out to discover if there are common features in the practice of artists from a range of performance backgrounds and, if so, whether the features of a system which might support these common aspects could be established. Based on evidence from a set of interviews, it is shown that there are indeed common factors in work in this field, especially the intensive linking of elements in performances and the use of triggering or cuing. A statement of requirements for a generic system to support work in digital performance is then established based on interview analysis and personal creative work. A general model of live performance, based on set theory, is described which provides a rationale for the integration of digital technology within live performance. A computational model outlining the formal requirements of a general system for use in live performance is then presented. The thesis then describes the creation of a domain specific language specifically for controlling live performance and the development of a prototype reference implementation of a generic system, the Live Interactive Multimedia Performance Toolkit (LIMPT). The system is then evaluated from a number of standpoints including a set of criteria established earlier in the study. It is concluded that, while there are many resources currently used by artists working in digital performance (a comprehensive survey of current resources is presented), none offer the combination of functionality, usability and scalability offered by the prototype LIMPT system. The thesis concludes with a discussion of possible future work and the potential for increased creative activity in multimedia and live performance.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 16 archive entries; NIME-topic probability 0.98}
}

@phdthesis{thesis:kiefer2012multiparametrici,
  author = {Kiefer, Chris},
  title = {Multiparametric interfaces for fine-grained control of digital music},
  year = {2012},
  url = {http://sro.sussex.ac.uk/40839/1/Kiefer%2C_Chris.pdf},
  abstract = {Digital technology provides a very powerful medium for musical creativity, and the way in which we interface and interact with computers has a huge bearing on our ability to realise our artistic aims. The standard input devices available for the control of digital music tools tend to afford a low quality of embodied control; they fail to realise our innate expressiveness and dexterity of motion. This thesis looks at ways of capturing more detailed and subtle motion for the control of computer music tools; it examines how this motion can be used to control music software, and evaluates musicians’ experience of using these systems. Two new musical controllers were created, based on a multiparametric paradigm where multiple, continuous, concurrent motion data streams are mapped to the control of musical parameters. The first controller, Phalanger, is a markerless video tracking system that enables the use of hand and finger motion for musical control. EchoFoam, the second system, is a malleable controller, operated through the manipulation of conductive foam. Both systems use machine learning techniques at the core of their functionality. These controllers are front ends to RECZ, a high-level mapping tool for multiparametric data streams. The development of these systems and the evaluation of musicians’ experience of their use constructs a detailed picture of multiparametric musical control. This work contributes to the developing intersection between the fields of computer music and human-computer interaction. The principal contributions are the two new musical controllers, and a set of guidelines for the design and use of multiparametric interfaces for the control of digital music. This work also acts as a case study of the application of HCI user experience evaluation methodology to musical interfaces. The results highlight important themes concerning multiparametric musical control. These include the use of metaphor and imagery, choreography and language creation, individual differences and uncontrol. They highlight how this style of interface can fit into the creative process, and advocate a pluralistic approach to the control of digital music tools where different input devices fit different creative scenarios.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.78},
  school = {University of Sussex}
}

@phdthesis{thesis:bekkedal2012musickinectionmu,
  author = {Bekkedal, Even},
  title = {Music Kinection : Musical Sound and Motion in Interactive Systems},
  year = {2012},
  url = {http://hdl.handle.net/10852/34609},
  abstract = {Sound is often used as a feedback modality in technological devices. Yet relatively little is known about the relation between sound and motion in interactive systems. This thesis exam- ines what happens in the intersection between human-computer interaction, motion and sonic feedback. From the connection of music and motion, coupled by technology, we can draw the expression “Music Kinection”. A theoretical foundation accounts for the relationships that exist between sound and motion, and cognitive foundations for these relationships. This study of literature on music and motion, and music cognition theory, shows that there are many aspects that support various relationships between sound and motion. To see if it is possible to detect similarities between users of an interactive system, a user-study was performed with 16 subjects playing commercially available video games for the Kinect platform. Motion capture data was recorded and analyzed. The user-study showed that there is an overall similarity in the amount of motion performed by the user, but that there is some deviation in amount of motion performed by body parts important to the gameplay. Many users will choose the same body part for one task, but will apply different tactics when using this limb. Knowledge from the theory and observation study was used in the practical explorations of sound-action relationships. Two installations, Kinect Piano and Popsenteret Kinect installation, was made, together with two software prototypes, Soundshape and Music Kinection. The practical study showed that working with full-body motion capture and sound in human-computer interaction is dependent on good motion feature extraction algorithms and good mapping to sound engines.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:ngelo2012openinstrumentsf,
  author = {Ângelo, Tiago},
  title = {Open Instruments: Framework para Desenvolvimento e Performance de Instrumentos Musicais Digitais em MaxMSP.},
  school = {University of Porto},
  year = {2012},
  doi = {10.34626/8z6z-ed06},
  abstract = {Tese de mestrado. Mestrado em Multimedia. Faculdade de Engenharia. Universidade do Porto. 2012},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 24 archive entries; NIME-topic probability 0.97}
}

@phdthesis{thesis:ferreira2012realtimeaudiovis,
  author = {Ferreira, Inês Vale},
  title = {Real-time audiovisual and interactive applications for desktop and mobile platforms},
  school = {University of Porto},
  year = {2012},
  doi = {10.34626/c62n-s770},
  abstract = {Tese de mestrado integrado. Engenharia Informática e Computação. Universidade do Porto. Faculdade de Engenharia. 2012},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; NIME-topic probability 0.88}
}

@phdthesis{thesis:jylh2012sonicgesturesand,
  author = {Jylhä, Antti},
  title = {Sonic gestures and rhythmic interaction between the human and the computer},
  school = {Aalto University},
  year = {2012},
  url = {https://aaltodoc.aalto.fi/handle/123456789/4478},
  abstract = {This thesis addresses the use of sonic gestures as input in human-computer interaction with a special applicability focus on rhythmic interactive systems and their design and evaluation. Sonic gestures are defined as human-generated sounding actions which convey information to a computational system. Examples of such gestures are impulsive sounding actions such as hand claps and finger snaps, sustained actions such as humming and blowing, and iterative actions, such as tapping a table to the beat of music. \nThe use of sonic gestures at the interface requires analysis algorithms that are capable of tracking the desired information from an audio stream containing the human-generated sounds. In interactive systems, these algorithms must be capable of real-time processing. In this thesis, the focus is on percussive sonic gestures, which can be seen to be analogous to the sounds of percussive instruments. Therefore, it is reasonable to assume that the same tools that are applied for retrieving information from drums and percussion in music can be deployed for sonic gesture analysis. This work presents algorithms for the classification of different percussive sounds, such as different types of hand claps. \nTo demonstrate the use of sonic gestures, a hand clap interface capable of recognizing different hand clap types and extracting continuous information, such as the tempo, from a clapping sequence has been developed. This interface has been utilized in the development of various rhythmic prototype applications, most importantly a system called iPalmas, an interactive Flamenco rhythm tutor. The iPalmas system can produce realistic-sounding synthetic Flamenco hand clapping patterns to the user, listen to the clapping of the user, and give audiovisual feedback on the learning and performance. \nThe iPalmas system was evaluated in a subjective experiment, resulting in qualitative and quantitative findings related to the system design, the human capabilities, and the interaction. In conjunction with this evaluation, a structured framework for evaluating this kind of systems has been proposed. Based on the evaluation results, the system has undergone iterative development of the audiovisual feedback elements. \nThe main outcomes of the thesis are a novel definition of sonic gestures in human-computer interaction and a taxonomy of the information they can convey to computational systems and the interactive iPalmas system, resulting in several relevant findings that can be generalized in the design and evaluation of rhythmic interactive systems.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:cerkvenik2012soundsynthesizer,
  author = {Cerkvenik, Mitja},
  title = {Sound synthesizer and drum sequencer with midi interface},
  year = {2012},
  url = {http://eprints.fri.uni-lj.si/1746/},
  abstract = {Electronic music has gained popularity in the last decades. Most of it is produced with computer software applications because they are more accessible than synthesizers. The user interface of music applications does not allow such rapid instrument management as the hardware version. A common solution is the use of a MIDI controller which is a physical user interface that can manage sounds on the computer connected with a MIDI cable. In this thesis we are focusing on sound synthesis and sequencing of sounds in a rhythm through a physical user interface. A synthesizer with a MIDI input and a sequencer was designed and built. Melodies can be played through the MIDI input and the sound can be modulated through potentiometers. Rhythmic sounds can also be manipulated through potentiometers. A sequencer is the part of the system which handles the input of a rhythmic pattern and its playback. It consists of switches through which the pattern is imported and LEDs that show the entered rhythm. The aim of this work was to explore the possibility of sound synthesis. This goal was achieved using the Arduino development board. It provides a PWM output which in conjunction with a suitable low pass filter can be used as a D/A converter. In the end a fully functional synthesizer prototype with a MIDI input and a sequencer was built.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:lynch2012tabletopinterfac,
  author = {Lynch, Sean George},
  title = {Tabletop interfaces for composing and playing music},
  school = {University of Calgary},
  year = {2012},
  doi = {10.11575/prism/5030},
  abstract = {Through the advent of multi-touch tabletops, there has been a plethora of interfaces that enable new possibilities for musical expression. These interfaces have focused primarily on tasks such as synthesising sounds, creating musical sequences, and using virtual in­struments. Within this space, I identified two significant deficiencies: the mapping of expressive, multi-touch gestures to physical models of instruments, and the composition and performance of music in a way that leverages some of the benefits of multi-touch tabletops. To address these deficiencies, I designed and implemented two interfaces: Sur­faceM usic and ToCoPlay. SurfaceMusic provides the ability to play virtual instruments using multi-touch gestures; ToCoPlay is a tabletop interface for collaborative composi­tion and real-time mixing and performing of music. These interfaces use state-of-the-art multi-touch interaction techniques, while creating a few new techniques as well. They provide new possibilities for what can be done within the space of collaborative tabletop music.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:martnez2012theeffectofacous,
  author = {Martínez, Cristina Zamorano},
  title = {The effect of acoustic screens on orchestra musicians},
  year = {2012},
  url = {http://oa.upm.es/14188/},
  abstract = {La Directiva 2003/10/CE del Parlamento Europeo y del Consejo, del 6 de febrero de 2003, especifica con arreglo al apartado 1 del articulo 16 de la Directiva 89/391/CEE las disposiciones minimas de seguridad y de salud relativas a la exposicion de los trabajadores a los riesgos derivados de los agentes fisicos (ruido). En la industria musical, y en concreto en los musicos de orquesta, una exposicion de mas de ocho horas al dia a un nivel de presion sonora de 80dB(A) o mas es algo muy comun. Esta situacion puede causar a los trabajadores danos auditivos como la hiperacusia, hipoacusia, tinitus o ruptura de la membrana basilar entre otros. Esto significa que deben tomarse medidas para implementar las regulaciones de la forma mas razonable posible para que la interpretacion del musico, la dinamica y el concepto musical que se quiere transmitir al publico se vea lo menos afectada posible. Para reducir la carga auditiva de los musicos de orquesta frente a fuertes impactos sonoros provenientes de los instrumentos vecinos, se esta investigando sobre el uso de unos paneles acusticos que colocados en puntos estrategicos de la orquesta pueden llegar a reducir el impacto sonoro sobre el oido hasta 20dB. Los instrumentos de viento metal y de percusion son los responsables de la mayor emision de presion sonora. Para proteger el oido de los musicos frente a estos impactos, se colocan los paneles en forma de barrera entre dichos instrumentos y los musicos colocados frente a ellos. De esta forma se protege el oido de los musicos mas afectados. Para ver el efecto practico que producen estos paneles en un conjunto orquestal, se realizan varias grabaciones en los ensayos y conciertos de varias orquestas. Los microfonos se situan a la altura del oido y a una distancia de no mas de 10cm de la oreja de varios de los musicos mas afectados y de los musicos responsables de la fuerte emision sonora. De este modo se puede hacer una comparacion de los niveles de presion sonora que percibe cada musico y evaluar las diferencias de nivel existentes entre ambos. Asi mismo se utilizan configuraciones variables de los paneles para comparar las diferencias de presion sonora que existen entre las distintas posibilidades de colocarlos y decidir asi sobre la mejor ubicacion y configuracion de los mismos. A continuacion, una vez obtenidos las muestras de audio y los diferentes archivos de datos medidos con un analizador de audio en distintas posiciones de la orquesta, todo ello se calibra y analiza utilizando un programa desarrollado en Matlab, para evaluar el efecto de los paneles sobre la percepcion auditiva de los musicos, haciendo especial hincapie en el analisis de las diferencias de nivel de presion sonora (SPL). Mediante el calculo de la envolvente de las diferencias de nivel, se evalua de un modo estadistico el efecto de atenuacion de los paneles acusticos en los musicos de orquesta. El metodo esta basado en la probabilidad estadistica de varias muestras musicales ya que al tra},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.92}
}

@phdthesis{thesis:hu2013automaticconstru,
  author = {Hu, Ning},
  title = {Automatic Construction of Synthetic Musical Instruments and Performers},
  school = {Carnegie Mellon University},
  year = {2013},
  doi = {10.1184/r1/6714926},
  abstract = {This thesis describes an approach to create high-quality music synthesis by automatically constructing an instrument model and a performance model; the latter module generates control signals from score input and drives the former module to produce synthetic instrumental sounds. By designing and applying appropriate machine learning techniques as well as domain knowledge, the instrument model and the performance model are constructed from acoustic examples and their corresponding scores for a musical instrument. The automated model is able to synthesize realistic instrumental performances from scores.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:angeles2013conceptualintegr,
  author = {Angeles, Bruno},
  title = {Conceptual integration and user interface metaphor for the multi-touch control of recorded audio},
  school = {McGill University},
  year = {2013},
  doi = {10.82308/16927},
  abstract = {The majority of touch-enabled musical production software tend to use metaphors from professional musical studio environments in their interface (e.g., a rackmount, turntables plus a crossfader, or a keyboard) or simply use single-finger input as a computer mouse. We identify a need for musical software that benefits from novel graphical user interface elements and innovative metaphors to provide control over pre-recorded music. We hypothesize that a software design approach using conceptual integration, or blending, will lead to new ludic interfaces for musical expression with the potential to facilitate DJ tasks. Multi-touch technology offers the promise of going beyond traditional mouse-based user interfaces, and is especially pertinent in that it provides full embodiment: the user interacts directly with the visual feedback of the system. This change in paradigm has implications in software design, not yet fully understood in tools for musical expression.This thesis first documents the existing methods of implementing multi-touch technology, before suggesting a taxonomy of multi-touch devices. A literature review of multi-touch systems for musical applications is also presented, after which metaphor and blending (also known as conceptual integration) are discussed. We apply blending to software design for multi-touch musical software and introduce our programming framework, TactoSonix.},
  collection = {Theses},
  note = {Found in DataCite; cites 29 archive entries; selected by similarity to the archives; NIME-topic probability 0.70}
}

@phdthesis{thesis:vallis2013contemporaryappr,
  author = {Vallis, Owen},
  title = {Contemporary Approaches to Live Computer Music: The Evolution of the Performer Composer},
  year = {2013},
  doi = {10.26686/wgtn.17004979.v1},
  abstract = {This thesis examines contemporary approaches to live computer music, and the impact they have on the evolution of the composer performer. How do online resources and communities impact the design and creation of new musical interfaces used for live computer music? Can we use machine learning to augment and extend the expressive potential of a single live musician? How can these tools be integrated into ensembles of computer musicians? Given these tools, can we understand the computer musician within the traditional context of acoustic instrumentalists, or do we require new concepts and taxonomies? Lastly, how do audiences perceive and understand these new technologies, and what does this mean for the connection between musician and audience? The focus of the research presented in this dissertation examines the application of current computing technology towards furthering the field of live computer music. This field is diverse and rich, with individual live computer musicians developing custom instruments and unique modes of performance. This diversity leads to the development of new models of performance, and the evolution of established approaches to live instrumental music. This research was conducted in several parts. The first section examines how online communities are iteratively developing interfaces for computer music. Several case studies are presented as examples of how online communities are helping to drive new developments in musical interface design. This thesis also presents research into designing real-time interactive systems capable of creating a virtual model of an existing performer, that then allows the model’s output to be contextualized by a second performer’s live input. These systems allow for a solo live musician’s single action to be multiplied into many different, but contextually dependent, actions. Additionally, this thesis looks at contemporary approaches to local networked ensembles, the concept of shared social instruments, and the ways in which the previously described research can be used in these ensembles. The primary contributions of these efforts include (1) the development of several new open-source interfaces for live computer music, and the examination of the effect that online communities have on the evolution of musical interfaces; (2) the development of a novel approach to search based interactive musical agents; (3) examining how networked music ensembles can provided new forms of shared social instruments.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 22 archive entries; NIME-topic probability 0.93}
}

@phdthesis{thesis:ryneov2013correlationofper,
  author = {Rynešová, Magdalena},
  title = {Correlation of personality traits with gait and dance movement using data produced by Motion Capture technology.},
  year = {2013},
  url = {http://www.nusl.cz/ntk/nusl-326375},
  abstract = {ABSTRACT. This research is following Ecological Theory about the ability of humans to form impressions from observing the behavior of other people. The current study examined whether personality traits were related to the way in which people walked and moved to certain music. Twenty-one young females were asked to walk and to move to slow and fast music and to dance with a partner. Their movements were tracked with a MOCAP system which can produce coordinates of points on a moving body. A number of different measurements of body movement were produced and analyzed. Participants also completed the Big Five personality inventory. A number of trends were found in relationships between personality traits and gait and dance movement. Extroversion had the biggest influence. It was related to bigger and faster movements, especially with movements of head, hands, shoulders, hips or footstep. Openness to experience tended to have similar influence as extroversion. Neuroticism influenced slow dance the most. Agreeableness and conscientiousness had both positive and negative influence to a lesser extent. They influenced especially movements of hands, hips or footstep.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:baldeep2013dancetrainingand,
  author = {Baldeep, No given name},
  title = {Dance training and feedback system using wearable wireless sensors.},
  year = {2013},
  doi = {10.24124/2013/bpgub879},
  abstract = {par I'lnternet, preter, distribuer et vendre des theses partout dans le monde, a des fins commerciales ou autres, sur support microforme, papier, electronique et/ou autres formats.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 4 archive entries; NIME-topic probability 0.95}
}

@phdthesis{thesis:johnson2013diffusionevolved,
  author = {Johnson, Bridget},
  title = {Diffusion Evolved: New Musical Interfaces Applied to Diffusion Performance},
  year = {2013},
  doi = {10.26686/wgtn.19295336},
  abstract = {This exegesis takes a critical look at the performance paradigm of sound diffusion. In making a shift away from the sixty-year-old practice of performing on a mixing desk or other fader bank console, it proposes and outlines a goal towards intuitive and transparent relationships between performance gesture and spatial trajectories. This is achieved by a coupling of the two previously segmented fields within electroacoustic: spatialisation and interface design. This research explains how connections between the two fields and an embracing of contemporary technological developments, with a goal toward increasing the liveness and gestural input that currently limit sound diffusion practice, could extend the art form into a virtuosic and compelling gestural performance art. The exegesis introduces and describes the author’s research and development of tactile space, a new multitouch tool developed on the Bricktable for live sound diffusion. tactile.space is intended as a contribution to the growing research area of user interfaces developed specifically for the performance of sound in space. It affords performers a new level of gestural interaction with the space of the concert hall and the audience members and redefines multiple standardised interactions between the performer and the space, the gesture, the audience, and the sound in a diffusion concert.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 5 archive entries; NIME-topic probability 0.97}
}

@phdthesis{thesis:feugre2013gesturalcontrolo,
  author = {Feugère, Lionel and d’Alessandro, Christophe R.},
  title = {Gestural control of singing voice synthesis by rules and musical applications},
  year = {2013},
  url = {http://hdl.handle.net/10068/1020074},
  abstract = {Le travail de cette thèse porte sur la modélisation de la production et du contrôle de voix chantée synthétique dans la perspective de la lutherie numérique. Nous présentons deux instruments : le Cantor Digitalis, se focalisant sur le contrôle de voyelles chantées et sur l individualisation des voix ; et le Digitartic, destiné au contrôle de l articulation de syllabes de type Voyelle-Consonne-Voyelle. Ils permettent, à l aide de tablettes graphiques augmentées, des applications musicales interactives nécessitant un contrôle temporel fin des paramètres de la production vocale. La pertinence musicale de ces instruments a été établie avec notre ensemble Chorus Digitalis en participant à plusieurs concerts. Nous avons étudié en situation musicale la justesse inter-musiciens et les gestes utilisés pour réaliser les tâches musicales nécessaires à la reproduction d un large répertoire, constitué de musiques actuelles et traditionnelles (chorale baroque, chant khayal d Inde du Nord). Notamment, une expérience visant à analyser la faculté à contrôler la fréquence fondamentale du Cantor Digitalis a été entreprise. Les sujets devaient imiter des intervalles et quelques mélodies suivant trois modalités (avec leur propre voix, à la tablette sans et avec retour audio). Les résultats montrent une aptitude plus grande des sujets à jouer de manière précise avec la tablette plutôt qu avec leur propre voix, tandis que l apport de l audio sur le jeu à la tablette est nulle dans ces conditions expérimentales. Les deux instruments sont regroupés dans une application écrite en Max/MSP fournissant également un outil pédagogique audio-visuel et interactif sur le fonctionnement de la voix.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.95}
}

@phdthesis{thesis:llorach2013gesturerecogniti,
  author = {Llorach, Gerard},
  title = {Gesture Recognition and Interaction with a Glove Controller. BSc Thesis},
  year = {2013},
  doi = {10.5281/zenodo.10498818},
  abstract = {Composing and interacting with music through electronic devices mapped on the body has been a new aspect of music this last 50 years. Technologies have improved greatly, making the interaction with computers within the context of music very attractive. Human communication and interaction has a lot to do with the body expression. Hands are one of the most expressive and active parts of the body. They are our tool to interact with the environment. However, most the electronic devices to create music are not intuitive and they require experience and learning. This project designs a glove controller, which allows to create a natural human way to interact and communicate in the context of music technology. The work in this project aims to map and recognize the expression of the hands, and their movements and gestures to interact, create and perform music. This thesis covers the process of creating an interactive glove controller, its communications processes and the interpretation of the gestures of the hand movements.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.90}
}

@phdthesis{thesis:zadel2013graphicalperform,
  author = {Zadel, Mark},
  title = {Graphical performance software in contexts: explorations with different strokes},
  school = {McGill University},
  year = {2013},
  doi = {10.82308/45620},
  abstract = {This thesis proposes a novel approach to musical software analysis that prescribes testing a given software interface in a wide variety of hardware contexts, each providing unique insights into its design. This work is situated in the general context of graphical software performance, which we define as musical performance through manipulating an on-screen software interface to create music. The analysis strategy is investigated using the Different Strokes (DS) performance environment as a specific example. A series of software extensions to DS were undertaken to extend the application to new hardware contexts and use cases. These include extensions for the use of Different Strokes in an interdisciplinary performance work, d_verse; the adaptation of DS to work on a large multi-touch surface; the integration of a force-feedback input device; and the integration of the libmapper framework, allowing it to be easily interconnected with alternative input and output devices. The thesis also presents a historical overview of graphical software intended for live use, and a background on general issues in interface design for this usage context. An exploratory user test was performed with the force-feedback setup where participants used DS in the presence of simulated physical forces. While there was no clear preference for any of the haptic effects, the different physical forces present are demonstrated to have gestural implications. These kinds of implications should be taken into account when designing mappings from gesture to sound, and in the overall interaction design.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:knutzen2013hapticsintheaire,
  author = {Knutzen, Håkon},
  title = {Haptics in the Air - Exploring Vibrotactile Feedback for Digital Musical Instruments with Open Air Controllers},
  year = {2013},
  url = {http://hdl.handle.net/10852/38489},
  abstract = {When playing a traditional musical instrument, the performer often relies on vibration that is produced by the instrument. When perceived through tactile sensing, this can be defined as \\emphvibrotactile feedback. Since sound in digital musical instruments (DMIs) is not produced by mechanical vibration of its constituent parts, vibrotactile feedback is inherently absent. This means that DMIs are lacking an important feedback modality. DMIs can be played using a wide range of different controllers. \\emphOpen air controllers can make use of motion carried out in open air to control sound. These controllers are particularly prone to the issues related the lack of vibrotactile feedback since they may not have a tangible interface. In this thesis it was investigated how open air controllers can be augmented with vibrotactile feedback. With basis in relevant theory and previous attempts, two DMI prototypes based on open air control of sound were developed. The prototypes allowed control of musical sound on a high and low level. Open air motion was captured using motion capture technology. In this case, the control surface consisted of a tangible element, such that actuators could be embedded in the controller. It was investigated how vibrotactile feedback can convey musical information. This issue was investigated from both a theoretical and practical approach. The practical approach entailed providing vibrotactile feedback to the fingertips of the performer using signals that were synthesized in musical programming environments. Preliminary results of an informal evaluation of the developed vibrotactile feedback strategies suggest that information on musical parameters such as amplitude and timbre can be conveyed with vibrotactile feedback. While the importance of vibrotactile feedback is stressed in the literature, the preliminary results also show that the developed feedback strategies can be found useful.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:correia2013interactiveaudio,
  author = {Correia, Nuno N.},
  title = {Interactive audiovisual objects},
  school = {Aalto University},
  year = {2013},
  url = {https://aaltodoc.aalto.fi/handle/123456789/11341},
  abstract = {This dissertation presents four interactive audiovisual projects by Video Jack, a duo composed of Nuno N. Correia and André Carrilho.The projects are: Heat Seeker (2006), AVOL (2007), Master and Margarita (2009) and AV Clash (2010).The three last works have adopted an Interactive AudioVisual Objects (IAVO) approach, consisting of the integration of sound, audio visualization and graphical user interface into modular units.The projects have been developed with a crossmedia perspective, ranging from performance to installation and net art, and the study emphasizes the last area.The conclusions relate to audiovisual content, interaction design and user experience.The IAVO approach is presented as a path to create projects for integrated audiovisual art that are coherent, flexible, easy to use, playful and engaging to experience.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:perkins2013interactivesonif,
  author = {Perkins, Rhys},
  title = {Interactive sonification of a physics engine},
  school = {Anglia Ruskin University},
  year = {2013},
  url = {https://arro.anglia.ac.uk/id/eprint/323077/1/Thesis%20Rhys%20Perkins.pdf},
  abstract = {Physics engines have become increasingly prevalent in everyday technology. In the context of this thesis they are regarded as a readily available data set that has the potential to intuitively present the process of sonification to a wide audience. Unfortunately, this process is not the focus of attention when formative decisions are made concerning the continued development of these engines. This may reveal a missed opportunity when considering that the field of interactive sonification upholds the importance of physical causalities for the analysis of data through sound. The following investigation deliberates the contextual framework of this field to argue that the physics engine, as part of typical game engine architecture, is an appropriate foundation on which to design and implement a dynamic toolset for interactive sonification. The basis for this design is supported by a number of significant theories which suggest that the underlying data of a rigid body dynamics physics system can sustain an inherent audiovisual metaphor for interaction, interpretation and analysis. Furthermore, it is determined that this metaphor can be enhanced by the extraordinary potential of the computer in order to construct unique abstractions which build upon the many pertinent ideas and practices within the surrounding literature. These abstractions result in a mental model for the transformation of data to sound that has a number of advantages in contrast to a physical modelling approach while maintaining its same creative potential for instrument building, composition and live performance. Ambitions for both sonification and its creative potential are realised by several components which present the user with a range of options for interacting with this model. The implementation of these components effectuates a design that can be demonstrated to offer a unique interpretation of existing strategies as well as overcoming certain limitations of comparable work.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 10 archive entries; NIME-topic probability 0.96}
}

@phdthesis{thesis:fernandesdeoliveiraweiss2013jeuinstrumentale,
  author = {Fernandes de Oliveira-Weiss, Ledice},
  title = {Jeu instrumental et théâtre musical : le cas de la guitare dans quelques compositions scéniques de la fin du XXème siècle},
  school = {Dijon},
  year = {2013},
  doi = {10.70675/f7fce8d4z42b4z4016z91e7z9acc451dc657},
  abstract = {This thesis examines the role of the musician - taking as an example the guitarist - in the contemporary musical theater. The study focuses on the aesthetic discussion of the role of the instrumentalist in the construction of a new instrumentality in relation to a new theatricality. It studies the works La tragique histoire du nécromancien Hieronimo et de son miroir by Georges Aperghis, Lorenzaccio and Nuovo scenario da Lorenzaccio by Sylvano Bussotti, We come to the river by Hans Werner Henze, Sonant and Serenade by Mauricio Kagel, …Zwei Gefühle… and Das Mädchen mit den Schwefelhölzern by Helmut Lachenmann. Within this renewed theatricality, the idea of theatrical representation is almost always abolished : instead, the story is carried by all performers, including the guitarist. Therefore, the inner theatricality of instrumental playing valorizes the instrumental gesture. Thus, the exploration of instrumental possibilities of the guitar becomes something playful ( as to approach the instrument as an object, with humour, and to extract new sounds from it). This notion of ''playfulness'' is determinant on the approach to the interpreter. Each studied score in its own way attribute the interpreter itself the main source of their theatricality. These musical theatres make a large number of references to various musical universes associated with the guitar ( rock'n roll , Spanish music ... ) Finally, the potential of guitar’s colour palette is also explored. These references relative to the instrument reveal a process of existential metalanguage.},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.84}
}

@phdthesis{thesis:hochenbaum2013lartediinterazio,
  author = {Hochenbaum, Jordan},
  title = {L'Arte Di Interazione Musicale: New Musical Possibilities Through Multimodal Techniques},
  year = {2013},
  doi = {10.26686/wgtn.17003935},
  abstract = {Multimodal communication is an essential aspect of human perception, facilitating the ability to reason, deduce, and understand meaning. Utilizing multimodal senses, humans are able to relate to the world in many different contexts. This dissertation looks at surrounding issues of multimodal communication as it pertains to human-computer interaction. If humans rely on multimodality to interact with the world, how can multimodality benefit the ways in which humans interface with computers? Can multimodality be used to help the machine understand more about the person operating it and what associations derive from this type of communication? This research places multimodality within the domain of musical performance, a creative field rich with nuanced physical and emotive aspects. This dissertation asks, what kinds of new sonic collaborations between musicians and computers are possible through the use of multimodal techniques? Are there specific performance areas where multimodal analysis and machine learning can benefit training musicians? In similar ways can multimodal interaction or analysis support new forms of creative processes? Applying multimodal techniques to music-computer interaction is a burgeoning effort. As such the scope of the research is to lay a foundation of multimodal techniques for the future. In doing so the first work presented is a software system for capturing synchronous multimodal data streams from nearly any musical instrument, interface, or sensor system. This dissertation also presents a variety of multimodal analysis scenarios for machine learning. This includes automatic performer recognition for both string and drum instrument players, to demonstrate the significance of multimodal musical analysis. Training the computer to recognize who is playing an instrument suggests important information is contained not only within the acoustic output of a performance, but also in the physical domain. Machine learning is also used to perform automatic drum-stroke identification; training the computer to recognize which hand a drummer uses to strike a drum. There are many applications for drum-stroke identification including more detailed automatic transcription, interactive training (e.g. computer-assisted rudiment practice), and enabling efficient analysis of drum performance for metrics tracking. Furthermore, this research also presents the use of multimodal techniques in the context of everyday practice. A practicing musician played a sensoraugmented instrument and recorded his practice over an extended period of time, realizing a corpus of metrics and visualizations from his performance. Additional multimodal metrics are discussed in the research, and demonstrate new types of performance statistics obtainable from a multimodal approach. The primary contributions of this work include (1) a new software tool enabling musicians, researchers, and educators to easily capture multimodal information from nearly any musical instru},
  collection = {Theses},
  note = {Found in OpenAlex; cites 19 archive entries; selected by similarity to the archives; NIME-topic probability 0.95},
  school = {Victoria University of Wellington}
}

@phdthesis{thesis:nymoen2013methodsandtechno,
  author = {Nymoen, Kristian},
  title = {Methods and Technologies for Analysing Links Between Musical Sound and Body Motion},
  year = {2013},
  url = {http://hdl.handle.net/10852/34354},
  abstract = {There are strong indications that musical sound and body motion are related. For instance, musical sound is often the result of body motion in the form of sound-producing actions, and muscial sound may lead to body motion such as dance. The research presented in this dissertation is focused on technologies and methods of studying lower-level features of motion, and how people relate motion to sound. Two experiments on so-called sound-tracing, meaning representation of perceptual sound features through body motion, have been carried out and analysed quantitatively. The motion of a number of participants has been recorded using stateof- the-art motion capture technologies. In order to determine the quality of the data that has been recorded, these technologies themselves are also a subject of research in this thesis.\n\nA toolbox for storing and streaming music-related data is presented. This toolbox allows synchronised recording of motion capture data from several systems, independently of systemspecific characteristics like data types or sampling rates.\n\nThe thesis presents evaluations of four motion tracking systems used in research on musicrelated body motion. They include the Xsens motion capture suit, optical infrared marker-based systems from NaturalPoint and Qualisys, as well as the inertial sensors of an iPod Touch. These systems cover a range of motion tracking technologies, from state-of-the-art to low-cost and ubiquitous mobile devices. Weaknesses and strengths of the various systems are pointed out, with a focus on applications for music performance and analysis of music-related motion.\n\nThe process of extracting features from motion data is discussed in the thesis, along with motion features used in analysis of sound-tracing experiments, including time-varying features and global features. Features for realtime use are also discussed related to the development of a new motion-based musical instrument: The SoundSaber.\n\nFinally, four papers on sound-tracing experiments present results and methods of analysing people’s bodily responses to short sound objects. These papers cover two experiments, presenting various analytical approaches. In the first experiment participants moved a rod in the air to mimic the sound qualities in the motion of the rod. In the second experiment the participants held two handles and a different selection of sound stimuli was used. In both experiments optical infrared marker-based motion capture technology was used to record the motion. The links between sound and motion were analysed using four approaches. (1) A pattern recognition classifier was trained to classify sound-tracings, and the performance of the classifier was analysed to search for similarity in motion patterns exhibited by participants. (2) Spearman’s p correlation was applied to analyse the correlation between individual sound and motion features. (3) Canonical correlation analysis was applied in order to analyse correlations between comb},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.84}
}

@phdthesis{thesis:tomiyoshi2013networkmusicperf,
  author = {Tomiyoshi, Marcio Masaki},
  title = {Network music performance over the residential Internet},
  year = {2013},
  url = {https://doi.org/10.11606/D.45.2013.tde-26072013-183234},
  abstract = {A ideia de se permitir que diversos músicos possam interagir remotamente utilizando-se de redes de computadores não é nova, mas nunca se popularizou. O que antes era limitado tecnologicamente devido às condições disponibilizadas por conexões de internet pela linha telefônica, hoje apresenta-se muito mais viável tecnicamente com a massicação da internet de banda larga, seja por cabo ou por tecnologias DSL. Apesar disso, encontrar um ambiente virtual em que a performance musical pareça completamente natural para o músico é uma das maiores diculdades nesta área. Embora a latência obtida na conexão entre computadores esteja vinculada principalmente à distância entre os usuários e à qualidade do serviço oferecido pelos provedores de internet, outros aspectos, como a largura de banda, podem ser controlados pelo software. Para lidar com as limitações de largura de banda no acesso à internet disponíveis comercialmente, um método de compactação de áudio eciente e que alie baixa latência algorítmica com alta qualidade sonora é imprescindível. Para evitar que atrasos muito grandes na transmissão do áudio impossibilitem uma interação musical entre os participantes, uma técnica em que a própria resposta sonora do instrumento seja atrasada localmente torna-se uma alternativa válida na busca de um ambiente para performances musicais via rede. Esta dissertação busca apresentar uma alternativa exível e de fácil utilização para que a realização de performances musicais distribuídas por usuários caseiros seja possível, mesmo que estes não tenham acesso a redes dedicadas para tal nalidade.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.91}
}

@phdthesis{thesis:kleimola2013nonlinearabstrac,
  author = {Kleimola, Jari},
  title = {Nonlinear Abstract Sound Synthesis Algorithms},
  school = {Aalto University},
  year = {2013},
  url = {https://aaltodoc.aalto.fi/handle/123456789/7747},
  abstract = {This thesis explores abstract sound synthesis methods in digital musical instrument applications and proposes new algorithms for sound production, aliasing reduction, and efficient control of synthesis parameters. The specific focus is on nonlinear distortion and audio-rate modulation techniques, which are approached from two complementary perspectives. \nFirst, the classic view, built on closed-form mathematical expressions and computer algorithms, was seen to converge into a compound model where different abstract synthesis methods both generalize and reinforce each other. In this view, the recent phaseshaping technique was investigated as pipelined phaseshaper expressions, with applications in efficient and novel oscillator effects algorithms discovered in the thesis, such as an efficient super sawtooth simulation. In addition, a two-dimensional multi-point extension of the phase distortion method called vector phaseshaping synthesis (VPS) was proposed and demonstrated as an intuitive parametrization of the complex phase modulation technique. The method is well suited for contemporary multi-touch interaction and planar control- and audio-rate modulation. \nThe second perspective into the nonlinear distortion and audio-rate modulation techniques, based on periodically linear time-varying filters, led to the discovery of a synthesis algorithm where the coefficients of an allpass filter chain are modulated at an audio rate. In addition, the filter approach enabled an alternative interpretation of the feedback amplitude modulation (FBAM) technique, whose first-order form was extended and a second-order form was introduced.To complement the sound production stage of digital musical instrument applications, two aliasing reduction methods were introduced, one based on scaled sinusoids and another on polynomial transition regions (PTR). The latter is currently the most efficient method for implementing alias-suppressed virtual analog oscillators. Finally, a streamlined control protocol that dramatically reduces the bandwidth of control data streams was proposed. \nThe efficient and novel algorithms introduced in the thesis are useful for sound synthesis in resource constrained mobile platforms, web browsers, and in applications requiring a high polyphony.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 6 archive entries; NIME-topic probability 0.86}
}

@phdthesis{thesis:percival2013physicalmodellin,
  author = {Percival, Graham},
  title = {Physical modelling meets machine learning : performing music with a virtual string ensemble},
  school = {The University of Glasgow},
  year = {2013},
  url = {https://theses.gla.ac.uk/4253/1/2013percivalphd.pdf},
  abstract = {This dissertation describes a new method of computer performance of bowed string instruments (violin, viola, cello) using physical simulations and intelligent feedback control. Computer synthesis of music performed by bowed string instruments is a challenging problem. Unlike instruments whose notes originate with a single discrete excitation (e.g., piano, guitar, drum), bowed string instruments are controlled with a continuous stream of excitations (i.e. the bow scraping against the string). Most existing synthesis methods utilize recorded audio samples, which perform quite well for single-excitation instruments but not continuous-excitation instruments. This work improves the realism of synthesis of violin, viola, and cello sound by generating audio through modelling the physical behaviour of the instruments. A string's wave equation is decomposed into 40 modes of vibration, which can be acted upon by three forms of external force: A bow scraping against the string, a left-hand finger pressing down, and/or a right-hand finger plucking. The vibration of each string exerts force against the instrument bridge; these forces are summed and convolved with the instrument body impulse response to create the final audio output. In addition, right-hand haptic output is created from the force of the bow against the string. Physical constants from ten real instruments (five violins, two violas, and three cellos) were measured and used in these simulations. The physical modelling was implemented in a high-performance library capable of simulating audio on a desktop computer one hundred times faster than real-time. The program also generates animated video of the instruments being performed. To perform music with the physical models, a virtual musician interprets the musical score and generates actions which are then fed into the physical model. The resulting audio and haptic signals are examined with a support vector machine, which adjusts the bow force in order to establish and maintain a good timbre. This intelligent feedback control is trained with human input, but after the initial training is completed the virtual musician performs autonomously. A PID controller is used to adjust the position of the left-hand finger to correct any flaws in the pitch. Some performance parameters (initial bow force, force correction, and lifting factors) require an initial value for each string and musical dynamic; these are calibrated automatically using the previously-trained support vector machines. The timbre judgements are retained after each performance and are used to pre-emptively adjust bowing parameters to avoid or mitigate problematic timbre for future performances of the same music. The system is capable of playing sheet music with approximately the same ability level as a human music student after two years of training. Due to the number of instruments measured and the generality of the machine learning, music can be performed with ensembles of up to ten stri},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:marley2013processinganinst,
  author = {Marley, William},
  title = {Processing an Instrumental Gesture in the Reactable as a Method of Computer Improvisation},
  school = {Universitat Pompeu Fabra},
  year = {2013},
  doi = {10.5281/zenodo.3754217},
  abstract = {Musical improvisation is one of the most widely practised forms of composition and performance. It is evident in most musical cultures and can be traced back to some of the earliest artistic and religious musical practices. It is a style that incorporates such concepts as change, adjustment, experimentation and ornamentation. Musical improvisation can demand cohesion and participation, a communicative and cooperative relationship between performers. We propose a method of capturing and reshaping an instrumental gesture on the Reactable, with the aim of establishing a computer improvisation system that will respond to the performer with variations on their contributed, physical gesture. A method of sampling this gesture, specifically the physical rotation of a tangible object, is detailed. We look to techniques used in Computer Aided Algorithmic Composition (CAAC) for a practical approach to data generation from a given sampled gesture in real-time. A stochastic procedure is designated as this algorithmic approach, one that generates new gesture data sequences from the performers original instrumental gesture. Bi-directional communication limitations within the Reactable are encountered and overcome in the construction of this system. A method of continuous play-mode activation based on a probabilistic routine is put forward. The testing of this system is described, with user responses and experiences discussed. Finally, plans for future development are outlined.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:holmes2013theevolutionofin,
  author = {Holmes, Aaron David},
  title = {THE EVOLUTION OF INSTRUMENT DESIGN AND ITS INFLUENCE ON TRUMPET REPERTOIRE},
  school = {University of Maryland},
  year = {2013},
  url = {http://hdl.handle.net/1903/14401},
  abstract = {The trumpet has undergone more design changes than any other instrument in history, and trumpet repertoire has changed along with the instrument's evolutionary design features. Tonal, chromatic, and dynamic range was expanded as technological advances were applied to the trumpet. As the design attributes of the trumpet changed through innovations and experimentation, new possibilities were opened up for composers and performers alike. Although some forms of the trumpet date back to antiquity (c. 1323 BC), this survey will start with the Renaissance, where a rise in humanism, city centers, art, and music and advances in metallurgy converge. I have chosen to perform works originally written for natural trumpet, cometto, keyed trumpet, comet, flugelhom, modem Bb trumpet, and modem C trumpet to illustrate the ways in which repertoire was influenced by different iterations of the trumpet along its evolutionary design path.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:torre2013thedesignofanewm,
  author = {Torre, Giuseppe La},
  title = {The design of a new musical glove: a live performance approach},
  school = {University of Limerick},
  year = {2013},
  doi = {10.34961/3192},
  abstract = {A live performance using novel technologies is a highly complex system in which anthropological, sociological, psychological, musicological and technical issues are heavily involved. The New Interfaces for Musical Expression (NIME) community has presented a new approach to music performance often heavily technologically mediated while outputting a great deal of new digital instruments since 2001. Within this broad research field, important issues such as hardware interface design, mapping strategies, skilled performance and compositional approaches have been considered. Many NIME practitioners have explored the development of `gestural controllers' in the hope of achieving natural and intimate interaction while also designing clear interactions between performer's gesture and sound from an audience perspective. This thesis expands on this notion through the consideration of the possibilities for enhancing the audience engagement and understanding of the underlaying structures and mechanics of the live performance. To this end, a newly developed data glove named Pointing-at is developed. A number of live performances in which the data glove is used are presented and discussed. The analysis of both the theoretical and practical elements of the research formed the basis for the development of an approach to the design of nuanced gestural performative actions that are both visually and sonically legible to audience members. In that regard, the use of metaphors that are coherent to the theme of the performance have been found to be a useful tool that can enhance both the performer and audience experience of the live performance.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 30 archive entries; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:fick2013transfantasiesfo,
  author = {Fick, Jason},
  title = {Transfantasies for Flauto Traverso, Computer Music, and Dance},
  year = {2013},
  doi = {10.12794/metadc271813},
  abstract = {TransFantasies is an interdisciplinary composition for Baroque flute (flauto traverso), computer music, and dance. A crucial component of the work is an interactive hardware and software environment that provides the opportunity for the players to shape aspects of the work during the performance. This essay discusses the influences that inspired the work and presents an in-depth analysis of notable elements of the composition. Primary issues include compositional models for gesture-based composition, historical performance practices, interactivity, and relationships between music and dance. The final component of the essay details the software component designed to create the composition. It also discusses music technology in current practice and its role in this particular work. At its core, TransFantasies is concerned with those moments where computer-influenced decisions and human behaviors collide.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:krajeski2014aflexibletoolfor,
  author = {Krajeski, Aaron},
  title = {A flexible tool for the visualization and manipulation of musical mapping networks},
  school = {McGill University},
  year = {2014},
  doi = {10.82308/37127},
  abstract = {La plupart des instruments de musique numériques (IMN) assemble les données gestuelles des musiciens par des capteurs électroniques et transforme ces données en son à travers de programmes de synthèse séparés. Le mappage d'entrées de commandes aux paramètres de synthèse est arbitraire, à multiples facettes et extrêmement important pour l'efficacité des IMN. Les outils logiciels existent pour aider ce processus et tentent de rendre la tâche du mappage musical plus transparente, rapide et configurable. Cette thése présente MapperGUI, un outil graphique multiplateforme pour la manipulation des réseaux de mappage musicaux.La bibliothèque logiciel libmapper, développée au Input Devices and Music Interaction Laboratory, crée un cadre standard pour que les IMN communiquent les données sur un réseau réparti et map leurs signaux en collaboration en temps réel. MapperGUI présente une interface utilisateur pour les réseaux libmapper, ce qui permet aux utilisateurs non-experts de manipuler ce système textuel. L'interface a pour but d'être flexible, en sorte qu'elle puisse accommoder la vaste gamme de réseaux et de tâches musicales qui doivent être complétées en mappant. À cette fin, elle offre plusieurs visualisations et modes d'interactions indépendantes à l'intérieur d'un seul cadre. Ce document porte sur quelques un des enjeux qui affrontent le domaine du mappage musical et décrit les motivations qui sous-tendent le projet MapperGUI dans ce contexte. De la recherche pertinente dans les domaines de la visualisation des données et la conception d'interface sont résumées et appliquées à la tâche de créer une interface d'utilisateur graphique pour les réseaux de libmapper. Des interfaces graphiques précédentes pour libmapper sont examinées pour leurs caractéristiques réussies qui peuvent être incorporées à MapperGUI. Des difficultés de mise en oeuvre précises et des caractéristiques du programme final sont décrites. Les connaissances tirées d'entrevues avec des utilisateurs de MapperGUI sont présentées, ainsi que des travaux futurs et des extensions possibles pour l'interface.MapperGUI est disponible pour téléchargement gratuit en tant qu'application autonome à www.libmapper.org/downloads. Tout le code est code source libre et peut être accédé à https://github.com/mysteryDate/webmapper.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.92}
}

@phdthesis{thesis:malloch2014aframeworkandtoo,
  author = {Malloch, Joseph W.},
  title = {A framework and tools for mapping of digital musical instruments},
  school = {McGill University},
  year = {2014},
  doi = {10.82308/51280},
  abstract = {Les instruments de musiques numériques (IMN) comprennent généralementces éléments: une interface qui comporte certaines technologies decaptation, et des algorithmes de synthèse qu'un ordinateur calcule entemps réel. Les connexions entre les signaux engendrés par l'interprèteet les différents paramètres de synthèse doivent être établiesartificiellement. Cette correspondance entre le geste et le son, ce*mappage*, définit le comportement du système. La conception de telsmappages est un processus exigeant, voire parfois frustrant.Cette thèse présente la conception et l'implémentation d'un ensembled'outils logiciels qui servent à faciliter l'élaboration de mappages. La pièce centrale de cette collection est une bibliothèquemultiplateforme à code source libre appelée libmapper. Ces outilspermettent la détection et l'interconnexion des différentes partiesd'IMN ou d'autres systèmes interactifs. Ils visent à assurer lacompatibilité par la traduction et la transformation des représentationsde données plutôt que par l'imposition de standards. Les paramètres decontrôle des dispositifs logiciels ou matériels qui se conforment àlibmapper peuvent être interconnectés librement sans qu'unecompatibilité mutuelle ne soit prévue.La possibilité d'établir des mappages entre des systèmes qui incluentdes entités, qui à leur tour comportent de multiples *instances* à duréede vie dynamique, constitue l'une des fonctions uniques qui sontprésentées. Ce problème, qui devrait normalement nécessiter uneprogrammation sur mesure, est décrit, formalisé et illustré par desexemples concrets.Finalement, deux cas où ces outils de mappage ont été utilisés sontanalysés en profondeur: le développement du T-Stick, un instrument demusique numérique, ainsi que la conception et l'utilisationd'instruments de musiques prosthétiques pour la danse interactive.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 1.00}
}

@phdthesis{thesis:wilansky2014asoftwaretoolfor,
  author = {Wilansky, Jonathan},
  title = {A software tool for creating and visualizing mappings in digital musical instruments},
  school = {McGill University},
  year = {2014},
  doi = {10.82308/18627},
  abstract = {Dans le monde des instruments acoustiques, les propriétés physiques des instruments déterminent les gestes effectués ainsi que les sons produits; ce n'est pas le cas avec les Instruments de Musique Numériques (IMNs) constitués trois parties distinctes: une interface de contrôle, un système de production sonore et le système de correspondance entre les deux ("mapping"). Ceci implique que l'interaction entre les capteurs et le son fait partie intégrante de l'IMN et influence fortement comment l'instrument sonne et joue. La création de correspondance dans un IMN n'est pas une tâche triviale, et généralement l'exploration de différentes correspondances est nécessaire durant les phases de prototype, composition et production. De plus, les environnement de productions incluant l'utilisation d'IMN peuvent créer des opportunités de rencontre entre les ingénieurs, les compositeurs et les interprètes car la configuration et visualisation des correspondances, qui se doit d'être simple et rapide, requiert un mélange de savoir-faire technique et non-technique. Cette thèse est basée sur deux logiciels développés au sein du laboratoire IDMIL (Input Devices and Music Interaction Laboratory) aidant le processus de correspondance: Libmapper, une logithèque permettant de connecter des signaux numériques et Webmapper, une interface graphique pour Libmapper. Une extension de Webmapper a également été crée afin d'adresser les deux problèmes suivants: pour offrir une interface alternative de configuration de correspondance et pour offrir une visualisation alternative des couches de correspondance. Deux nouvelles interfaces ont également été crées afin d'ajouter deux nouvelles vues: une en forme de ruche et une en quadrillée. Le système a été développé en HTML5, utilisant une architecture inspiré par le patron modèle-vue-contrôleur. Les avantages et les désavantages des trois différentes interfaces de Webmapper ainsi que de sa nouvelle extension seront traités vis à vis de leur capacité d'agir en tant qu'interface et en tant qu'outil de visualisation. Les contributions de ce travail résident dans la démonstration des avantages des méthodes alternatives de configuration et de visualisation des couches de correspondances dans les IMN, ainsi que dans les fondations pour de futures recherches utilisant le logiciel HTML5.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:thoret2014acousticcharacte,
  author = {Thoret, Etienne},
  title = {Acoustic characterisation of relations between biological movements and auditory perception : applications to the control of sound synthesis and gesture learning},
  school = {theses.fr (ABES)},
  year = {2014},
  url = {http://www.theses.fr/2014AIXM4780/document},
  abstract = {Cette thèse s'est intéressée aux relations entre les mouvements biologiques et la perception sonore en considérant le cas spécifique des mouvements graphiques et des sons de frottement qu'ils génèrent. L'originalité de ces travaux réside dans l'utilisation d'un modèle de synthèse sonore basé sur un principe perceptif issu de l'approche écologique de la perception et contrôlé par des modèles de gestes. Des stimuli sonores dont le timbre n'est modulé que par des variations de vitesse produites par un geste ont ainsi pu être générés permettant de se focaliser sur l'influence perceptive de cet invariant transformationel. Une première étude a ainsi montré que l'on reconnait la cinématique des mouvements biologiques (la loi en puissance 1/3), et que l'on peut discriminer des formes géométriques simples juste à partir des sons de frottement produits. Une seconde étude a montré l'existence de prototypes dynamiques sonores caractérisant les trajectoires elliptiques, mettant ainsi en évidence que les prototypes géométriques peuvent émerger d'un couplage sensorimoteur. Enfin, une dernière étude a montré qu'une cinématique évoquée par un sonore influence significativement la cinématique et la géométrie d'un geste dans une tâche de reproduction graphique du mouvement d'un point lumineux. Ce résultat révèle l'importance de la modalité auditive dans l'intégration multisensorielle des mouvements continus dans une situation jamais explorée. Ces résultats ont permis le contrôle de modèles de synthèse par des descriptions gestuelles et la création d'outils de sonification pour l'apprentissage de gestes et la réhabilitation d'une pathologie motrice, la dysgraphie.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.95}
}

@phdthesis{thesis:mckinney2014aestheticallydri,
  author = {McKinney, Curtis},
  title = {Aesthetically driven design of network based multi-user instruments.},
  school = {Bournemouth University},
  year = {2014},
  url = {http://eprints.bournemouth.ac.uk/22513/1/MCKINNEY%2C%20Curtis_Ph.D._2014.pdf},
  abstract = {Digital networking technologies open up a new world of possibilities for music making, allowing performers to collaborate in ways not possible before. Network based Multi-User Instruments (NMIs) are one novel method of musical collaboration that take advantage of networking technology. NMIs are digital musical instruments that exist as a single entity instantiated over several nodes in a network and are performed simultaneously by multiple musicians in realtime. This new avenue is exciting, but it begs the question of how does one design instruments for this new medium? This research explores the use of an aesthetically driven design process to guide the design, construction, rehearsal, and performance of a series of NMIs. This is an iterative process that makes use of a regularly rehearsing and performing ensemble which serves as a test-bed for new instruments, from conception, to design, to implementation, to performance. This research includes details of several NMIs constructed in accordance with this design process. These NMIs have been quantitatively analysed and empirically tested for the presence of interconnectivity and group influence during performance as a method for measuring group collaboration. Furthermore qualitative analyses are applied which test for the perceived e ectiveness of these instruments during real-world performances in front of live audiences. The results of these analyses show that an aesthetically driven method of designing NMIs produces instruments that are interactive and collaborative. Furthermore results show that audiences perceive a measurable impression of interconnectivity and liveness in the ensemble even though most of the performers in the ensemble are not physically present.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 7 archive entries; NIME-topic probability 0.76}
}

@phdthesis{thesis:ghamsariesfahani2014anevaluationofth,
  author = {Ghamsari-Esfahani, Mahtab},
  title = {An evaluation of the role of mapping in skill acquisition on digital musical instruments},
  school = {McGill University},
  year = {2014},
  doi = {10.82308/15378},
  abstract = {Les instruments de musique numérique (DMIs) sont de plus en plus populaires dans les laboratoires de recherche ainsi qu'auprès des artistes de la scène musicale expérimentale. Le concept du DMI est très attrayant, cependant peu d'instruments vont au delà de la recherche en laboratoire. Au contraire des instruments acoustiques, les DMIs sont dépourvus de contexte historique ou musical et il n'existe pas de pédagogie permettant d'évaluer l'intéraction avec de tels instruments. Il est possible d'emprunter les méthodes d'évaluation au domaine de l'interaction homme-machine (IHM). Cependant, pour améliorer leur pertinence dans le contexte de 'interaction musicale, ces dernières doivent être enrichies pour intégrer les trois points suivants: l'interface physique, le synthétiseur de son et la partie intermédiaire de mapping. Cette recherche a été conçue autour de l'évaluation d'un DMI appelé "Ballagumi" avec deux objectifs principaux: tout d'abord déterminer dans quelle mesure il est possible d'acquérir des compétences musicales dans la pratique du Ballagumi, en concevant des études qui utilisent des compositions musicales et un cadre d'improvisation; puis déterminer comment la conception du mapping affecte l'acquisition de ces compétences. Pour cela, deux études ont été menées: une étude portée sur la découverte des gestes ainsi que sur l'influence d'aspects purement technologique (par exemple, la latence) sur la perception de l'instrument; et une seconde étude où des musiciens professionnels, familiers avec les instruments de musique électronique, étaient invités à interpréter des morceaux de musique composés pour l'instrument et aussi à improviser avec deux mappings. Les résultats de l'étude ont révélé un aspect intéressant de l'instrument, à savoir que l'interface elle-même donnait du retour sur l'interaction puisqu'elle possède des qualités haptiques propres. Par conséquent, des deux mappings conçus, le plus simple (un mapping à entrée d'énergie isotonique) s'est vu être privilégié par les participants, car perçu comme plus intuitif, pour l'improvisation plutôt qu'un mapping à entrée d'énergie continue. On a pu aussi noté que, bien que l'instrument et l'algorithme de synthèse sonore soient restés inchangés, le choix du mapping a donné lieu à des impressions clairement différentes pour les interprètes. Les résultats de ces deux études peuvent être utilisés pour améliorer le Ballagumi sur le plan technologique, ainsi qu'au niveau de l'esthétique de l'interface. En plus de démontrer l'importance du mapping pour acquérir des compétences permettant d'improviser avec l'instrument, ces expériences ont permis de montrer qu'il est pertinent de prendre en compte les retours d'informations propres à l'interface physique avant d'avoir recours à des configurations de mapping complexes.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:peltokoski2014backgroundfordes,
  author = {Peltokoski, Jere},
  title = {Background for Designing an Improved Digital Musical Keyboard Instrument},
  school = {LUT University},
  year = {2014},
  url = {http://lutpub.lut.fi/handle/10024/96797},
  abstract = {Electrical keyboard instruments and computer-aided music-making generally base on the piano keyboard that was developed for a tuning system no longer used. Alternative keyboard layout offers at least easier playing, faster adopting, new ways to play and better ergonomics. This thesis explores the development of keyboard instruments and tunings, and different keyboard layouts. This work is preliminary research for an electrical keyboard instrument to be implemented later on.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:arajo2014choiceofgestures,
  author = {Araújo, Katarine de Sousa},
  title = {Choice of gestures and its implications on performance as applied to conducting João Guilherme Ripper’s Psalmus},
  year = {2014},
  url = {http://repositorio.bc.ufg.br/tede/handle/tede/4734},
  abstract = {Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:allik2014computationalcom,
  author = {Allik, Alo},
  title = {Computational composition strategies in audiovisual laptop performance},
  school = {University of Hull},
  year = {2014},
  url = {https://hull-repository.worktribe.com/file/4217107/1/Thesis},
  abstract = {We live in a cultural environment in which computer based musical performances have become ubiquitous. Particularly the use of laptops as instruments is a thriving practice in many genres and subcultures. The opportunity to command the most intricate level of control on the smallest of time scales in music composition and computer graphics introduces a number of complexities and dilemmas for the performer working with algorithms. Writing computer code to create audiovisuals offers abundant opportunities for discovering new ways of expression in live performance while simultaneously introducing challenges and presenting the user with difficult choices. There are a host of computational strategies that can be employed in live situations to assist the performer, including artificially intelligent performance agents who operate according to predefined algorithmic rules. This thesis describes four software systems for real time multimodal improvisation and composition in which a number of computational strategies for audiovisual laptop performances is explored and which were used in creation of a portfolio of accompanying audiovisual compositions.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 1 archive entries; selected by similarity to the archives; NIME-topic probability 0.92}
}

@phdthesis{thesis:knoll2014concertoforlapto,
  author = {Knoll, Jonathan},
  title = {Concerto for Laptop Ensemble and Orchestra: The Ship of Theseus and Problems of Performance for Electronics With Orchestra: Taxonomy and Nomenclature},
  school = {Louisiana State University},
  year = {2014},
  doi = {10.31390/gradschool_dissertations.248},
  abstract = {This dissertation is an examination of the problems faced when staging a work for electronics and orchestra. Part I is an original composition and model for the exploration of those problems. Part II is a monograph reviewing those problems and concentrating on issues of taxonomy and nomenclature. Part I is a concerto for laptop ensemble and orchestra titled The Ship of Theseus. It is named after a philosophical paradox. If every component of an object (i.e. the boards of a ship) is replaced with newer parts, at what point does the original cease to exist? Likewise, if the music performed by an instrument or ensemble is sampled and played back on stage, is it still an orchestra, or is it a recording? The role of the soloists is also explored throughout the work. Similarly to the dialogue of a Classical concerto, at times the soloist enhances the orchestra; at other times it clashes. Part II is an exploration of the etymology and nomenclature of electroacoustic music. In chapter 1, I explore broad problems and concerns specific to electronics and orchestra. In chapter 2, I break down the etymologies of both the orchestra and electroacoustic music, focusing on general issues surrounding the latter specifically. A new taxonomy for electroacoustic music is presented. In chapter 3, I investigate the nomenclature of three well-known terms: live electronic, real time, and interactive. Each of these terms is problematic and often misused; as a result the new term transformational is introduced and defined. This term should not be associated with the general idea of a musical transformation (although such an idea is not unwarranted), but with the flow of musical information in and out of a system. It is my hope that with the introduction of a new classification based on musical information, I will not merely pad the decades-long discourse on nomenclature of electroacoustic music, but rather provide a starting point for composers and technicians to reconcile technology with the music itself. The terms presented in this dissertation should not be considered definitive, but rather the inception of a new dialogue.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.85}
}

@phdthesis{thesis:laurenzo2014decouplingandcon,
  author = {Laurenzo, Tomás},
  title = {Decoupling and context in new media art},
  year = {2014},
  url = {http://hdl.handle.net/20.500.12008/2908},
  abstract = {This dissertation presents a novel characterization of new media art, centered on media appropriation: the dialectal insertion of technological knowledge into the art practice. The thesis identifies some defining characteristics of new media art’s language, and indicates the defining role that explicitation plays. While media appropriation is not necessarily linked to the digital realm, it provides a natural substratum for it and so this thesis analyzes some aspects of the relationship between art and technology, where it introduces the user–programmer continuum and the perceptual cloud, a new paradigm of human–computer interaction that emerges from the functional and geographical decoupling of the computational and perceptual layers of interactive systems. Next, it analyzes the sociopolitical inscription of new media art, integrating the economic and political contexts of its practice into the analysis and providing a new reflection on new media art production from the geopolitical periphery. This thesis is proposed as a hybrid research–practice. A selected subset of the artworks created are presented and analyzed within the dissertation’s conceptual framework.},
  collection = {Theses},
  note = {Found in OpenAlex (author); selected by similarity to the archives; NIME-topic probability 0.74}
}

@phdthesis{thesis:madden2014developingspacej,
  author = {Madden, Adriana},
  title = {Developing spaceJam: The New Sound Spatialization Tool for an Artist and Novice},
  year = {2014},
  url = {https://steinhardt.nyu.edu/scmsAdmin/media/users/dtv206/My_Thesis_4_0.pdf},
  abstract = {4 Acknowledgments 5 1.0 Introduction 6 1.1 Context 6 1.2 Motivation 6 1.3 Goals 7 2.0 Background 8 2.1 HCI 8 2.1.1 HCI and Multimedia 8 2.1.2 User Centered Design 9 2.2 Artistic Spatialization Practice 10 2.2.1 Spatialization and Artistic Authorship 11 2.2.2 Overview of Artistic Spatialization Practice 12 2.2.2.1 Artist vs. Researcher 12 2.2.2.2 Artistic Requirements for Spatialization Tools 13 2.3 Technical Spatialization Practice 19 2.3.1 Overview of Spatialization Techniques 19 2.3.2 Rendering Concepts 22 2.3.2.1 Stereo Sound Panning 22 2.3.2.2 Ambisonics 23 2.3.2.3 VBAP 25 2.3.2.4 DBAP 27 2.4 Review of Spatialization Products 29 2.4.1 Jamoma Modular 30 2.4.2 VBAP in Max 32 2.4.3 Spatium 34 2.4.3.1 Spatium Panning 34 2.4.3.2 Spatium Ambi 35},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 1 archive entries; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:murphy2014expressivemusica,
  author = {Murphy, Jim W.},
  title = {Expressive musical robots : building, evaluating, and interfacing with an ensemble of mechatronic instruments : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy},
  school = {Massey University},
  year = {2014},
  url = {http://hdl.handle.net/10179/5990},
  abstract = {An increase in the number of parameters of expression on musical robots can result in an \nincrease in their expressivity as musical instruments. This thesis focuses on the design, \nconstruction, and implementation of four new robotic instruments, each designed to add \nmore parametric control than is typical for the current state of the art of musical robotics. \nThe principles followed in the building of the four new instruments are scalable and can \nbe applied to musical robotics in general: the techniques exhibited in this thesis for \nthe construction and use of musical robotics can be used by composers, musicians, and \ninstallation artists to add expressive depth to their own works with robotic instruments. \nAccompanying the increase in parametric depth applied to the musical robotics is an \nincrease in di culty in interfacing with them: robots with a greater number of actuators \nrequire more time to program. This document aims to address this problem in two \nways: the use of closed-loop control for low-level adjustments of the robots and the use \nof a parametric encoding-equipped musical robot network to provide composers with \nintuitive musical commands for the robots. \nThe musical robots introduced, described, and applied in this thesis were conceived of as \nmusical instruments for performance and installation use by artists. This thesis closes \nwith an exhibition of the performance and installation uses of these new robots and with \na discussion of future research directions.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:conan2014intuitivecontrol,
  author = {Conan, Simon},
  title = {Intuitive control of solid-interaction sound synthesis : toward sonic metaphors},
  school = {Laboratoire de Mécanique et d’Acoustique},
  year = {2014},
  url = {http://www.theses.fr/2014ECDM0012/document},
  abstract = {Un des enjeux actuels de la synthèse sonore est le contrôle perceptif (i.e. à partir d’évocations) des processus de synthèse. En effet, les modèles de synthèse sonore dépendent généralement d’un grand nombre de paramètres de bas niveau dont la manipulation nécessite une expertise des processus génératifs. Disposer de contrôles perceptifs sur un synthétiseur offre cependant beaucoup d’avantages en permettant de générer les sons à partir d’une description du ressenti et en offrant à des utilisateurs non-experts la possibilité de créer et de contrôler des sons intuitivement. Un tel contrôle n’est pas immédiat et se base sur des hypothèses fortes liées à notre perception, notamment la présence de morphologies acoustiques, dénommées ``invariants'', responsables de l’identification d’un évènement sonore.Cette thèse aborde cette problématique en se focalisant sur les invariants liés à l’action responsable de la génération des sons. Elle s’articule suivant deux parties. La première a pour but d’identifier des invariants responsables de la reconnaissance de certaines interactions continues : le frottement, le grattement et le roulement. Le but est de mettre en œuvre un modèle de synthèse temps-réel contrôlable intuitivement et permettant d’effectuer des transitions perceptives continues entre ces différents types d’interactions (e.g. transformer progressivement un son de frottement en un son de roulement). Ce modèle s'inscrira dans le cadre du paradigme ``action-objet'' qui stipule que chaque son résulte d’une action (e.g. gratter) sur un objet (e.g. une plaque en bois). Ce paradigme s’adapte naturellement à une approche de la synthèse par modèle source-filtre, où l’information sur l’objet est contenue dans le ``filtre'', et l’information sur l’action dans la ``source''. Pour ce faire, diverses approches sont abordées : études de modèles physiques, approches phénoménologiques et tests perceptifs sur des sons enregistrés et synthétisés.La seconde partie de la thèse concerne le concept de ``métaphores sonores'' en élargissant la notion d’objet à des textures sonores variées. La question posée est la suivante : étant donnée une texture sonore quelconque, est-il possible de modifier ses propriétés intrinsèques pour qu’elle évoque une interaction particulière comme un frottement ou un roulement par exemple ? Pour créer ces métaphores, un processus de synthèse croisée est utilisé dans lequel la partie ``source'' est basée sur les morphologies sonores des actions précédemment identifiées et la partie ``filtre'' restitue les propriétés de la texture. L’ensemble de ces travaux ainsi que le paradigme choisi offre dès lors de nouvelles perspectives pour la constitution d’un véritable langage des sons.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:skogstad2014methodsandtechno,
  author = {Skogstad, Ståle},
  title = {Methods and Technologies for Using Body Motion for Real-Time Musical Interaction},
  school = {University of Oslo},
  year = {2014},
  url = {http://urn.nb.no/URN:NBN:no-41124},
  abstract = {There are several strong indications for a profound connection between musical sound and body motion. Musical embodiment, meaning that our bodies play an important role in how we experience and understand music, has become a well accepted concept in music cognition. Today there are increasing numbers of new motion capture (MoCap) technologies that enable us to incorporate the paradigm of musical embodiment into computer music. This thesis focuses on some of the challenges involved in designing such systems. That is, how can we design digital musical instruments that utilize MoCap systems to map motion to sound? The first challenge encountered when wanting to use body motion for musical interaction is to find appropriate MoCap systems. Given the wide availability of different systems, it has been important to investigate the strengths and weaknesses of such technologies. This thesis includes evaluations of two of the technologies available: an optical marker-based system known as OptiTrack V100:R2; and an inertial sensor-based system known as the Xsens MVN suit. Secondly, to make good use of the raw MoCap data from the above technologies, it is often necessary to process them in different ways. This thesis presents a review and suggestions towards best practices for processing MoCap data in real time. As a result, several novel methods and filters that are applicable for processing MoCap data for real-time musical interaction are presented in this thesis. The most reasonable processing approach was found to be utilizing digital filters that are designed and evaluated in the frequency domain. To determine the frequency content of MoCap data, a frequency analysis method has been developed. An experiment that was carried out to determine the typical frequency content of free hand motion is also presented. Most remarkably, it has been necessary to design filters with low time delay, which is an important feature for real-time musical interaction. To be able to design such filters, it was necessary to develop an alternative filter design method. The resulting noise filters and differentiators are more low-delay optimal than than those produced by the established filter design methods. Finally, the interdisciplinary challenge of making good couplings between motion and sound has been targeted through the Dance Jockey project. During this project, a system was developed that has enabled the use of a full-body inertial motion capture suit, the Xsens MVN suit, in music/dance performances. To my knowledge, this is one of the first attempts to use a full body MoCap suit for musical interaction, and the presented system has demonstrated several hands-on solutions for how such data can be used to control sonic and musical features. The system has been used in several public performances, and the conceptual motivation, development details and experience of using the system are presented. List of papers. Papers V and VI are removed from the thesis due to publish},
  collection = {Theses},
  note = {Found in Zotero; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:arango2014networkmusiccria,
  author = {Arango, Julián Jaramillo},
  title = {Network Music: criação e performance musical colaborativa no âmbito das redes de informação},
  year = {2014},
  doi = {10.11606/t.27.2014.tde-05112014-100111},
  abstract = {Esse estudo examina criticamente uma série de práticas sonoras e musicais que tiram proveito das redes de informação para elaborar contextos de colaboração. Essas praticas dão lugar a um repertório de obras (composições, performances, sites, instalações entre outros), denominado durante o trabalho como Network Music. Os trabalhos podem ser localizados entre a segunda metade da década de 1990 e o final da década de 2000, no entanto uma série de antecedentes musicais são também discutidos. O repertório não se distingue por obedecer a um estilo ou linguagem musical particular, mas por fortalecer e reformular os vínculos tradicionais entre compositores, intérpretes, ouvintes através de conexões eletrônicas. O objeto de estudo é abordado de quatro perspectivas diferentes. O primeiro capítulo aborda aspectos teóricos confrontando conceitos vigentes na música do século XX com modalidades de comunicação em Internet. O imediatismo é proposto como elemento de coesão de conceitos como ao vivo e comunicação online. O segundo capítulo examina o repertório de trabalhos musicais em Internet, enfatizando aspectos incorporados da produção da Arte das Telecomunicações. São identificadas duas vertentes na produção de Network Music, segundo a acentuação de aspectos comunicacionais e composicionais. O levantamento apresentado discute estratégias e metodologias de criação musical dentro de configurações de interação remota enfatizando o tema da distância. O terceiro capítulo cobre aspectos de performance e se concentra no tema da colaboração. Conceitos, recursos e metodologias de trabalho musical com as redes digitais são sugeridos ao intérprete que pretende realizar performances com parceiros remotos através da Internet. No quarto capítulo é discutido o projeto NetConcert, realizado ao longo da pesquisa no seio do grupo Mobile da ECA/USP},
  collection = {Theses},
  note = {Found in OpenAlex; cites 4 archive entries; NIME-topic probability 0.93}
}

@phdthesis{thesis:hewitt2014notationalapproa,
  author = {Hewitt, Scott},
  title = {Notational approaches for composing and directing a non-homogeneous laptop orchestra},
  school = {University of Huddersfield},
  year = {2014},
  url = {http://eprints.hud.ac.uk/id/eprint/23317/1/shewittfinalthesis.pdf},
  abstract = {Within this composition commentary, I seek to outline my practice for composing for laptop ensembles, as well as the notational approaches I have developed to facilitate composition, direction, rehearsal and ultimately performance within an intentionally non-homogeneous laptop ensemble. \n \nIllustrating the requirement to move beyond the current typical ‘application as score and meta-instrument’ paradigm, I outline my own notational approach for laptop ensemble writing and the features it offers to the operation of laptop ensembles. As a consequence of the notational approach I seek to outline the performative coding role of the player and acknowledge the compositional role it extends to the performer. \n \nThese theoretical considerations are considered within the practical operation of the Huddersfield Experimental Laptop Orchestra (HELO) and its sibling HELOpg. As a consequence of these experiments I present my preference for graph and text based notations for directing the laptop performer.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:hollinger2014opticalsensingem,
  author = {Hollinger, Avrum D.},
  title = {Optical sensing, embedded systems, and musical interfaces for functional neuroimaging},
  school = {McGill University},
  year = {2014},
  doi = {10.82308/50211},
  abstract = {L'imagerie par résonance magnétique fonctionnelle (IRM) est de plus en plus utilisée pour des expériences de neuroscience comportementale. De telles expériences nécessitent la création de nouvelles interfaces augmentées de capteurs et de systèmes de contrôle électroniques pour capter les comportements, présenter des stimuli et produire des retours d'information de manière synchrone avec le scanner. Ainsi, il est possible pour les neuroscientifiques d'établir des corrélations entre les changements de comportement et les changements d'activité cérébrale; ceci leur permet donc de développer une meilleure compréhension du cerveau humain.Sécurité et compatibilité sont de plus haute importance, bien que des essais répétés de nouvelles interfaces dans le scanner IRM, afin de garantir qu'elle soit sécuritaire, augmente donc le prix de son développement. Les capteurs à fibre optique permettent d'atteindre ces objectifs avec les scanners actuels et les nouvelles générations de scanners qui produisent des champs magnétiques encore plus puissants.J'ai développé et construit de nouveaux capteurs optiques, des systèmes d'acquisition optoélectroniques, et des interfaces musicales compatibles avec les scanners IRM dans le cadre d'études d'imagerie cérébrale. Les capteurs à fibre optique que j'ai concus ont été créés pour mesurer la proximité, la position, le déplacement, la flexion, la force et le champs magnétique. Les systèmes embarqués développés durant cette thèse ont pour objectif de fournir des systèmes autonomes permettant de réaliser des expériences comportementales. à ce titre, ils permettent l'acquisition optoélectronique de signaux, leur communication, leur enregistrement et la production de stimuli auditif en temps-réel (incluant le mapping et la synthèse). Voici une liste des interfaces de contrôle musicales mises au point durant ce projet de doctorat: le Ballagumi, un nouvel instrument flexible fait en silicone; des claviers de piano optoélectroniques; et un violoncelle optoacoustique. Les pianos et le violoncelle ont été mis à contribution lors d'expériences ayant permis, pour la première fois, de capter les gestes d'un instrumentiste au sein d'un scanner. Dans ce qui suit, je présente le processus itératif de développement et de test ayant mené à ces nouvelles interfaces. De plus, l'état de l'art sur les interfaces musicales compatibles avec les scanners IRM est passé en revue, ainsi que les futures évolutions et applications de ces technologies aux domaines de la neuroscience comportementale, de la réhabilitation cérébrale et de la performance musicale.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:webb2014parallelcomputat,
  author = {Webb, Craig J.},
  title = {Parallel computation techniques for virtual acoustics and physical modelling synthesis},
  year = {2014},
  url = {http://hdl.handle.net/1842/15779},
  abstract = {The numerical simulation of large-scale virtual acoustics and physical modelling synthesis is a computationally expensive process. Time stepping methods, such as finite difference time domain, can be used to simulate wave behaviour in models of three-dimensional room acoustics and virtual instruments. In the absence of any form of simplifying assumptions, and at high audio sample rates, this can lead to simulations that require many hours of computation on a standard Central Processing Unit (CPU). In recent years the video game industry has driven the development of Graphics Processing Units (GPUs) that are now capable of multi-teraflop performance using highly parallel architectures. Whilst these devices are primarily designed for graphics calculations, they can also be used for general purpose computing. This thesis explores the use of such hardware to accelerate simulations of three-dimensional acoustic wave propagation, and embedded systems that create physical models for the synthesis of sound. Test case simulations of virtual acoustics are used to compare the performance of workstation CPUs to that of Nvidia’s Tesla GPU hardware. Using representative multicore CPU benchmarks, such simulations can be accelerated in the order of 5X for single precision and 3X for double precision floating-point arithmetic. Optimisation strategies are examined for maximising GPU performance when using single devices, as well as for multiple device codes that can compute simulations using billions of grid points. This allows the simulation of room models of several thousand cubic metres at audio rates such as 44.1kHz, all within a useable time scale. The performance of alternative finite difference schemes is explored, as well as strategies for the efficient implementation of boundary conditions. Creating physical models of acoustic instruments requires embedded systems that often rely on sparse linear algebra operations. The performance efficiency of various sparse matrix storage formats is detailed in terms of the fundamental operations that are required to compute complex models, with an optimised storage system achieving substantial performance gains over more generalised formats. An integrated instrument model of the timpani drum is used to demonstrate the performance gains that are possible using the optimisation strategies developed through this thesis.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 1 archive entries; selected by similarity to the archives; NIME-topic probability 0.91}
}

@phdthesis{thesis:seye2014performingatradi,
  author = {Seye, Elina},
  title = {Performing a Tradition in Music and Dance - Embodiment and Interaction in Sabar Dance Events},
  school = {Tampere University},
  year = {2014},
  url = {http://tampub.uta.fi/handle/10024/96373},
  abstract = {Tämä etnografinen tutkimus käsittelee sabar-perinnettä, wolof-kansan perinteisiä tansseja ja rytmejä Senegalissa. Tutkimus keskittyy tarkastelemaan sabar-tanssijuhlia, yhteisöllisiä tapahtumia, joiden keskipisteessä on sosiaalinen tanssi ja sitä säestävä musiikki. Tutkimuksessa kysytään, miten sabar-perinne ruumiillistuu sabar-tanssijuhlissa ja miten sabar kulttuurisesti konstruoidaan perinteeksi erilaisissa esityksissä ja diskursseissa. Sekä koreo-musiikilliset että sanalliset sabar-perinteen konstruktiot eivät kuitenkaan koske vain tanssin ja musiikin estetiikkaa, vaan myös laajempia sosio-kulttuurisia arvoja. Siksi sabar-tanssijuhlia lähestytään tässä tutkimuksessa monitasoisina, moninaisia merkityksiä sisältävinä esityksinä. \n \nTutkimuksen keskeiset käsitteet ovat perinne ja esitys. Perinne ymmärretään tässä jonain, mitä jatkuvasti tulkitaan (uudelleen) ja neuvotellaan. Kuten tutkimus osoittaa, sabar-perinteeseen liitetään erilaisia merkityksiä kontekstista ja henkilöstä riippuen, siitä huolimatta että ihmiset yleensä perustavat toimintansa ja puheensa ajatukseen muuttumattomasta ja yhteisesti jaetusta perinteestä. Esitys (performance) on puolestaan teoreettinen käsite, jota käytetään kahdessa tarkoituksessa. Ensinnäkin, sabar-tanssijuhlia analysoidaan esityksinä, erityisinä ja tarkkaan rajattuina tilanteina, jotka sisältävät sekä tanssia ja musiikkia että muunlaista toimintaa. Tämä lähestymistapa mahdollistaa länsimaisen musiikki–tanssi-dikotomian ohittamisen ja samalla sen osoittamisen, miten tanssi ja musiikki kietoutuvat yhteen sabar-juhlille ominaisessa improvisoidussa vuorovaikutuksessa. Toisekseen, esitys viittaa niihin tapoihin, joilla ihmiset esittävät itseään muille, miten he ruumiillistavat sosiaalisia roolejaan ja suhteitaan muihin ihmisiin niiden sääntöjen ja ihanteiden puitteissa, jotka sabar-juhlissa antavat rajat yksilöiden performatiiviselle toiminnalle. \n \nSenegalissa ja muualla vuodesta 2000 lähtien koottujen kenttätyökokemusten ja tutkimusaineistojen pohjalta tutkimus esittää sabarperinteen yhtenä niistä kulttuurisista metaforista, joita käytetään ”hyvän elämän” ihanteiden välittämisessä ja omaksumisessa. Sabar-tanssijuhlien osalta nämä ihanteet sisältävät erityisesti wolofien käsityksiä soveliaista sosiaalisista rooleista ja harmonisista suhteista ihmisten välillä. Sabar-juhlissa, joissa tanssi ja musiikki ovat ensisijaiset kommunikaation muodot, nämä ihanteet ruumiillistuvat osallistujien performatiivisessa toiminnassa ja vuorovaikutuksessa. Kuten tutkimuksen analyysit osoittavat, perinteen yhteisesti määriteltyjen sääntöjen kunnioittaminen on edellytys tanssijoiden ja muusikoiden välisille koreomusiikillisille keskusteluille, vaikka näitä kirjoittamattomia sääntöjä voidaan myös kyseenalaistaa esitysten kuluessa. Kun sabar-tanssien ja -musiikin estetiikkaa sekä vallitsevia sosiaalisia rooleja ja suhteita toistuvasti ruumiillistetaan sabarjuhlissa, ne samalla konstruoidaan perinteeksi. \n \nSabar-perinne on arvostettu},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.95}
}

@phdthesis{thesis:prezlpez2014realtimedaudiosp,
  author = {Pérez-López, Andrés},
  title = {Real-Time 3D Audio Spatialization Tools for Interactive Performance},
  year = {2014},
  doi = {10.5281/zenodo.3699140},
  abstract = {Spatial position is one of the main perceivable sound characteristics. Due to historical and technological reasons, however, it has been not fully exploited until last decades. Current technologies for compositional, offline spatialization are already consolidated; but the online domain remains still in a development stage, due to the inherent complexity added by the realtime control paradigm. We propose a theoretical basis for the analysis and design of realtime spatialization systems, borrowing the knowledge and tools from the Human Computer Interaction and Digital Musical Instrument design fields, and thus developing the concept of spatialization instruments. Based on that, we perform an analysis of both existing realtime sound spatialization software and recently developed interfaces for realtime sound spatialization control. Furthermore, on top of the design criteria provided by the analysis, we developed the SCLiss: SuperCollider Live Spatialization System, a new tool for helping in the spatialization instruments design process, and proposed an interface prototype as an example of the tool’s possibilities.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:valencia2014soniainterfazpar,
  author = {Valencia, Julián Esteban Pérez and Lareo, Santiago Eduardo Mendoza},
  title = {Sonia: interfaz para la producción musical en tiempo real integrando dispositivos de entrada},
  year = {2014},
  url = {http://bibliotecadigital.usb.edu.co/bitstream/10819/1792/1/Sonia_%20Producci%c3%b3n_Tiempo_Entrada_P%c3%a9rez_Mendoza_2012.pdf},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 6 archive entries; NIME-topic probability 0.74}
}

@phdthesis{thesis:misdariis2014synthsereproduct,
  author = {Misdariis, Nicolas},
  title = {Synthèse - Reproduction - Perception des Sons Instrumentaux et Environnementaux : Application au Design Sonore},
  school = {Conservatoire National des Arts et Métiers},
  year = {2014},
  doi = {10.70675/89e0f92bz8819z4379z99ffza46818aff39f},
  abstract = {Ce mémoire présente une composition d’études et de travaux de recherche orientés autour de trois grandes thématiques : la synthèse, la reproduction et la perception des sons, en considérant à la fois les sons de nature musicale mais aussi environnementale. Il vise en outre un champ d’application, le design sonore, qui implique globalement la création intentionnelle de sons du quotidien. La structure du document est conçu selon un schéma relativement uniforme et comporte, pour chaque partie, une présentation générale de la thématique apportant des éléments théoriques et des données relatives à l’état de l’art, suivie de développements spécifiques permettant de converger vers les sujets d’étude propres à chaque thème – explicitement, formalisme modal dans la synthèse par modélisation physique, pour la partie "Synthèse" ; mesure et contrôle de la directivité des instruments de musique, pour la partie "Reproduction" ; timbre et identification des sources sonores, pour la partie "Perception"– puis d’une présentation détaillée des travaux personnels relatifs à chacun des sujets, le cas échéant, sous la forme d’un article publié. Ces divers éléments de connaissance et d’expérience propose donc une contribution personnelle et originale, volontairement inscrite dans un cadre de recherche élargi, pluridisciplinaire et appliqué.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; NIME-topic probability 0.91}
}

@phdthesis{thesis:baltazar2014zatlabrecognizin,
  author = {Baltazar, André},
  title = {ZATLAB : recognizing gestures for artistic performance interaction},
  year = {2014},
  url = {http://hdl.handle.net/10400.14/16712},
  abstract = {Most artistic performances rely on human gestures, ultimately resulting in an elaborate interaction between the performer and the audience. Humans, even without any kind of formal analysis background in music, dance or gesture are typically able to extract, almost unconsciously, a great amount of relevant information from a gesture. In fact, a gesture contains so much information, why not use it to further enhance a performance? Gestures and expressive communication are intrinsically connected, and being intimately attached to our own daily existence, both have a central position in our (nowadays) technological society. However, the use of technology to understand gestures is still somehow vaguely explored, it has moved beyond its first steps but the way towards systems fully capable of analyzing gestures is still long and difficult (Volpe, 2005). Probably because, if on one hand, the recognition of gestures is somehow a trivial task for humans, on the other hand, the endeavor of translating gestures to the virtual world, with a digital encoding is a difficult and illdefined task. It is necessary to somehow bridge this gap, stimulating a constructive interaction between gestures and technology, culture and science, performance and communication. Opening thus, new and unexplored frontiers in the design of a novel generation of multimodal interactive systems. This work proposes an interactive, real time, gesture recognition framework called the Zatlab System (ZtS). This framework is flexible and extensible. Thus, it is in permanent evolution, keeping up with the different technologies and algorithms that emerge at a fast pace nowadays. The basis of the proposed approach is to partition a temporal stream of captured movement into perceptually motivated descriptive features and transmit them for further processing in Machine Learning algorithms. The framework described will take the view that perception primarily depends on the previous knowledge or learning. Just like humans do, the framework will have to learn gestures and their main features so that later it can identify them. It is however planned to be flexible enough to allow learning gestures on the fly. This dissertation also presents a qualitative and quantitative experimental validation of the framework. The qualitative analysis provides the results concerning the users acceptability of the framework. The quantitative validation provides the results about the gesture recognizing algorithms. The use of Machine Learning algorithms in these tasks allows the achievement of final results that compare or outperform typical and state-of-the-art systems. In addition, there are also presented two artistic implementations of the framework, thus assessing its usability amongst the artistic performance domain. Although a specific implementation of the proposed framework is presented in this dissertation and made available as open source software, the proposed approach is flexible enough to be used in o},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:medeiros2015advancedinstrume,
  author = {Medeiros, Carolina Brum},
  title = {Advanced instrumentation and sensor fusion methods in input devices for musical expression},
  school = {McGill University},
  year = {2015},
  doi = {10.82308/13785},
  abstract = {Pour créer des instruments numériques qui permettent de s’exprimer musicalement, l’utilisation d’instrumentation électronique sophistiquée et de techniques avancées en traitement du signal répond à des besoins spécifiques: la précision, la reproductibilité, la robustesse et la monotonie des mesures. Souvent, au détriment de ces besoins, un grand nombre d’instruments numériques sont constitués de capteurs de qualité limitée assemblés à des systèmes de traitement du signal artisanaux. L’objet de cette thèse est de révéler les limites de ce type de développement et de proposer des solutions pour pallier ces limites. Nousproposons des outils qui visent à améliorer le procédé de traitement et d’acquisition des données via l’utilisation de capteurs spécifiques, d’instrumentation électronique de meilleure qualité, et de méthodes de calibration et de régression cohérentes. De plus, nous proposons des méthodes de traitement de signal avancées à partir de l’implémentation de filtres de Kalman. Nous avons travaillé à partir des Actes de la Conférence Internationale “New Musical Interfaces for Musical Expression” publiés entre 2009 et 2013. Cette conférence regroupe la communauté académique la plus représentative de la discipline. À travers cesrecherches antérieures, nous avons constaté l’utilisation répandue de solutions rudimentaire couplées à l’utilisation de capteurs tres abordables, faciles à assembler et qui n ́ecessitent des conditionneurs de signal simples. Nous présentons donc des instrumentations électroniques et des systèmes de traitement de signal appropriés aux besoins spécifiques explicités enintroduction. Avec ces solutions, nous évaluons le procédé de traitement et d’acquisition des données d’un instrument de musique numérique, “The Rulers”, composé de plusieurs lames pouvant être ployée ou pincées. Le mouvement des lames est acquis soit par des capteurs infrarouges, soit par des capteurs magnétiques à effet Hall, ou encore l’utilisation de jauges dedéformation. Nous montrons qu’aucun des capteurs ne présente une solution optimale pour nos mesures. Partant de ce constat, nous avons développé une technique de combinaison de données multi-capteurs qui exploite le meilleur de chaque technologie de capteurs grâce à un filtre de Kalman. L’implémentation de ce type de filtre n’est cependant pas évidente, l’absence d’un modelé d’action d’utilisateur rend un grand nombre de paramètres du système et de son fonctionnement à première vue indéfinissables. C’est pourquoi nous proposons une méthode d’utilisation des filtres de Kalman construite à partir de la decomposition et de la classification du mouvement, de plusieurs capteurs, de configurations multiples pour le système et les mesures, de l’évaluation des filtres et de l’optimisation Monte Carlo. La réduction de la covariance des erreurs dans nos estimés demontre la validité de notre méthode.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:peck2015compositioninane,
  author = {Peck, Chris},
  title = {Composition in an Expanded field of Performance: Experimental Music in Collaboration with Contemporary Dance.},
  school = {University of Virginia},
  year = {2015},
  doi = {10.18130/v36264},
  abstract = {Collaboration with dance is commonplace in experimental and computer music, but there is little in the way of published discourse about composing for dance or working with choreographers. In this dissertation I offer what I hope may be a few new footholds for building more substantive, useful future discourse on collaboration with dance in our field.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; selected by similarity to the archives; NIME-topic probability 0.86}
}

@phdthesis{thesis:boyer2015continuousaudito,
  author = {Boyer, Eric},
  title = {Continuous auditory feedback for sensorimotor learning},
  school = {Université Pierre-et-Marie-Curie},
  year = {2015},
  doi = {10.70675/a712575az3e0cz48cdza3bdzabc76ae19b25},
  abstract = {Retour sonore continu pour l'apprentissage sensorimoteur Notre système sensorimoteur a développé une relation particulière entre nos actions et le retour sonore qui en découle. Les systèmes de captation gestuelle et les technologies audio permettent de manipuler ce retour sonore par la sonification interactive du mouvement. Nous explorons dans divers cadres expérimentaux la contribution de la sonification à l'apprentissage moteur dans les systèmes interactifs. Tout d'abord, nous montrons que le système auditif intègre des indices acoustiques issus du mouvement pour le contrôle moteur. Des représentations de l'espace émergent de ces indices et sont transformées en commandes motrices. Le cas d'un objet virtuel sonore nous apprend que ces représentations audiomotrices influencent les stratégies d'exploration et permettent des cas de substitution sensorielle par le son. Ensuite, nous mesurons qu'un retour sonore continu permet d'améliorer significativement la performance à une tâche de poursuite. La sonification de l'erreur et des paramètres de la tâche aident à la performance mais montrent des effets différents sur l'apprentissage. Nous observons également que la sonification du mouvement de l'utilisateur augmente l'énergie contenue dans le geste et prévient la dépendance au retour sonore. Enfin, nous présentons le concept de tâche sonore dans lequel la cible est présentée et s'exprime sous forme de paramètres sonores à reproduire. Les résultats montrent qu'une adaptation motrice peut être provoquée par des indices acoustiques seuls. Ce travail permet de dégager des principes importants du design de l'interaction geste-son, et présente des applications originales comme des scénarios interactifs pour la rééducation.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 4 archive entries; NIME-topic probability 0.70}
}

@phdthesis{thesis:pugliese2015creatingandevalu,
  author = {Pugliese, Roberto},
  title = {Creating and evaluating embodied interactive experiences: case studies of full-body, sonic and tactile enaction.},
  school = {Aalto University},
  year = {2015},
  url = {https://aaltodoc.aalto.fi/handle/123456789/18962},
  abstract = {This thesis contributes to the field of embodied and multimodal interaction by presenting the development of different original interactive systems. Using a constructive approach, a variety of real-time user interaction situations were designed and tested, two cases of human-virtual character bodily interaction, two interactive sonifications of trampoline jumping, collaborative interaction in mobile music performance and tangible and tactile interaction with virtual sounds. While diverse in terms of application, all the explored interaction techniques belong to the context of augmentation and are grounded in the theory of embodiment and strategies for natural human-computer interaction (HCI). The cases have been contextualized within the umbrella of enaction, a paradigm of cognitive science that addresses the user as an embodied agent situated in an environment and coupled to it through sensorimotor activity. This activity of sensing and action is studied through different modalities: auditory, tactile and visual and combinations of these. The designed applications aim at a natural interaction with the system, being full-body, tangible and spatially aware. Particularly sonic interaction has been explored in the context of music creation, sports and auditory display. These technology-mediated scenarios are evaluated in order to understand what the adopted interaction techniques can bring to the user experience, how they modify impressions and enjoyment. The publications also discuss the enabling technologies used for the development, including motion tracking and programmed hardware for the tactile-sonic interaction and sonic and tangible interaction. Results show that combining full-body interaction with auditory augmentation and sonic interaction can modify the perception, observed behavior and emotion during the experience. Using spatial interaction together with tangible interaction or tactile feedback provides for a multimodal experience of exploring a mixed reality environment where audio can be accessed and manipulated with natural interaction. Embodied and spatial interaction brings playfulness to a mobile music improvisation, shifting the focus of the experience from music-making towards movement-based gaming. Finally, two novel implementations of full-body interaction based on the enactive paradigm are presented. In these designed scenarios of enaction the participant is motion tracked and a virtual character rendered as a stick figure is displayed in front of her on a screen. Results from the user studies show how the involvement of the body is crucial in understanding the behavior of a virtual character or a digital representation of the self in a gaming scenario.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.88}
}

@phdthesis{thesis:morreale2015designingnewexpe,
  author = {Morreale, Fabio},
  title = {Designing New Experiences of Music Making},
  school = {University of Trento},
  year = {2015},
  doi = {10.13140/rg.2.2.12746.16324},
  abstract = {Music making is among the activities that best fulfil a person's full potential, but it is also one of the most complex and exclusive: successful music making requires study and dedication, combined with a natural aptitude that only gifted individuals possess.This thesis proposes new design solutions to reproduce the human ability to make music.It offers insights to provide the general public with novel experiences of music making by exploring a different interactive metaphor.Emotions are proposed as a mediator of musical meanings: an algorithmic composer is developed to generate new music, and the player can interact with the composition, controlling the desired levels of the composition's emotional character.The adequacy of this metaphor is tested with the case study of The Music Room, an interactive installation that allows visitors to influence the emotional aspect of an original classical style musical composition by means of body movements.This thesis addresses research questions and performs exploratory studies that are grounded in and contribute to different fields of research, including musical interface design, algorithmic composition, and psychology of music.The thesis presents MINUET, a conceptual framework for the design of musical interfaces, and the Music Room, an example of interactive installation based on the emotional metaphor.The Music Room was the result of a two-year iteration of design and evaluation cycles that informed an operational definition of the concept of engagement with interactive art.New methods for evaluating visitors' experience based on the integration of evidences from different user-research techniques are also presented.As regards the field of algorithmic composition, the thesis presents Robin, a rulebased algorithmic affective composer, and a study to test its validity in communicating different emotions in listeners (N=33).Valence (positive vs. negative) and arousal (high vs. low) were manipulated in a 2*2 within-subjects design.Results showed that Robin correctly communicated valence and arousal in converging conditions (high valence, high arousal and low valence, low arousal).However, in cases of diverging conditions (high valence, low arousal and low valence, high arousal), valence received neutral val- , G. (1966).The Prospects of Recording.The Glenn Gould},
  collection = {Theses},
  note = {Found in OpenAlex; cites 13 archive entries; NIME-topic probability 0.77}
}

@phdthesis{thesis:ekroll2015designingandeval,
  author = {Ekroll, Lars Kinn},
  title = {Designing and Evaluating a Tablet Application for Guitar Effect Control},
  school = {BIBSYS Brage (BIBSYS (Norway))},
  year = {2015},
  url = {http://hdl.handle.net/11250/2353219},
  abstract = {The company Aalberg Audio is developing a system of audio effects aimed at guitar players, and wants a software application for tablets that can control these effects wirelessly. This study tried to determine whether existing research into the design and evaluation of digital musical instruments could be applied to the design of such an application; another aim was to design and develop a working application prototype.\n\nAn iterative design science research method was used. A series of prototypes were designed and developed using strategies from the field of digital musical instrument design. Using an experiment with 7 participants, the final prototype was evaluated from the performer perspective using techniques from digital musical instrument evaluation, to see whether it increased discoverability, playability, and enjoyment.\n\nUsing digital musical instrument design strategies gave rise to mostly the same properties in the tablet prototype as one would expect in a digital musical instrument. For the participants, the final prototype achieved higher discoverability and somewhat higher enjoyment than traditional guitar effects, whereas playability was hindered by some interaction and design issues.\n\nIn conclusion, the existing research into the design and evaluation does indeed seem to be applicable to the design and evaluation of tablet applications for effect control.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.90}
}

@phdthesis{thesis:lekena2015designingmobilem,
  author = {Lekena, Mohato Karabo},
  title = {Designing mobile multi-touch drum sequencing applications},
  school = {University of Cape Town},
  year = {2015},
  url = {http://hdl.handle.net/11427/19977},
  abstract = {Digital music software can limit the forms of music we create by using interfaces that directly copy those of the analogue instruments that came before. In this study we report on a new multi-touch interface that affords a completely new form of drum sequencing. Based on ideas from Avant-guard music and embodied interaction, a technology probe was created and then evaluated by a wide range of users. We found that for users with no musical training, and for users with a large amount of musical training, the software did allow them to be more creative. However, users with limited training on existing sequencing software found the new interface challenging.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 8 archive entries; selected by similarity to the archives; NIME-topic probability 0.73}
}

@phdthesis{thesis:roy2015developmentofaro,
  author = {Roy, Alexandre},
  title = {Development of a robotic plateform for the study of plucked strings instruments},
  school = {theses.fr (ABES)},
  year = {2015},
  url = {http://www.theses.fr/2015PA066540/document},
  abstract = {L'étude mécanique des instruments de musique met en oeuvre l'étude des musiciens, des instruments et de l'interaction complexe qui existe entre eux. L'analyse du geste musical nécessite de nombreuses mesures sur des musiciens pour en extraire les paramètres pertinents qui permettent de construire un modèle d'interaction musicien / instrument. Dans le cas des instruments à corde pincées, il s'agit de déterminer les conditions initiales imposées à la corde par le mécanisme de pincement contrôlé par le musicien (plectre, doigt). Comment obtenir tous ces paramètres sans perturber le jeu du musicien ? Comment vérifier qu'ils sont les seuls à déterminer la vibration future de la corde et lui donner sa signature acoustique ? Une plateforme expérimentale robotisée a été mise en place pour répondre à ces questions. Elle permet de reproduire le geste des musiciens, en particulier des harpistes et des clavecinistes. Il faut préciser ici que la notion de geste musical s'entend au sens large : le robot peut soit reproduire complètement la trajectoire suivie par le doigt du musicien, soit imposer les conditions initiales résultant de cette trajectoire, indépendamment du chemin suivi. Le premier cas est adapté à la résolution de problème de dynamique inverse pour accéder aux efforts articulaires mis en jeu par le musicien pendant l'accomplissement d'un extrait musical. La second cas sera privilégié pour imposer des conditions initiales à l'instrument, par l'intermédiaire de trajectoires d'études conçues spécifiquement par l'expérimentateur. La reproduction des trajectoires avec le robot nécessite de rejeter les perturbations introduites par le contact avec l'instrument. La conception d'un capteur d'effort intégré au robot a permis de satisfaire partiellement cette exigence. Après le détail de la conception de la plateforme robotisée, de sa validation comme un outil d'étude juste et répétable, un exemple d'utilisation est présenté dans le cadre d'une étude sur l'harmonisation des becs de clavecin. L'harmonisation est un processus complexe de réglage de l'instrument, réalisé par le luthier. Un modèle prenant en compte le toucher pendant l'interaction plectre / corde, et intégrant la géométrie du plectre résultant de l'harmonisation, ainsi que des expériences effectuées sur un clavecin, montrent que la forme du plectre affecte non seulement les conditions initiales de vibration des cordes de l'instrument mais aussi le ressenti du claveciniste.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:gabrielli2015digitalsignalpro,
  author = {Gabrielli, Leonardo},
  title = {Digital Signal Processing and Embedded Systems for Wireless Networked Music Performance},
  school = {Università Politecnica delle Marche},
  year = {2015},
  url = {http://hdl.handle.net/11566/242939},
  abstract = {Le nuove piattaforme per il mobile computing, introdotte alcuni anni fa hanno avuto un impatto notevole su tecnologia e società. \nDue aspetti tecnici che hanno alimentato lo sviluppo del mobile computing e a loro volta sono stati alimentati da esso, sono stati la maturazione della comunità del software open-source e la disponibilità per molto produttori di silicio della proprietà intellettuale di un'architettura di calcolo molto efficiente in termini energetici. Come conseguenza dell'ampia diffusione del mobile computing, le comunità accademiche della computer music e del music computing, hanno messo a frutto le conoscenze sviluppate nell'ambito del laptop computing per portare alla fioritura di numerosi progetti di physical computing. \n \nIn questa tesi di dottorato tutti questi aspetti vengono sviluppati e studiati in maniera organica, con un interesse specifico per l'elaborazione del segnale (DSP) nello strumento musicale digitale e la performance wireless su rete. L'idea di una piattaforma di physical computing in grado di supportare il ruolo di strumento musicale e connettersi ad altri strumenti viene elaborata. Processori di segnale e algoritmi per l'industria musicale vengono analizzati da una prospettiva tecnica e storica per definire delle specifiche tecniche. Sviluppi innovativi nel DSP per la sintesi, il trattamento, il campionamento e la trasmissione del segnale sonoro sono dettagliati Lo stato dell'arte per le performance musicali in rete (NMP) viene riportato insieme alle sfide tecniche che questo impone, in modo da definire le necessità da soddisfare per una piattaforma embedded per la NMP wireless. Da questo approccio multidisciplinare scaturisce il progetto WeMUST (Wireless Music Studio), che investiga su alcune delle problematiche attualmente riscontrate ed evidenziate in precedenza e verifica la fattibilità di realizzare un sistema di NMP wireless basato su soluzioni hardware e software di largo uso. \n \nGiunto lo sviluppo ad uno stadio soddisfacente, una prima versione del software WeMUST è stata rilasciata ed un caso d'uso è stato mostrato in pubblico nel luglio 2014 con la performance Waterfront, con musicisti su barche sulla costa di Ancona. Questa occasione di valutazione del lavoro è servita anche come riferimento per future fasi di sviluppo.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 6 archive entries; selected by its English title, the abstract being in another language; NIME-topic probability 0.97}
}

@phdthesis{thesis:hahn2015expressivesampli,
  author = {Hahn, Henrik},
  title = {Expressive sampling synthesis. Learning extended source-filter models from instrument sound databases for expressive sample manipulations},
  school = {Université Pierre-et-Marie-Curie},
  year = {2015},
  doi = {10.70675/7bdf4a6ezb519z499bzbd87z06a1a25061cb},
  abstract = {Synthèse et transformation des sons basés sur les modèles de type source-filtre étendu pour les instruments de musique Dans cette thèse un système de synthèse sonore imitative sera présenté, applicable à la plupart des instruments de quasi-harmoniques. Le système se base sur les enregistrements d’une note unique qui représentent une version quantifiée de l'espace de timbre possible d'un instrument par rapport à sa hauteur et son intensité. Une méthode de transformation permet alors de générer des signaux sonores de valeurs continues des paramètres de contrôle d'expression qui sont perceptuellement cohérent avec ses équivalents acoustiques. Un modèle paramétrique de l'instrument se présente donc basé sur un modèle de filtre de source étendu avec des manipulations distinctes sur les harmoniques d’un signal et ses composantes résiduelles. Une procédure d'évaluation subjective sera présentée afin d’évaluer une variété de résultats de transformation par une comparaison directe avec des enregistrements non modifiés, afin de comparer la perception entre les résultats synthétiques et leurs équivalents acoustiques.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 1 archive entries; selected by its English title, the abstract being in another language; NIME-topic probability 0.91}
}

@phdthesis{thesis:vogels2015harmonicainspire,
  author = {Vogels, Julian},
  title = {Harmonica-inspired digital musical instrument design based on an existing gestural performance repertoire},
  school = {McGill University},
  year = {2015},
  doi = {10.82308/6701},
  abstract = {Cette thèse contribue au domaine du design d'instruments de musique éléctronique (IME), plus précisement des contrôleurs gestuels liés à l'harmonica. On peut considérer que les harmonicas sont les instruments les plus vendus au monde, en lien avec une grande communauté de musiciens. Par conséquence, il est surprenant que aussi peu de matériel académique existe sur les gestes de performance d'harmonica et sur le design d'IME lié à cet instrument, si on considère que l'harmonica diatonique simple présente un ensemble unique de techniques musicales pour la modification du son. Contrairement à la petite quantité de publications académiques, plusieurs brevets concernant les IME liés à l'harmonica ont été délivrés. Ceux-ci sont présentés et comparés dans un examen de brevets. Les dispositifs montrent beaucoup d 'aspects en commun, ce qui vraisemblablement est en rélation avec différent types d'harmonica. L'application de la technique de l'altération des notes sur les dispositifs est étudiée plus en profondeur. Afin de tirer des conclusions sur l'interaction avec cet instrument, une étude de capture de mouvement de performance d'harmonica a été réalisé, incluant une évaluation qualitative de deux IME liés à l'harmonica. Finalement, les résultats ont été considerés dans une mise en oeuvre de prototype d 'instrument augmenté, basé sur un instrument musical digital (IMD) lié à l'harmonica. Un système de capteurs ajustés à la technique de jeu est proposé, ainsi que des stratégies adaptées de mappage.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:hu2015hexagonalcylindr,
  author = {Hu, Hanlin},
  title = {Hexagonal Cylindrical Lattices: A Unified Helical Structure in 3D Pitch Space for Mapping Flat Musical Isomorphism},
  school = {University of Regina},
  year = {2015},
  doi = {10.82465/5987},
  abstract = {An isomorphic keyboard layout is an arrangement of notes of a scale such that any musical construct has the same shape regardless of the root note. The mathematics of some speci c isomorphisms have been explored since the 1700s, however, only recently has a general theory of isomorphisms been developed such that any set of musical intervals can be used to generate a valid layout. These layouts have been implemented in the design of electronic musical instruments and software applications. This thesis presents a new extension to the theory of isomorphic layouts, taking advantage of the repetition of notes in these layouts to produce a three-dimensional representational mapping onto a cylinder. Isomorphic layouts can be produced using rectangular or hexagonal grids, and the mathematics of Fullerene molecules from organic chemistry is borrowed to regularize the mapping of hexagonal isomorphisms onto cylinders. This new cylindrical mapping model is also applied to the study of tonal pitch space models, a branch of musicology which seeks to explore the underlying perceptual relationships between harmonically related pitches. Tonal pitch space models are spatial networks of the perceptual \closeness" of pitches, and researchers have experimented with at networks, cylindrical arrangements, and even torus (or donut) shaped models. Cylindrical models are often helical or spiral in nature, and the new cylindrical isomorphic model developed in this thesis is applied to existing helical tonal pitch space models.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 1 archive entries; selected by similarity to the archives; NIME-topic probability 0.90}
}

@phdthesis{thesis:barraclough2015iterativedesignf,
  author = {Barraclough, Timothy},
  title = {Iterative Design for Approachable, Mobile-Based Collaborative Electronic Music Instruments},
  school = {Victoria University of Wellington},
  year = {2015},
  doi = {10.26686/wgtn.17143358},
  abstract = {The steep learning curve for technology for electronic music creation enforces a barrier to entry for new electronic musicians that prevents them from enjoying the playful process of creating music, without significant investment of time, energy, or money. This thesis argues that this barrier to entry should be abolished by using creative technology as a platform in order to begin the democratisation of electronic music creation processes. By drawing upon specific values inherent to the playful process of creating music, this thesis suggests a framework for iterative design of social, electronic musical instruments. The combination of implementing this framework and informing design directions upon user feedback has resulted in the creation of Pyxis Minor, a new, smartphone and tablet based, electronic musical interface/instrument that allows users of any prior musical background to have a playful creative and social experience of making music. This is important for distinguishing that the apparent barrier to entry for electronic music creation may be unnecessary, and it is possible to develop instruments and interfaces for the playful creation of electronic music that fulfil the needs and requirements of a diverse range of users.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 10 archive entries; NIME-topic probability 0.88}
}

@phdthesis{thesis:rou2015livecodingmethod,
  author = {Rouš, Jiří},
  title = {Live Coding - method, art and ideology},
  year = {2015},
  url = {http://www.nusl.cz/ntk/nusl-202767},
  abstract = {The objective of this work is the depicting and describing of significant features of live coding, a form of audio-visual performance, which has come into existence only lately. For this purpose the work introduces three different ways of looking at this phenomenon. Before defining these methods of viewing in the text, the description of fundamental principles of translation of source code is presented, it being crucial for practicing of live coding. The first perspective looks at live coding as a method of work, the second looks at it as a form of art and the third - as an ideological gesture. Exploiting of these perspectives has helped to discover part of characteristic features of this method, its contextualization in the frame of artistic traditions and the outline of some implicit and explicit ideological aspects, bound to it. The main contribution of the work is creating a general image of this phenomenon in the context of theoretical works in Czech language, devoted to the pursued topic.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.90}
}

@phdthesis{thesis:franoise2015motionsoundmappi,
  author = {Françoise, Jules},
  title = {Motion-sound Mapping By Demonstration},
  school = {Paris 6},
  year = {2015},
  doi = {10.70675/bd9c2efaz9c5fz4a69z9decz87cf14835977},
  abstract = {Designing the relationship between motion and sound is essential to the creation of interactive systems. This thesis proposes an approach to the design of the mapping between motion and sound called Mapping-by-Demonstration. Mapping-by-Demonstration is a framework for crafting sonic interactions from demonstrations of embodied associations between motion and sound. It draws upon existing literature emphasizing the importance of bodily experience in sound perception and cognition. It uses an interactive machine learning approach to build the mapping iteratively from user demonstrations. Drawing upon related work in the fields of animation, speech processing and robotics, we propose to fully exploit the generative nature of probabilistic models, from continuous gesture recognition to continuous sound parameter generation. We studied several probabilistic models under the light of continuous interaction. We examined both instantaneous (Gaussian Mixture Model) and temporal models (Hidden Markov Model) for recognition, regression and parameter generation. We adopted an Interactive Machine Learning perspective with a focus on learning sequence models from few examples, and continuously performing recognition and mapping. The models either focus on movement, or integrate a joint representation of motion and sound. In movement models, the system learns the association between the input movement and an output modality that might be gesture labels or movement characteristics. In motion-sound models, we model motion and sound jointly, and the learned mapping directly generates sound parameters from input movements. We explored a set of applications and experiments relating to real-world problems in movement practice, sonic interaction design, and music. We proposed two approaches to movement analysis based on Hidden Markov Model and Hidden Markov Regression, respectively. We showed, through a use-case in Tai Chi performance, how the models help characterizing movement sequences across trials and performers. We presented two generic systems for movement sonification. The first system allows users to craft hand gesture control strategies for the exploration of sound textures, based on Gaussian Mixture Regression. The second system exploits the temporal modeling of Hidden Markov Regression for associating vocalizations to continuous gestures. Both systems gave birth to interactive installations that we presented to a wide public, and we started investigating their interest to support gesture learning.},
  collection = {Theses},
  note = {Found in theses.fr; cites 10 archive entries; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:dick2015movementandmusic,
  author = {Dick, Christopher S.},
  title = {Movement and music - it is not a dance, but capoeira},
  school = {University of Vienna},
  year = {2015},
  doi = {10.25365/thesis.36880},
  abstract = {Das Phänomen Capoeira ist eine Kunst, die die Grenzen zwischen solchen Genres wie Tanz, Kampf und musikalischer Performanz verschwimmen lässt. Von den Ausübenden oft als Tanzkampf oder Kampftanz bezeichnet, beinhaltet die Kunst eine Vielzahl verschiedener Arten zeitliche Strukturen zu verkörpern. Obwohl der Dialog zwischen zwei Körpern vordergründig auf dem ständigen Wechsel von actio und reactio der klassischen Kampfkünste basiert, ist die tänzerische Komponente doch vorherrschend; dies nicht zuletzt, da Bewegung in Capoeira immer von Musik begleitet sein sollte. Das Zusammenspiel von Musik und Bewegung ist besonders in einer Art von Grundschritt zu erkennen: der ginga. Es ist die wiegende und schwankende Bewegungsstruktur in der sich die Ausübenden nach schnellen Folgen von Schlägen und Ausweichmanövern wieder in Übereinstimmung mit der Musik finden. Wie die Synchronisierung dieser Bewegungen zu einem externen Klangstimulus ablaufen, ist jedoch nocht nicht vollständig geklärt. Capoeira zu lernen beinhalten nämlich nicht konkrete Anweisungen dazu, sich auf bestimmte Art und Weise zur Musik zu bewegen, sondern überlasst es den Personen selbst, sich diesbezüglich deren Umwelt anzupassen und es von anderen zu übernehmen. Synchronisation, oder das folgerichtige Einstellen auf einen gegeben beat, wird heutzutage mehr und mehr untersucht; durch neue Technologien ist es zudem nun möglich Bewegung bis in den Millimeterbereich zu analysieren. Diese Studie bedient sich eines Motion Capture-Systems mit dem capoeiristas (die Ausübenden von Capoeira) bei der ginga aufgenommen werden. Es erfasst retroreflektive Marker die direkt am Körper der Teilnehmenden angebracht sind und damit die Bahnkurven einzelner Körperteile repräsentieren. Dies ermöglicht die Analyse einzelner Aspekte der Bewegung, wie etwa Geschwindigkeit, Entfernungen, Winkel und dergleichen, was im Bezug zu einem Beat analysiert werden kann, der im Vorhinein aus drei verschiedenen musikalischen Stimuli entnommen wurde. Durch die Erkenntnisse dieser Arbeit kann eine Theorie bezüglich der Verkörperung eines beats in capoeira aufgestellt werden, die die Idee von polymetrischer Überschneidung der verschiedenen Tempi von Musik und Bewegung der capoeiristas miteinbezieht. Es werden die Möglichkeiten untersucht die neue Technologien im Bezug auf die Analyse von menschlicher Bewegung und Tanz leisten können. Man kann sehen, dass man selbst mit wenig technischem Wissen eine Vielzahl von Methoden zur Verfügung stehen hat, die zum fundierten Studium der Beziehung von Musik und Bewegung beitragen können.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.95}
}

@phdthesis{thesis:mcgee2015scanningspacespa,
  author = {McGee, Ryan},
  title = {Scanning Spaces: Paradigms for Spatial Sonification and Synthesis},
  school = {University of California},
  year = {2015},
  url = {https://escholarship.org/uc/item/2n0779jw},
  abstract = {In 1962 Karlheinz Stockhausen’s “Concept of Unity in Electronic Music” introduced a connection between the parameters of intensity, duration, pitch, and timbre using an accelerating pulse train. In 1973 John Chowning discovered that complex audio spectra could be synthesized by increasing vibrato rates past 20Hz. In both cases the notion of acceleration to produce timbre was critical to discovery. Although both composers also utilized sound spatialization in their works, spatial parameters were not unified with their synthesis techniques. This dissertation examines software studies and multimedia works involving the use of spatial and visual data to produce complex sound spectra. The culmination of these experiments, Spatial Modulation Synthesis, is introduced as a novel, mathematical control paradigm for audio-visual synthesis, providing unified control of spatialization, timbre, and visual form using high-speed sound trajectories.The unique, visual sonification and spatialization rendering paradigms of this disser- tation necessitated the development of an original audio-sample-rate graphics rendering implementation, which, unlike typical multimedia frameworks, provides an exchange of audio-visual data without downsampling or interpolation.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.80}
}

@phdthesis{thesis:perrotin2015singingwithhands,
  author = {Perrotin, Olivier},
  title = {Singing with hands : chironomic interfaces for digital musical instruments},
  school = {Laboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur},
  year = {2015},
  url = {http://www.theses.fr/2015PA112207/document},
  abstract = {Le travail de cette thèse porte sur l'étude du contrôle en temps réel de synthèse de voix chantée par une tablette graphique dans le cadre de l'instrument de musique numérique Cantor Digitalis.La pertinence de l'utilisation d'une telle interface pour le contrôle de l'intonation vocale a été traitée en premier lieu, démontrant que la tablette permet un contrôle de la hauteur mélodique plus précis que la voix réelle en situation expérimentale.Pour étendre la justesse du jeu à toutes situations, une méthode de correction dynamique de l'intonation a été développée, permettant de jouer en dessous du seuil de perception de justesse et préservant en même temps l'expressivité du musicien. Des évaluations objective et perceptive ont permis de valider l'efficacité de cette méthode.L'utilisation de nouvelles interfaces pour la musique pose la question des modalités impliquées dans le jeu de l'instrument. Une troisième étude révèle une prépondérance de la perception visuelle sur la perception auditive pour le contrôle de l'intonation, due à l'introduction d'indices visuels sur la surface de la tablette. Néanmoins, celle-ci est compensée par l'important pouvoir expressif de l'interface.En effet, la maîtrise de l'écriture ou du dessin dès l'enfance permet l'acquisition rapide d'un contrôle expert de l'instrument. Pour formaliser ce contrôle, nous proposons une suite de gestes adaptés à différents effets musicaux rencontrés dans la musique vocale. Enfin, une pratique intensive de l'instrument est réalisée au sein de l'ensemble Chorus Digitalis à des fins de test et de diffusion. Un travail de recherche artistique est conduit tant dans la mise en scène que dans le choix du répertoire musical à associer à l'instrument. De plus, un retour visuel dédié au public a été développé, afin d'aider à la compréhension du maniement de l'instrument.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:zamborlin2015studiesoncustomi,
  author = {Zamborlin, Bruno},
  title = {Studies on customisation-driven digital music instruments},
  school = {Goldsmiths, University of London},
  year = {2015},
  doi = {10.25602/gold.00012312},
  abstract = {From John Cage’s Prepared Piano to the turntable, the history of musical instruments is scattered with examples of musicians who deeply customised their instruments to fit personal artistic objectives, objectives that differed from the ones the instruments have been designed for. In their digital counterpart however, musical instruments are often presented in the form of closed, finalised systems with apriori symbolic rules set by their designer that leave very little room for the artists to customise the technologies for their unique art practices; in these cases the only possibility to change the mode of interaction with digital instrument is to reprogram them, a possibility available to programmers but not to musicians. This thesis presents two digital music instruments designed with the explicit goal of being highly customisable by musicians and to provide different modes of interactions, whilst keeping simplicity and immediateness of use. The first one leverages real-time gesture recognition to provide continuous feedback to users as guidance in defining the behaviour of the system and the gestures it recognises. The second one is a novel tangible user interface which allows to transform everyday objects into expressive digital music instruments, and whose sound generated strongly depends by the particular nature of the physical object selected.},
  collection = {Theses},
  note = {Found in DataCite; cites 22 archive entries; NIME-topic probability 0.77}
}

@phdthesis{thesis:xambsed2015tabletoptangible,
  author = {Xambó Sedó, Anna},
  title = {Tabletop Tangible Interfaces for Music Performance: Design and Evaluation},
  school = {The Open University},
  year = {2015},
  doi = {10.21954/ou.ro.0000a5e9},
  abstract = {This thesis investigates a new generation of collaborative systems: tabletop tangible interfaces (TTIs) for music performance or musical tabletops. Musical tabletops are designed for professional musical performance, as well as for casual interaction in public settings. These systems support co-located collaboration, offered by a shared interface. However, we still know little about their challenges and opportunities for collaborative musical practice: in particular, how to best support beginners or experts or both. This thesis explores the nature of collaboration on TTIs for music performance between beginners, experts, or both. Empirical work was done in two stages: 1) an exploratory stage; and 2) an experimental stage. In the exploratory stage we studied the Reactable, a commercial musical tabletop designed for beginners and experts. In particular, we explored its use in two environments: a multi-session study with expert musicians in a casual lab setting; and a field study with casual visitors in a science centre. In the experimental stage we conducted a controlled experiment for mixed groups using a bespoke musical tabletop interface, SoundXY4. The design of this study was informed by the previous stage about a need to support better real-time awareness of the group activity (workspace awareness) in early interactions. For the three studies, groups musical improvisation was video-captured unobtrusively with the aim of understanding natural uses during group musical practice. Rich video data was carefully analysed focusing on the nature of social interaction and how workspace awareness was manifested. The findings suggest that musical tabletops can support peer learning during multiple sessions; fluid between-group social interaction in public settings; and a democratic and ecological approach to music performance. The findings also point to how workspace awareness can be enhanced in early interactions with TTIs using auditory feedback with ambisonics spatialisation. The thesis concludes with theoretical, methodological, and practical implications for future research in New Interfaces for Musical Expression (NIME), tabletop studies, and Human-Computer Interaction (HCI).},
  collection = {Theses},
  note = {Found in DataCite; cites 25 archive entries; NIME-topic probability 0.88}
}

@phdthesis{thesis:wilson2015thegesturalcontr,
  author = {Wilson, Thomas R},
  title = {The Gestural Control of Audio Processing},
  school = {University of Huddersfield},
  year = {2015},
  url = {http://eprints.hud.ac.uk/id/eprint/26611/1/The%20Gestural%20Control%20of%20Audio%20Processing%20%28with%20Amendments%29%20-%20FINAL.pdf},
  abstract = {Gesture enabled devices have become so ubiquitous in recent years that commands such as ‘pinch to zoom-in on an image’ are part of most people’s gestural vocabulary. Despite this, gestural interfaces have been used sparingly within the audio industry. The aim of this research project is to evaluate the effectiveness of a gestural interface for the control of audio processing. In particular, the ability of a gestural system to streamline workflow and rationalise the number of control parameters, thus reducing the complexity of Human Computer Interaction (HCI). A literature review of gestural technology explores the ways in which it can improve HCI, before focussing on areas of implementation in audio systems. Case studies of previous research projects were conducted to evaluate the benefits and pitfalls of gestural control over audio. The findings from these studies concluded that the scope of this project should be limited to two-dimensional gestural control. An elicitation of gestural preferences was performed to identify expert-user’s gestural associations. This data was used to compile a taxonomy of gestures and their most widely-intuitive parameter mappings. A novel interface was then produced using a popular tablet-computer. This facilitated the control of equalisation, compression and gating. Objective testing determined the performance of the gestural interface in comparison to traditional WIMP (Windows, Icons, Menus, Pointer) techniques, thus producing a benchmark for the system under test. Further testing is carried out to observe the effects of graphic user interfaces (GUIs) in a gestural system, in particular the suitability of skeuomorphic (knobs and faders) designs in modern DAWs (Digital Audio Workstations). A novel visualisation method, deemed more suitable for gestural interaction, is proposed and tested. \nSemantic descriptors are explored as a means of further improving the speed and usability of gestural interfaces, through the simultaneous control of multiple parameters. This rationalisation of control moves towards the implementation of gestural shortcuts and ‘continuous pre-sets’.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:leonard2015themsciplatformt,
  author = {Leonard, James},
  title = {The MSCI Platform : towards a Tool for the Creation of Force Feedback Virtual Instruments. Application to Musical Creation},
  school = {Université Grenoble Alpes (ComUE)},
  year = {2015},
  doi = {10.70675/d032a771z441bz4e68z8583zeaf5722a1149},
  abstract = {The notion of instrumentality can be defined as the corporal relationship between a human and a physical object, called an instrument. This intimate situation simultaneously addresses the various human action and perception sensory canals, and constitutes a vector for enactive knowledge. In particular, this instrumental relationship plays a key role in the expressiveness of musical instruments.In the digital context, a vast area of research concerns sensory interactions with virtual entities, by means of sensors and actuators, including gestural interaction with force feedback systems. On the one hand the Virtual Reality domain, historically focused on visual aspects, generally focus gestural interaction on spatial features, often losing the focus of dynamic features. On the other hand, Digital Musical Instruments are essentially centered on interactive control of digital sound synthesis processes, grounded in information technologies and signal processing. These two approaches synthesize sensory phenomena destined to different perceptive channels following a multimodal approach, the virtual object being decomposed into subsections, linked together by control relations.It is however possible to conceive systems that allow for instrumental interaction with a virtual simulated object, maintaining total and bidirectional energetic coherence, from gesture to sound and reciprocally. In this case, it is necessary to bring together (a) a physical modeling formalism that allows creating intrinsically multisensory virtual objects that possess visual, acoustical and haptic properties, (b) force feedback systems with high dynamic performances and (c) specialized computation architectures that allow for a reactive, high rate synchronous simulation loop.The work of this thesis consists in the extension and convergence of concepts and techniques hereby mentioned here-above, in order to create a platform for instrumental musical creation, named MSCI (Modeleur Simulateur pour la Création Instrumentale), proposing a multi-rate architecture for the simulation of virtual musical instruments on a new dedicated simulation architecture. A modeling environment allows complete design of the virtual instrument based on mechanical and physical principles, and to configure the haptic coupling between this instrument and the user during the force-feedback simulation.Notably, it addresses the separation of the instrumental chain into zones which present mostly non-vibrating phenomena within a dynamic range close to the human sensory-motor gesture, and zones which vibrate at acoustical rates, producing sound. These two sections of the instrument may be simulated at different rates, adapted to the physical phenomena that they give birth to. In the scope of a physical modeling formalism that guarantees the energetic coherence of simulated objects, this multi-rate separation is a new topic that requires careful handling, in terms both or respect of the physical coupling and of n},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:verwaerde2015theaccompaniment,
  author = {Verwaerde, Clotilde},
  title = {The accompaniment practice in France (1750-1800) : from improvised continuo to written keyboard parts in sonatas with violin},
  school = {Paris 4},
  year = {2015},
  doi = {10.70675/0034b8afz7489z46bfzae2ezd840358adba2},
  abstract = {Between 1750 and 1800, the emergence and adoption of new musical genres and stylistic models radically change the accompaniment practice on keyboard instruments in France. Figured bass becomes scarce and is gradually replaced by written-out keyboard parts in vocal music. The first part of this thesis defines the role of the accompanist and the evolution of the notation. The second part is devoted to the instructions given in methods and treatises and establishes links with foreign schools and the following century. Finally, the third part reconsiders the question of the accompaniment in the sonatas for keyboard and violin. The comparison between theoretical writings and scores finds a direct application in the continuo and keyboard accompaniment practice, and leads to the proposition of realisation models in accordance with the characteristics observed in the musical works of that period.},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.91}
}

@phdthesis{thesis:martins2015theelectricguita,
  author = {Martins, André Lopes},
  title = {The electric guitar on experimental music: composition, improvisation and new technologies},
  year = {2015},
  url = {https://doi.org/10.11606/D.27.2015.tde-13112015-094517},
  abstract = {O presente trabalho tem a intenção de, primeiramente, estudar a guitarra elétrica como interface de composição e improvisação através da utilização de novas tecnologias digitais na música experimental; em um segundo momento, propõe uma composição musical utilizando alguns aparatos tecnológicos acoplados à guitarra. Essas ferramentas foram escolhidas após um extensivo mapeamento individual e através de experimentações de suas potencialidades do processamento sonoro quando abordadas com o instrumento. O material composicional foi posteriormente construído a partir de observações e reflexões do autor sobre o uso do instrumento enquanto interface no diálogo com as novas tecnologias digitais presentes na computação móvel. O trabalho traz também o registro autoetnográfico do período de pesquisa de algumas das ferramentas digitais selecionadas quando em uso com a guitarra elétrica e o processo de composição e registro da peça proposta, além de sua posterior análise. Em sua conclusão, são apresentadas, portanto, as observações e reflexões desta interação do instrumento e suas novas formas de instrumenticidade quando acoplado ao computador.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.91}
}

@phdthesis{thesis:ngelo2015themusicalgestur,
  author = {Ângelo, Jackes Douglas Nunes},
  title = {The musical gesture in the interpretation of tree works for trombone Estércio Marquez Cunha},
  year = {2015},
  url = {http://repositorio.bc.ufg.br/tede/handle/tede/4935},
  abstract = {This article is result from combination of interpretive practice, bibliographic study into musical gesture, analysis of the interpreted musical works, and reporting my experience as interpreter. Is made here a gesture study in musical performance and its possible potential to optimize the interpretative communication between performer and pubic. For this, we used three music pieces for trombone by composer Estércio Marquez Cunha. Backed in bibliographical searches as well as in my experience report into the preparation and interpretation of the musical works, this research describes the relationship between performance and musical gesture. From the interpretative analysis, it was found multiple instances in which musical gesture, coupled with body movement, likely to influence the interpreter expressiveness, interfering therefore directly at the moment of performance.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.82}
}

@phdthesis{thesis:rataj2015transmissionofhu,
  author = {Rataj, Jakub},
  title = {Transmission of human body's movement into sound using sensors},
  year = {2015},
  url = {http://www.nusl.cz/ntk/nusl-253950},
  abstract = {This work treats about the permeation of two different compositional approaches (real time technologie and instrumental composition) in proper piece of art - music and dance performance The Art of Manipulation. First I treat about the development of interactive motion sensing systems in the last fifty years and further I describe to different possibilities of their categorisation. In the next part I describe the performance The Art of Manipulation in terms of its dramaturgy and musical content. Further I deal with compositional methods that I used in the instrumental and electroacoustic musical plane and concurrently I analyze their relationship. In the end I describe the architecture and function of the virtual instrument used for real time sound recording and processing.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.81}
}

@phdthesis{thesis:tsiros2016amultidimensiona,
  author = {Tsiros, Augoustinos},
  title = {A Multidimensional Sketching Interface for Visual Interaction with Corpus-Based Concatenative Sound Synthesis},
  school = {Edinburgh Napier University},
  year = {2016},
  doi = {10.17869/enu.463438},
  abstract = {The present research sought to investigate the correspondence between auditory and visual feature dimensions and to utilise this knowledge in order to inform the design of audio-visual mappings for visual control of sound synthesis. The first stage of the research involved the design and implementation of Morpheme, a novel interface for interaction with corpus-based concatenative synthesis. Morpheme uses sketching as a model for interaction between the user and the computer. The purpose of the system is to facilitate the expression of sound design ideas by describing the qualities of the sound to be synthesised in visual terms, using a set of perceptually meaningful audio-visual feature associations. The second stage of the research involved the preparation of two multidimensional mappings for the association between auditory and visual dimensions. The third stage of this research involved the evaluation of the Audio-Visual (A/V) mappings and of Morpheme’s user interface. The evaluation comprised two controlled experiments, an online study and a user study. Our findings suggest that the strength of the perceived correspondence between the A/V associations prevails over the timbre characteristics of the sounds used to render the complementary polar features. Hence, the empirical evidence gathered by previous research is generalizable/ applicable to different contexts and the overall dimensionality of the sound used to render should not have a very significant effect on the comprehensibility and usability of an A/V mapping. However, the findings of the present research also show that there is a non-linear interaction between the harmonicity of the corpus and the perceived correspondence of the audio-visual associations. For example, strongly correlated cross-modal cues such as size-loudness or vertical position-pitch are affected less by the harmonicity of the audio corpus in comparison to weaker correlated dimensions (e.g. texture granularity-sound dissonance). No significant differences were revealed as a result of musical/audio training. The third study consisted of an evaluation of Morpheme’s user interface were participants were asked to use the system to design a sound for a given video footage. The usability of the system was found to be satisfactory. An interface for drawing visual queries was developed for high level control of the retrieval and signal processing algorithms of concatenative sound synthesis. This thesis elaborates on previous research findings and proposes two methods for empirically driven validation of audio-visual mappings for sound synthesis. These methods could be applied to a wide range of contexts in order to inform the design of cognitively useful multi-modal interfaces and representation and rendering of multimodal data. Moreover this research contributes to the broader understanding of multimodal perception by gathering empirical evidence about the correspondence between auditory and visual feature dimensions and },
  collection = {Theses},
  note = {Found in DataCite; cites 8 archive entries; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:hwang2016aemitheactuatede,
  author = {Hwang, Nick},
  title = {AEMI: The Actuated Embedded Musical Instrument},
  school = {Louisiana State University},
  year = {2016},
  doi = {10.31390/gradschool_dissertations.4407},
  abstract = {This dissertation is a combination of acoustic and electronic musical creation, acoustic instruments and digital instruments, and a combination of all of these areas. Part I is an original composition for orchestra with the new instrument set as soloist. Part II is an examination of the development and influences of creating a new electronic musical instrument. Part I is a composition for AEMI (the Actuated Embedded Musical Instrument) and orchestra, entitled “Meditation on Solids, Liquids, and Gas.” This composition is a dialogue between the orchestra and instrument, set as an exchange of ideas; sometimes ideas lead to conflict, others lead to resolution. This also serves as a way to feature some of the musical capabilities of this new instrument. Part II is an examination of AEMI and its influences. Chapter 1 includes a discussion of existing instruments whose similar features influenced the development of AEMI: the Theremin, Manta, JD-1, Buchla controller, EVI and EWI, and Chameleon Guitar. While AEMI instrument does not have the same performance mechanics as the Theremin, Evi, or Ewi, understanding the physicality issues of an instrument, like the Theremin, provided insights into creating a versatile instrument that can be easily learned yet have virtuosic character. Ultimately, embedding expressivity, such as subtlety and nuance into the instrument, would be one of the most difficult aspects of creating an instrument and would demand the largest amount of work. Chapter 2 describes the aesthetics, technical aspects, difficulties, and musical abilities of the instrument. Attempts to combine acoustic and electronic music are not novel, the incorporation of acoustically driven resonance by electronic embedded instruments is new. The electroacoustic nature of this instrument is different than most electronic instruments. The controller and user interface is electronically driven, and its speakers/acoustic drivers are embedded within the instrument. This discussion may provide insights to musicians, composers, and instrument makers involved in the finding of new avenues of musical expression.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 10 archive entries; NIME-topic probability 1.00}
}

@phdthesis{thesis:pearse2016agentbasedgraphi,
  author = {Pearse, Stephen},
  title = {Agent-Based Graphic Sound Synthesis and Acousmatic Composition},
  school = {University of Leeds, The University of Sheffield, University of York},
  year = {2016},
  doi = {10.13140/rg.2.2.11068.44165},
  abstract = {For almost a century composers and engineers have been attempting to create systems that allow drawings and imagery to behave as intuitive and efficient musical scores. Despite the intuitive interactions that these systems afford, they are somewhat underutilised by contemporary composers. The research presented here explores the concept of agency and artificial ecosystems as a means of creating and exploring new graphic sound synthesis algorithms. These algorithms are subsequently designed to investigate the creation of organic musical gesture and texture using granular synthesis. The output of this investigation consists of an original software artefact, The Agent Tool, alongside a suite of acousmatic musical works which the former was designed to facilitate. When designing new musical systems for creative exploration with vast parametric controls, careful constraints should be put in place to encourage focused development. In this instance, an evolutionary computing model is utilised as part of an iterative development cycle. Each iteration of the system’s development coincides with a composition presented in this portfolio. The features developed as part of this process subsequently serve the author’s compositional practice and inspiration. As the software package is designed to be flexible and open ended, each composition represents a refinement of features and controls for the creation of musical gesture and texture. This document subsequently discusses the creative inspirations behind each composition alongside the features and agents that were created. This research is contextualised through a review of established literature on graphic sound synthesis, evolutionary musical computing and ecosystemic approaches to sound synthesis and control.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 5 archive entries; NIME-topic probability 0.96}
}

@phdthesis{thesis:adi2016aplikasipembelaj,
  author = {Adi, Fransiskus},
  title = {Aplikasi Pembelajaran Piano Menggunakan Virtual Button Berbasis Augmented Reality Pada Android},
  school = {Musi Charitas Catholic University},
  year = {2016},
  url = {http://eprints.ukmc.ac.id/636/12/IF-2016-1213014-cover.pdf},
  abstract = {Today has been a lot of aspects of life that is inserted by computer technology one of which is music. One computer technology at the moment is augmented reality technology. Many applications still play piano using touch screen technology that sometimes makes it uncomfortable for the user because the size of the keys that do not match the size of the finger that is owned by the user plus piano expensive prices and low mobility. Therefore it will be built a piano application using augmented reality-based virtual button. Virtual button is a new technology that still needs development. The method used in this study was Markerless augmented reality so that the marker used need not be boxy black. System development methodology used is the waterfall method. Construction of the system is done by using the tools unity 3D, mono develop, as well as vuforia SDK and Android SDK. System modeling is done by using UML-based visual. Tests conducted by the method of black box, white box, and statistical testing. The result is a virtual piano application that contain piano chord learning method with augmented reality based virtual button on android.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.74}
}

@phdthesis{thesis:martin2016appsagentsandimp,
  author = {Martin, Charles Patrick},
  title = {Apps, Agents, and Improvisation: Ensemble Interaction with Touch-Screen Digital Musical Instruments},
  school = {Australian National University},
  year = {2016},
  doi = {10.25911/5d78d600cc591},
  abstract = {This thesis concerns the making and performing of music with new digital musical instruments (DMIs) designed for ensemble performance. While computer music has advanced to the point where a huge variety of digital instruments are common in educational, recreational, and professional music-making, these instruments rarely seek to enhance the ensemble context in which they are used. Interaction models that map individual gestures to sound have been previously studied, but the interactions of ensembles within these models are not well understood. In this research, new ensemble-focussed instruments have been designed and deployed in an ongoing artistic practice. These instruments have also been evaluated to find out whether, and if so how, they affect the ensembles and music that is made with them. Throughout this thesis, six ensemble-focussed DMIs are introduced for mobile touch-screen computers. A series of improvised rehearsals and performances leads to the identification of a vocabulary of continuous performative touch-gestures and a system for tracking these collaborative performances in real time using tools from machine learning. The tracking system is posed as an intelligent agent that can continually analyse the gestural states of performers, and trigger a response in the performers' user interfaces at appropriate moments. The hypothesis is that the agent interaction and UI response can enhance improvised performances, allowing performers to better explore creative interactions with each other, produce better music, and have a more enjoyable experience. Two formal studies are described where participants rate their perceptions of improvised performances with a variety of designs for agent-app interaction. The first, with three expert performers, informed refinements for a set of apps. The most successful interface was redesigned and investigated further in a second study with 16 non-expert participants. In the final interface, each performer freely improvised with a limited number of notes; at moments of peak gestural change, the agent presented users with the opportunity to try different notes. This interface is shown to produce performances that are longer, as well as demonstrate improved perceptions of musical structure, group interaction, enjoyment and overall quality. Overall, this research examined ensemble DMI performance in unprecedented scope and detail, with more than 150 interaction sessions recorded. Informed by the results of lab and field studies using quantitative and qualitative methods, four generations of ensemble-focussed interface have been developed and refined. The results of the most recent studies assure us that the intelligent agent interaction does enhance improvised performances.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 36 archive entries; NIME-topic probability 0.98}
}

@phdthesis{thesis:barretto2016artelligentartei,
  author = {Barretto, Francisco de Paula},
  title = {Artelligent : arte, inteligência artificial e criatividade computacional},
  year = {2016},
  doi = {10.26512/2016.07.t.21598},
  abstract = {Esta pesquisa teórico-prática de doutorado adota uma visão transdisciplinar, aprofundando a pesquisa realizada no âmbito do mestrado (BARRETTO, 2011) e propõe um novo conceito descrito como Artelligent.A palavra Artelligent tem a sua origem na junção das palavras latinas ars/artis e intelligere.A palavra ars, correspondente ao termo grego tékne, descreve basicamente uma habilidade prática para produzir artefatos e ao mesmo denota um conhecimento, ciência, metodologia relacionado à alguma teoria arte-científica.Para este caso, consideramos que trata-se de um conceito envolvendo a expressão ou habilidade imaginativa representadas em suas mais amplas vertentes como pintura, musica e literatura e que tem associado algum potencial emocional ou estético.Já a palavra intelligere, também oriunda do latim, está na raiz da palavra inteligente e é uma composição da palavras inter, isto é, entre, e legere, que significa escolher, coletar, colher, reunir.Juntas, inter e legere significam perceber, reconhecer, compreender, entender e realizar.Um sistema Artelligent pode ser definido como um sistema autopoiético que através da utilização de técnicas especificas de inteligência artificial, representa o conhecimento de forma extensível e, considerando os princípios que regem o processo criativo humano, é capaz de exibir resultados de caráter reconhecidamente emergentes em um determinado ambiente.É apresentada nesta pesquisa uma estrutura, a fim de definir claramente quais as técnicas, conceitos e princípios devem ser aplicados a fim de criar tais sistemas Artelligentes, sobretudo considerando os conceitos de autopoiese, cunhado por Maturana e Varela (1970) e emergência como uma heurística para criatividade.A fim de explorar esses conceitos, apresentamos Zer0, uma jogo que convida o interagente à realizar uma deriva em um universo governado por formas geométricas.Através de interações com outras formas, o jogador é capaz de evoluir a partir de uma única forma de linha para formas mais complexas.Zer0 é um sistema multiagentes capaz de compor música emergente em tempo real.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; NIME-topic probability 0.74}
}

@phdthesis{thesis:eaton2016braincomputermus,
  author = {Eaton, Joel},
  title = {BRAIN-COMPUTER MUSIC INTERFACING: DESIGNING PRACTICAL SYSTEMS FOR CREATIVE APPLICATIONS},
  school = {University of Plymouth},
  year = {2016},
  doi = {10.24382/4875},
  abstract = {Brain-computer music interfacing (BCMI) presents a novel approach to music making, as it requires only the brainwaves of a user to control musical parameters. This presents immediate benefits for users with motor disabilities that may otherwise prevent them from engaging in traditional musical activities such as composition, performance or collaboration with other musicians. BCMI systems with active control, where a user can make cognitive choices that are detected within brain signals, provide a platform for developing new approaches towards accomplishing these activities. BCMI systems that use passive control present an interesting alternate to active control, where control over music is accomplished by harnessing brainwave patterns that are associated with subconscious mental states. Recent developments in brainwave measuring technologies, in particular electroencephalography (EEG), have made brainwave interaction with computer systems more affordable and accessible and the time is ripe for research into the potential such technologies can offer for creative applications for users of all abilities. This thesis presents an account of BCMI development that investigates methods of active, passive and hybrid (multiple control methods) control that include control over electronic music, acoustic instrumental music, multi-brain systems and combining methods of brainwave control. In practice there are many obstacles associated with detecting useful brainwave signals, in particular when scaling systems otherwise designed for medical studies for use outside of laboratory settings. Two key areas are addressed throughout this thesis. Firstly, improving the accuracy of meaningful brain signal detection in BCMI, and secondly, exploring the creativity available in user control through ways in which brainwaves can be mapped to musical features. Six BCMIs are presented in this thesis, each with the objective of exploring a unique aspect of user control. Four of these systems are designed for live BCMI concert performance, one evaluates a proof-of-concept through end-user testing and one is designed as a musical composition tool. The thesis begins by exploring the field of brainwave detection and control and identifies the steady-state visually evoked potential (SSVEP) method of eliciting brainwave control as a suitable technique for use in BCMI. In an attempt to improve signal accuracy of the SSVEP technique a new modular hardware unit is presented that provides accurate SSVEP stimuli, suitable for live music performance. Experimental data confirms the performance of the unit in tests across three different EEG hardware platforms. Results across 11 users indicate that a mean accuracy of 96% and an average response time of 3.88 seconds are attainable with the system. These results contribute to the development of the BCMI for Activating Memory, a multi-user system. Once a stable SSVEP platform is developed, control is extended through the integration of two mo},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.74}
}

@phdthesis{thesis:kritsis2016capturingviolinp,
  author = {Kritsis, Kosmas},
  title = {Capturing Violin Performance Gestures with a Single Camera System},
  year = {2016},
  doi = {10.5281/zenodo.1183504},
  abstract = {In this work we present a novel approach in capturing violin performance gestures by employing both direct and indirect acquisition methods based on low-cost equipment that is available with any modern personal device. It is a multidisciplinary study that covers several research fields, including audio signal processing, machine learning, motion capture and computer vision. According to the bibliography, the majority of the proposals employs a direct way for the acquisition of musical gestures, by measuring the physical variables with the support of sensors which are placed on the instrument or on the performer. However, these systems invoke some kind of intrusiveness that affects the performance procedure. An alternative approach is to apply indirect acquisition from the analysis of the audio signal. The main difficulty of this method is to develop robust detection algorithms and provide accurate measurements similar to the sensors. Therefore, our goal was to implement a hybrid audio-informed system that utilizes the built-in web camera and microphone of a laptop, in order to provide qualitative feedback to the performer. This was achieved by developing an algorithm that employs video frame analysis, augmented reality and audio signal processing methods. After computing the various features from the video and audio domains, we unified the retrieved information into a single dataset in order to apply feature selection and machine learning techniques for investigating the regression prediction between the audio descriptors and the bowing controls, as they were computed from our analysis algorithm. The results are promising, since they present high correlation rates between the Bow Inclination parameter and the audio features, with maximum accuracy of 97%.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.83}
}

@phdthesis{thesis:zareei2016channelisationof,
  author = {Zareei, Mo H.},
  title = {Channelisation of Noise through a Rhythmic Grid: Brutalist Mechatronic Sound-sculpture},
  year = {2016},
  doi = {10.26686/wgtn.17014760},
  abstract = {The aim of this thesis is to provide accessibility and appreciation for sounds that are conventionally perceived as non-musical or “noise”. Ordering the noise on a grid of metric rhythms, and underlining its materiality through an audiovisual mode of expression are the two main strategies employed. Using the medium of mechatronics, mechanically generated sonic by-products of technological developments are chosen as the focus sonic material. As a result, the output of this research extends what is known as glitch music outside the territory of amplified sound, to a realm where noise is created physically and acoustically.\n\nBased on these objectives, and following an investigation on the use of mechatronics in contemporary sound-based art, an ensemble of mechatronic sound-sculptures is designed and developed. Varying in terms of material, sound-generating mechanism, and sonic quality, the ensemble is divided into three different instrument-types, each of which is introduced, thoroughly described, and sonically evaluated. Next, three new audiovisual works are developed and realised utilising the mechatronic sound-sculptures, in order to turn into practice the ideas explored in this research. These compositions – which are all exhibited in competitive international symposiums – undertake the integration of mechatronics in three areas of sonic arts that are interconnected with the sound-sculptures.\n\nFurthermore, this thesis also establishes an aesthetic framework that formalises a significant body of contemporary sound art and music that, prior to this work, had suffered academic inattention. Probing the various parallels between the ideas developed in this thesis and Brutalist architecture, ‘sound-based brutalism’ is coined and formulated as an aesthetic underpinning for not only the academically marginalised works discussed, but also the work of the author. Lastly, two audiovisual projects (a performance and a series of ten installation pieces) are developed using the entire mechatronic sound-sculpture series in an effort to realise ‘sound-based brutalism’.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 7 archive entries; NIME-topic probability 0.83}
}

@phdthesis{thesis:oliveiro2016compositionalapp,
  author = {Oliveiro, Mark},
  title = {Compositional approaches within new media paradigms},
  year = {2016},
  doi = {10.12794/metadc849618},
  abstract = {"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; selected by similarity to the archives; NIME-topic probability 0.79}
}

@phdthesis{thesis:loor2016desarrollodeapli,
  author = {Loor, Añasco and Emmanuel, José},
  title = {Desarrollo de aplicación web con integración de sistema de control versiones y librerías de edición musical, para la creación de pistas musicales de forma grupal},
  year = {2016},
  url = {http://dspace.udla.edu.ec/bitstream/33000/6676/1/UDLA-EC-TIS-2016-25.pdf},
  abstract = {The main purpose of this project is to implement the beta version of a web app for music collaboration. The app will work mainly as a social network, in which users will be able to share their audio tracks, called „loops‟, created via the online audio editor. Since the app is meant to be used online the loops must be created in the browser, this will be done through the Web Audio API which is the standard for manipulating sounds in any modern web browser. Other libraries will be created for wrapping the Web Audio API functionality. These libraries will enable the creation of notes and sequences of notes. A user will be able to create a copy of a loop under his user profile. The application will save changes made to the loop with the GIT version control system. The web application and the libraries will be developed with the Ruby programming language; these will communicate through the Volt framework. Volt can execute Ruby code both on the front-end and the back-end, enabling the creation of „isomorphic‟ applications. Under the hood, the app will compile the code to JavaScript when it is executed in the front-end. Unit and Integration tests will be created for minimizing the number of bugs in the development process. New features and fixes will be deployed trough continuous integration. For creating tests, The TDD approach will be followed. The app will be deployed to the Heroku Platform. Some of the advantages of this service are the straightforward deployment process and the plugins available.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:kuivanen2016experiencingmapp,
  author = {Kuivanen, Ilkka},
  title = {Experiencing mappings on a music controller: case Ableton Push},
  school = {Tampere University},
  year = {2016},
  url = {http://tampub.uta.fi/handle/10024/98919},
  abstract = {During the past two decades, computers have taken a major role in composition and production of modern music. Various different devices are used to control modern DAWs (digital audio workstations). This diversity of controllers gives users a wide range of options to interact with a computer during the composition and creation. A deeper integration blurs boundaries between a software and controller and creates more complex modes of interaction. This study focuses on a connection between a musical controller and computer through the concept of mapping. The aim of the study was to understand, how mappings of a contemporary software controller can be conceptualised and how they affect user experience. The material for this study was collected through an online-survey, user-sessions and semi-structured interviews for users of Ableton Live software and Push controller. Collected data show that users consider the mappings as an important part of the initial usability of the controller, but there is no clear correlation with the user experience. The results stress the importance of avoiding idiosyncrasies in the mappings and reveal the versatile approaches between users. Users with previous experience from the software tend to have established use patterns that might affect the deployment of a new controller. Mappings can be considered to have an essential role in these patterns.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 17 archive entries; selected by similarity to the archives; NIME-topic probability 0.88}
}

@phdthesis{thesis:xia2016expressivecollab,
  author = {Xia, Guangyu},
  title = {Expressive Collaborative Music Performance via Machine Learning},
  school = {Carnegie Mellon University},
  year = {2016},
  doi = {10.1184/r1/6716609.v1},
  abstract = {Techniques of Artificial Intelligence and Human-Computer Interaction have empowered computer music systems with the ability to perform with humans via a wide spectrum of applications. However, musical interaction between humans and machines is still far less musical than the interaction between humans since most systems lack any representation or capability of musical expression. This thesis contributes various techniques, especially machine-learning algorithms, to create artificial musicians that perform expressively and collaboratively with humans. The current system focuses on three aspects of expression in human-computer collaborative performance: 1) expressive timing and dynamics, 2) basic improvisation techniques, and 3) facial and body gestures. Timing and dynamics are the two most fundamental aspects of musical expression and also the main focus of this thesis. We model the expression of different musicians as co-evolving time series. Based on this representation, we develop a set of algorithms, including a sophisticated spectral learning method, to discover regularities of expressive musical interaction from rehearsals. Given a learned model, an artificial performer generates its own musical expression by interacting with a human performer given a predefined score. The results show that, with a small number of rehearsals, we can successfully apply machine learning to generate more expressive and human-like collaborative performance than the baseline automatic accompaniment algorithm. This is the first application of spectral learning in the field of music. Besides expressive timing and dynamics, we consider some basic improvisation techniques where musicians have the freedom to interpret pitches and rhythms. We developed a model that trains a different set of parameters for each individual measure and focus on the prediction of the number of chords and the number of notes per chord. Given the model prediction, an improvised score is decoded using nearest-neighbor search, which selects the training example whose parameters are closest to the estimation. Our result shows that our model generates more musical, interactive, and natural collaborative improvisation than a reasonable baseline based on mean estimation. Although not conventionally considered to be “music,” body and facial movements are also important aspects of musical expression. We study body and facial expressions using a humanoid saxophonist robot. We contribute the first algorithm to enable a robot to perform an accompaniment for a musician and react to human performance with gestural and facial expression. The current system uses rule-based performance-motion mapping and separates robot motions into three groups: finger motions, body movements, and eyebrow movements. We also conduct the first subjective evaluation of the joint effect of automatic accompaniment and robot expression. Our result shows robot embodiment and expression enable more musical, interactive, and engagi},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:evans2016extendingtechniq,
  author = {Evans, Eleri Ann},
  title = {Extending techniques: developing the saxophone’s capacity for lower-end dynamics and microtonal playing},
  school = {University of Huddersfield},
  year = {2016},
  url = {http://eprints.hud.ac.uk/id/eprint/31099/1/__nas01_librhome_librsh3_Desktop_FINAL%20THESIS.pdf},
  abstract = {Adolphe Sax believed his invention, the saxophone, was the link between louder and quieter instruments. Changes to the instrument and to playing techniques have lessened the saxophone’s ability to play quietly, and subtone techniques are now utilized for playing at lower-end dynamics. This PhD proposes a new method for playing the saxophone at lower-end dynamic levels. This method uses breath control to allow lower-end dynamic playing on the saxophone. The new method has been tested through its use in different musical compositions and in combination with different extended techniques. The new method for playing the saxophone at lower-end dynamic levels has been found to have greater applicability than existing techniques and is demonstrated in numerous recordings that accompany this work. Prominent saxophonists have said that the saxophone is not able to play notes between the semitones. Modifications to the saxophone keywork mechanisms have made some microtones possible whilst prohibiting others. Existing saxophone literature has documented quarter-tone scales but has been slow to expand further microtonal possibilities. This research has developed and proposed new models and new techniques for microtonal saxophone playing. This has been demonstrated on different saxophones, including those with distinct keywork mechanisms. The numerous fingering patterns that have resulted from this work are documented in the appendices. The microtonality that results from using extended techniques, slap-tonguing and key percussion, has also been documented. Recordings of the new models for microtonal saxophone playing accompany this research. The use of microtonal saxophone playing has been discussed in relation to different compositions. The research documented here is of relevance to saxophonists and composers who wish to play or use such techniques.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.85}
}

@phdthesis{thesis:nika2016guidinghumancomp,
  author = {Nika, Jérôme},
  title = {Guiding Human-Computer Music Improvisation : introducing Authoring and Control with Temporal Scenarios},
  school = {Université Pierre-et-Marie-Curie},
  year = {2016},
  doi = {10.70675/0cf5f0cazec88z4982za0eez55172c51c0b3},
  abstract = {Guider ou composer l'improvisation musicale homme-machine à l'aide de scénarios temporels Cette thèse propose l’introduction de scénarios temporels pour guider ou composer l’improvisation musicale homme-machine. Ce travail étudie la dialectique entre planification et réactivité dans les systèmes interactifs dédiés à l’improvisation : des systèmes informatiques pouvant générer de la musique en relation directe avec le contexte produit par une situation de concert. On cherche ici à appréhender l'improvisation pulsée et dite « idiomatique ». En s’appuyant sur l’existence d’une structure formalisée antérieure à la performance dans de nombreux répertoires improvisés (une « grille d’accords » par exemple) ces travaux proposent : un modèle d’improvisation guidée par un « scénario » introduisant des mécanismes d’anticipation ; une architecture temporelle hybride combinant anticipation et réactivité et permettant la synchronisation du rendu multimédia avec une pulsation non métronomique ; et un cadre pour composer des sessions d’improvisation idiomatique ou non à l’échelle du scénario en exploitant la généricité des modèles. Ces recherches ont été menées en interaction constante avec des musiciens experts, en intégrant pleinement ces collaborations au processus itératif de conception des modèles et architectures. Ceux-ci ont été implémentés dans le système ImproteK, utilisé à de nombreuses reprises lors de performances avec des improvisateurs. Au cours de ces collaborations, les sessions d'expérimentations ont été associées à des entretiens et séances de réécoute afin de recueillir de nombreuses appréciations formulées par les musiciens pour valider et affiner les choix technologiques.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.80}
}

@phdthesis{thesis:paloranta2016interactionwitha,
  author = {Paloranta, Jimmie and Lundström, Anders and Elblaus, Ludvig and Bresin, Roberto and Frid, Emma},
  title = {Interaction With A Large Sized Augmented String Instrument Intended For A Public Setting},
  school = {KTH Royal Institute of Technology},
  year = {2016},
  doi = {10.5281/zenodo.851288},
  abstract = {(Abstract to follow)},
  collection = {Theses},
  note = {Found in OpenAlex; cites 5 archive entries; NIME-topic probability 0.85}
}

@phdthesis{thesis:jeras2016interactivesyste,
  author = {Jeras, Matija},
  title = {Interactive system for music visualisation on the web},
  year = {2016},
  url = {http://eprints.fri.uni-lj.si/3525/},
  abstract = {This thesis focuses on the development and implementation of interactive web system, that is meant for sound vizualization. User can use this system to manipulate sound and displayed image, thus visualizing the sound on an HTML canvas. The user interface must be simple, understandable and above all user friendly, because while visualizing, user must react quickly and does not have the time to search for the desired functionality of the interface. The system is presented in the form of a website, therefore, web technologies such as HTML, JavaScript and CSS are used for implementation. There are two main ways in which the user can visualize sound: live mode, in which there are number of users involved in the visualization and solo mode, where the user visualizes the sound by himself, therefore havinig access to other functions, which are not available in live mode. All vizualization sessions are of course recorded and can be later watched or downloaded.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:giadrosich2016laquestiondelapa,
  author = {Giadrosich, Rosario Etcheverry},
  title = {La question de la participation dans les arts sonores en réseau : approche généalogique et organologique au regard de la notion de transindividuation},
  school = {Charles de Gaulle Université de Lille III},
  year = {2016},
  doi = {10.70675/8f66f18bzea45z45caz97c6z3ec9eef86514},
  abstract = {Depuis sa démocratisation dans les années 1990, Internet est devenu un milieu technologique et symbolique d’échanges à échelle mondiale dans lequel les individus d’une grande partie de la planète se retrouvent. En effet, permettant à tout un chacun d’y accéder non seulement comme récepteur, mais également comme émetteur et producteur, ce milieu se présente depuis ses origines comme un milieu ouvert à la participation de chacun des utilisateurs. Cette propriété apparaît prometteuse pour des artistes qui depuis les années 1960 sont à la recherche de nouvelles formes à travers lesquelles provoquer la participation d’un public de plus en plus anesthésié par les médias de masse et le rapport de consommation qui lui est associé. À travers cette recherche, nous proposons d’aborder la question de la participation dans les dispositifs d’art sonore en réseau télématique dits participatifs. Terme employé pour qualifier un grand nombre d’activités, la notion de « participation » nous apparaît problématique à une époque où l’hypercontrôle est au coeur d’une société de plus en plus informatisée. Tenter de comprendre les enjeux en termes de participation de ces nouvelles formes apparues avec les réseaux télématiques nécessite de les inscrire auparavant dans un processus plus large qui est celui des transformations organologiques supportant et engendrant le processus d’individuation psychosociale à partir duquel est construite toute sensibilité. Pour cela, le concept de transindividuation proposé par Bernard Stiegler à partir de Gilbert Simondon, mais aussi d’André Leroi-Gourhan, nous paraît fondamental,car il permet d’inscrire la participation au sein d’un circuit qui dépasse les seules actions.Nous proposons ainsi d’étudier ces nouvelles formes d’art sonore en réseau au regard d’une histoire du circuit de la sensibilité musicale à partir de la notion de dispositif. Il s’agit de rediriger l’attention vers une organologie élargie, en étudiant les formes d’organisations spatiales,temporelles et relationnelles des différentes périodes historiques, dans l’objectif de dégager leur fonctionnement en termes de circuit de participation. L’étude de l’organologie propre aux dispositifs d’art sonore en réseau requiert d’un plus grand élargissement qui dépasse largement le cadre de la musicologie, ce qui nous conduit à importer des outils d’étude issus d’autres disciplines scientifiques. C’est en adoptant cette approche généalogique et organologique que les enjeux en termes de participation de ces nouvelles « formes dispositifs » peuvent être ainsi étudiés dans leur complexité.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 5 archive entries; NIME-topic probability 0.74}
}

@phdthesis{thesis:taylor2016mcluhanjslivenet,
  author = {Taylor, Benjamin},
  title = {McLuhan.js: Live Net Art Performance with Remote Web Browsers},
  school = {Louisiana State University},
  year = {2016},
  doi = {10.31390/gradschool_dissertations.861},
  abstract = {McLuhan.js is a media art performance platform which engages with the web browser as a source of form and content. The platform enables a new performance scenario: a performer creates live net art actions in the browsers of remote viewers. McLuhan.js contains client-side and server-side tools for creating net art, as well as a live coding performance interface. These tools are designed to remotely control real-time collages of web media, browser windows, and computer art tropes. While the McLuhan.js toolkit is deliberately of its time, it is so because it participates in a tradition of 20th-century artists who reflected on their daily lives by incorporating contemporary communications media into their creative practice. These artists consistently looked outward to found media as sources of inspiration. Empirical and experimental investigations into new media lead these artists to work directly with a medium’s raw materials—often in subversive or unorthodox patterns—to create new forms of art from the technological fabric of their era. The Last Cloud, a net art performance using McLuhan.js, reveals a dialogue with this artistic history. Its composition is described herein, along with a description of the McLuhan.js toolkit and a survey of the history it inherits.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 2 archive entries; selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:michailidis2016onthehuntforfeed,
  author = {Michailidis, Tychonas},
  title = {On the hunt for feedback: Vibrotactile feedback in interactive electronic music performances},
  school = {Birmingham City University},
  year = {2016},
  url = {http://www.open-access.bcu.ac.uk/7206/1/PhD%20Thesis.pdf},
  abstract = {The expressivity of musical performance is highly dependent on the feedback relationship between the performer and the instrument. Despite current advances in music technology, performers still struggle to retain the same expressive nuances of acoustic instruments. The capacity of performative musical expression in technologically-driven music is mitigated by the limitations of controllers and other sensor-based devices used in the performance of such music. Due to their physical properties, such devices and components are unable to provide mainly the haptic and vibrotactile experience between the instrument and the user, thus breaking the link with traditional musical performance. Such limitations are apparent to performers, suggesting often the existence of an unnatural barrier between the technology and the performer. The thesis proposes the use of vibrotactile feedback as means to enhance performer’s expressivity and creativity in technology mediated performances and situate vibrotactile feedback as part of the tradition of instrumental musical playing. Achieved through the use of small controllable electric motors, vibrotactile feedback can nourish communicative pathways between the performer and technology, a relationship that is otherwise limited or non-existing. The ability to experience an instrument's communicative response can significantly improve the performer-instrument relationship, and in turn the music performed. Through a series of case studies, compositions and performances, the dissertation suggests ways in which vibrotactile feedback may be applied to enhance the experience between the technology and the performer. As a result performers are able to develop expressive nuances and have better control of the technology during performance.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:tandirerung2016sonifikasipemeta,
  author = {Tandirerung, Rayneldis Richard},
  title = {Sonifikasi pemetaan parameter dari data original tweet dengan #ebolaberbasis pure data = Parameter mapping sonification from original tweet data with #ebola made by using pure data},
  year = {2016},
  url = {http://repository.uph.edu/1171/},
  abstract = {Sonification is a method which is used for displaying any arbitrary data by using sound as its medium. In this research, the chosen data is original tweets data of #ebola collected from twitter which during some periods of observation was detected extensive. A special attention is given to both positive and negative tweets. The comparison of the results from both categories become the parameters for the sonification. The realization of tweet data sonification makes use parameter mapping method which is based on the frequencies of positive and negative tweets. In this case, positive tweet data is associated with major chord and sinewave waveform as its input signal; while negative tweet data is associated with minor chord and sawtooth waveform as its signal. The implementation is done by using a visual programming languange called Pd (Pure Data). The visual code of Pd is compiled then by using Pd-Extended 0.43.4. Particularly, parameter mapping method involves some processes such as domain data determination, data collection and one-to-one mapping of the data to program. The program for this sonification process is a sequencer with some additive synthesis sound generators. The functional test shows that the sequencer works properly based on the given data. At lower frequency, major chord which is generated from sine wave is not clearly heard. On the other hand, the minor chord which is composed from sawtooth wave dominate the major chord.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.89}
}

@phdthesis{thesis:stein2016taskvariablesinv,
  author = {Stein, Peter J.},
  title = {Task variables in violin bowing: Influence on variability of bow and bowing limb movement},
  school = {Boston University},
  year = {2016},
  url = {https://hdl.handle.net/2144/19562},
  abstract = {To achieve expressive musical results in violin bowing, performers access wide ranges of combined musical tone loudness and duration variables. By comparison, allowable mechanical variability in bow stroke execution may be limited. Such constraints on string bowing variability similarly might limit variability of bowing limb movement. Constrained variability may carry risk of upper extremity musculoskeletal disorders. Therefore if musical and/or bowing-execution variables influence bowing limb movement variability, they may in turn influence risk of cumulative injury in the player. In two experimental studies we examined the influence of the musical variables of duration and sound intensity (loudness) on variability in both string bowing mechanical variables and bowing limb joint moments (i.e. rotational forces) and joint angle trajectories. Five violinists performed playing tasks in which bow strokes varied across four levels of duration and three levels of loudness. Given a constant-amplitude bow stroke, quiet, brief strokes and loud, long strokes had to be executed close to the lower and upper limits of permissible bow-on-string force (bow force). In Study #1, we computed one- and three-dimensional bow movement variance measures, in both kinematic (bow velocity across violin string, distance from bow-to-bridge) and kinetic (bow force) variables. In Study #2 we computed the cycle-to-cycle standard deviation of joint moments and angles for each moment and angular degree of freedom in the bowing limb. In each study, these variability measures were compared across the 12 experimental conditions. We hypothesized that variability would be lowest when executing quiet/brief and loud/long strokes, compared to strokes that could be executed further from bow force limits. However, it was also anticipated that variability instead could be influenced most strongly by bow and/or limb velocity, magnitude of bow force, and/or bowed-string loudness response properties. Results from both studies indicated that variability in both bow-on-string and limb movement was conditioned on these latter properties: tone duration and loudness exerted consistent effects on variances and standard deviations. Contradicting the main hypothesis, variability was not influenced by proximity to bow force limits. We conclude that bowing variability is constrained mainly by factors not specific to variability tolerance at the bow-violin string interface.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.78}
}

@phdthesis{thesis:avram2016thevisualregimeo,
  author = {Avram, Horea},
  title = {The visual regime of augmented reality art: space, body, technology, and the real-virtual convergence},
  school = {McGill University},
  year = {2016},
  doi = {10.82308/28288},
  abstract = {My research investigates the aesthetic and perceptual dimensions of Augmented Reality (AR), one of the most fertile fields of technological innovation and artistic exploration within post-desktop philosophy and practice. Although AR has seen rapid expansion and development, it remains largely undertheorized in the humanities. In this sense, my study contributes to the definition of AR, the identification of the most relevant artworks, and the systematization of a theoretical framework for the field. AR is defined as a set of visualization and interaction systems that permit the perceptual overlay of virtual information (including photos, videos, 3D graphics, texts, sounds) on top of our material reality, in real time, site-specifically, and in an interactive manner. AR's capacity to articulate a hybrid space that seamlessly merges real and virtual elements is what I call convergence. AR artworks such as Jan Torpus' Living-Room 2 (2007), Janet Cardiff and George Bures Miller's Conspiracy Theory (2003), Jeffrey Shaw's The Golden Calf (1994), Julian Oliver's Artvertiser (2008), John Craig Freeman and Will Pappenheimer's Hans Richt AR (2013), and recent AR mobile applications such as Layar and Wikitude are relevant examples of the way in which AR makes reality and virtuality not only adjacent but also perceptually convergent within the same space-image. Thus, the questions that arise and which are examined in this study are as follows: to what extent does reality–virtuality convergence particularly affect a user's experience of space? Can we see AR as a confirmation or challenge to the established models of visuality? Or does it amount to a perceptual and aesthetic paradigm change? I contend that AR proposes a different visual regime as evident from the fact that it extends the traditional definition of the image (proposing instead a processual space-image that integrates reality and virtuality), redefines the role of the interface (transforming it into a context-aware, user-centric device), and reconsiders viewer's experience of space (by embedding virtual data into the everyday environment). A key element of my argument is that regardless of the technical form and artistic solutions employed, AR should be seen as a concept rather than a technology (hence the mixed methodological approach that includes art history, media studies, and computer science). My study concludes that, while grounded on historically validated artistic endeavors that aim at merging real and fictional worlds (such as installation art and Virtual Reality art), AR proposes a different spatial and media experience and therefore a different regime of visuality.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.74}
}

@phdthesis{thesis:ko2016virtualacoustics,
  author = {Ko, Doyuen},
  title = {Virtual acoustics for musicians: Exploring the influence of an electronic acoustic enhancement system on music performance},
  year = {2016},
  doi = {10.82308/8135},
  abstract = {Cette thèse fait l'étude des effets d'un système d'acoustique virtuelle sur la perception des musiciens envers leur performance musicale et l'acoustique ambiante. Les recherches antérieures ont davantage testé la réaction des musiciens dans des lieux acoustiquement différents ou en laboratoire sous simulation d'environnements acoustiques. Cette étude, via une série d'expériences sur le terrain, améliore notre compréhension des acoustiques virtuelles et leurs potentiels avantages pour les musiciens en concert ou enregistrement studio.Le système de Technologie d'Acoustique Virtuelle (TAV), développé à l'Université McGill, comprend des appareils d'acoustique électroniques et des réponses impulsionnelles mesurées dans divers lieux acoustiques pour produire un champ sonore virtuel qui peut bonifier l'acoustique d'un espace. Aux premiers essais pilote, le système TAV a été mis en œuvre pendant un enregistrement studio et un concert. En plus d'offrir un soutien acoustique, le système a permis aux musiciens d'interagir avec des reproductions fidèles de divers lieux acoustiques.Dans un vaste studio, deux expériences principales ont été menées avec des musiciens exposés à l'acoustique virtuelle en variant le support acoustique de la scène et de la salle de concert. Lors d'un test avec orchestre de chambre, des mesures acoustiques objectives ont confirmé que le système TAV renforce certaines variables reliées au soutien scénique. Il a été démontré que les participants préféraient davantage de premières réflexions, et ce, en se basant sur des attributs perceptuels comme «l'enveloppement», «la sensation de soutien scénique» et «la qualité de réverbération». Comme expérience finale, onze quatuors à cordes professionnels ont évalué subjectivement trois conditions acoustiques différentes. Les résultats démontrent une nette préférence pour les conditions acoustiques du système TAV contrairement à l'acoustique originale du studio. Les attributs les plus concrets pour décrire les préférences acoustiques des musiciens étaient «la qualité de réverbération», «la quantité de réverbération», «la facilité à entendre les autres musiciens» et «la sensation de grandeur». Cette recherche apporte un soutien au principal argument que l'acoustique virtuelle peut significativement améliorer un espace d'interprétation. Cette étude peut mener à des solutions pratiques au design de salles de concert, de studio d'enregistrement et au développement de système électro-acoustique.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.95}
}

@phdthesis{thesis:fagundes2017audiovisualcolla,
  author = {Fagundes, Diego Macedo de},
  title = {AudioVisual Collage: A computational Framework For Audiovisual Composition and Computational Art},
  school = {Goldsmiths, University of London},
  year = {2017},
  doi = {10.25602/gold.00022000},
  abstract = {This thesis proposes a novel system for audiovisual composition called AudioVisual Collage. It consists of a screen-based interactive system, which contains a series of algorithms responsible for automating the tasks of image segmentation, inpainting, virtual camera motion, 3D lighting, visual transitions and visual motion generated from data extracted from audio files. With the merging of theory and practice, this research project investigates new possibilities, new approaches, and alternative examples of what can be explored in the field of computational art so as to offer a computational framework embodying a set of conceptual principles for digital fine arts practice. The set of algorithms that constitute the AudioVisual Collage framework embody a collection of digital design techniques and artistic concepts created through an iterative, collaborative process with other artists, in which I acted as the sole computational practitioner. The two collaborative projects presented in this thesis, Surround Sounds and Interactive Art Gallery, are part of an on-going creation of case studies, which have allowed me to better understand a series of approaches and methods, leading to the design of a framework to successfully communicate and apply specific creative ideas. AudioVisual Collage is a framework that allows other artists and designers to create their own audiovisual aesthetic experiences, generating rich media outcomes constructed by software in real time. That is, the system incorporates approaches from traditional media, such as sound recording and cinema, in order to generate new computational media based on a set of clear design principles. It also proposes an art vocabulary for audiovisual composition in the digital domain, which aims to deliver something unique in terms of the inherent potential of digital work that is not possessed by other media. AudioVisual Collage demonstrates an approach for manipulating the temporal structure and spatial organisation of visual elements so as to reflect their content, and also, a method for combining visual artworks and sound in the creation of algorithmic screen based aesthetic experiences. Equally important, it is in itself a statement of what could be possibly developed in terms of algorithms for audiovisual composition in the filed of computational art.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:waghorn2017controllingemerg,
  author = {Waghorn, Daniel},
  title = {Controlling emergence in an interactive multi-agent musical system},
  school = {Monash University},
  year = {2017},
  doi = {10.4225/03/58d050c70e6f9},
  abstract = {Swarm intelligence has quickly become a popular technique for designing problem-solving systems, imitating the collective behaviours of social animals to address problems with very large solution spaces. Swarm systems specifically try to replicate and harness two properties of swarms in nature – self-organisation, where group behaviour works without central controllers; and emergence, where interaction between agents in the swarm produces higher-level patterns and structures. <br> <br> The tendency of swarms to produce very complex behaviour even when the agents they comprise are very simple makes them immediately promising for use in generative music; however, while music is often highly structured, swarm behaviour is generally unpredictable. A small number of musical systems have begun to experiment with swarming techniques, simulating the behaviours of groups of birds, ants or fish, and translating their movements into music. While these existing systems are useful for discovering the kind of music that popular swarming algorithms can produce, there has been no focus so far on how to control these swarms, and therefore it has remained unclear whether they are suited to use as musical tools. <br> <br> This thesis aims to address controllability of musical swarms, by examining how control mechanisms added to a musical swarm might influence the swarm to create higher-level musical features as demanded by a user. As part of this goal, a new swarm-based musical tool, called Chirashi, was developed and is demonstrated within. Chirashi implements a common flocking swarm algorithm, and turns user input into influence upon the behaviour of agents within the swarm, to guide groups of agents to produce music with desired aesthetic features, while retaining the swarm’s ability to act autonomously to produce emergent behaviour. In addition to the tool itself, the thesis considers the musical effects of control mechanisms upon the swarm, examining its behaviour and capacity to comply with musical demands while in use in actual music making. Above all, this thesis intends to expand the repertoire of tools available to practitioners of real time, generative music, by establishing control over a technique that is unpredictable enough to surprise its user, to make it predictable enough to allow the user to learn and master it.},
  collection = {Theses},
  note = {Found in DataCite; cites 10 archive entries; NIME-topic probability 0.89}
}

@phdthesis{thesis:rodrguez2017gensonolumvirtua,
  author = {Rodríguez, Juan Sebastián González},
  title = {Gen Sonolum Virtual Instrument for Generating Electronic Music and Controlling Live Video},
  school = {Repositorio Universidad Distrital},
  year = {2017},
  url = {http://hdl.handle.net/11349/5715},
  abstract = {Este trabajo consiste en el diseño y programación de un instrumento virtual, seguido de una sesión de improvisación en la cual se evidenciará el resultado y las posibilidades del instrumento, el Gen Sonolum. Este instrumento es capaz de generar sonido y a la vez enviar datos a parámetros de control visual en tiempo real, de tal manera que la imagen y el sonido sean controlados por parámetros comunes, para lograr cohesionar los estímulos visuales y los estímulos sonoros. Para la creación musical se desarrollaron mecanismos que permiten generar posibilidades musicales que no están contempladas en los programas de producción musical convencionales. También es capaz de tomar decisiones mediante procesos estocásticos y evolutivos, tomando como punto de partida información que debe ser predefinida por el intérprete. Para la parte visual se aprovecha la técnica del Video Mapping, la cual permite potenciar el efecto de los estímulos visuales. En este documento se da cuenta de una parte del proceso de creativo, una descripción detallada de cómo funciona el Gen Sonolum, y además recoge los intereses que motivaron las decisiones compositivas y las reflexiones que surgieron durante todo el proceso.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:perez2017gestomusicaleous,
  author = {Perez, Mauricio},
  title = {Gesto musical e o uso de interfaces físicas digitais na performance do livre electronics},
  year = {2017},
  doi = {10.11606/d.27.2017.tde-03022017-161231},
  abstract = {This research analyzes the use of digital physical interfaces in the creation and performance of electroacoustic music in real time, especially the concept of musical gesture.For this purpose, first, we conducted a systematic study of two central objects for research, namely, digital interfaces and the concept of gesture in music.We revisit some core elements of the construction of digital musical instruments, added new perspectives to digital luthiery from the concept of musical gesture as the mapping.In addition, we raised some aesthetic issues both an understanding of these interfaces as musical instruments as their use in musical composition and performance of live electronics.The concept of musical gesture, in turn, is understood in this study as an emerging issue of musical practice nowadays.We pointed to the different understandings of research in music about the meanings contained in this concept, as body and sound dimensions and kinetic and semantic capabilities.Thus, we have expanded the concept of musical gesture in a context that uses these interfaces to ideas such as corporeality, physicality and causality.Subsequently, we propose the junction between the elements present in the concept of musical gesture with the constituent elements of the interfaces and the practice of music creation and performance mediated by them, especially on the point of view of causality.Thus we recognize that the relationship between bodily actions and sound movements contribute to the musical significance in practices that use digital physical interfaces.We identify that these causal relationships may present from physical and natural models of gestural coherence, as artificial relationship between gesture and sound and their surrogates Finally, it is presented a methodology for performances that use these interfaces, as here understood, which include both how the interface is presented to the musician that plays much like the relationship between performer and interface can be understood by the viewer-listener.These proposals demonstrate how the interfaces are inserted in a context that considers the body as an aesthetic element in the practice of the live electroacoustic music.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 8 archive entries; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:grdin2017livecodingtheliv,
  author = {Gärdin, Björn and Back, Mattias},
  title = {Live coding : The livecoders practise: complicated but simple},
  school = {KTH Royal Institute of Technology},
  year = {2017},
  url = {http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-36439},
  abstract = {Livekodning är en unik del inom världen av programmering. Då denna praktik är relativt ny så har den inte hunnit utforskas sig på samma sätt som de äldre praktikerna vi är vana vid. Vi genomfört en studie av livekodning för att ta reda på hur denna praktik går till, vem som utför den och om vi eventuellt kan lära oss något nytt genom att observera den. Studien omfattar livekodningens centrala område av musikskapande praktik. Kvalitativ undersökning av livekodning och dess praktik har utförts med hjälp av experter. Data från intervjuerna analyserades med metoden grundad teori. Vi har undersökt vilken miljö en livekodare kräver för sitt uttryck. Därifrån lärde vi oss att livekodning är en relativt bred uttrycksform som fokuserar på att uttrycka sig via en kreativ process istället för att fokusera på ett slutmål och att designvalen som görs i relation till livekodning för det mesta görs under körning, snarare än under planering vid ett tidigare tillfälle. Livekodaren efterfrågar ständigt utveckling av nya miljöer och nya möjligheter till modifieringar i miljöerna.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:visi2017methodsandtechno,
  author = {Visi, Federico},
  title = {Methods and Technologies for the Analysis and Interactive Use of Body Movements in Instrumental Music Performance},
  school = {University of Plymouth},
  year = {2017},
  doi = {10.24382/681},
  abstract = {A constantly growing corpus of interdisciplinary studies support the idea that music is a complex multimodal medium that is experienced not only by means of sounds but also through body movement. From this perspective, musical instruments can be seen as technological objects coupled with a repertoire of performance gestures. This repertoire is part of an ecological knowledge shared by musicians and listeners alike. It is part of the engine that guides musical experience and has a considerable expressive potential. This thesis explores technical and conceptual issues related to the analysis and creative use of music-related body movements in instrumental music performance. The complexity of this subject required an interdisciplinary approach, which includes the review of multiple theoretical accounts, quantitative and qualitative analysis of data collected in motion capture laboratories, the development and implementation of technologies for the interpretation and interactive use of motion data, and the creation of short musical pieces that actively employ the movement of the performers as an expressive musical feature. The theoretical framework is informed by embodied and enactive accounts of music cognition as well as by systematic studies of music-related movement and expressive music performance. The assumption that the movements of a musician are part of a shared knowledge is empirically explored through an experiment aimed at analysing the motion capture data of a violinist performing a selection of short musical excerpts. A group of subjects with no prior experience playing the violin is then asked to mime a performance following the audio excerpts recorded by the violinist. Motion data is recorded, analysed, and compared with the expert’s data. This is done both quantitatively through data analysis xii as well as qualitatively by relating the motion data to other high-level features and structures of the musical excerpts. Solutions to issues regarding capturing and storing movement data and its use in real-time scenarios are proposed. For the interactive use of motion-sensing technologies in music performance, various wearable sensors have been employed, along with different approaches for mapping control data to sound synthesis and signal processing parameters. In particular, novel approaches for the extraction of meaningful features from raw sensor data and the use of machine learning techniques for mapping movement to live electronics are described. To complete the framework, an essential element of this research project is the com- position and performance of études that explore the creative use of body movement in instrumental music from a Practice-as-Research perspective. This works as a test bed for the proposed concepts and techniques. Mapping concepts and technologies are challenged in a scenario constrained by the use of musical instruments, and different mapping ap- proaches are implemented and compared. In addition, techniques},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.83}
}

@phdthesis{thesis:hemery2017modelingrecognit,
  author = {Hemery, Edgar},
  title = {Modeling, recognition of finger gestures and upper-body movements for musical interaction design},
  school = {Université Paris Sciences et Lettres},
  year = {2017},
  doi = {10.70675/2fbd30c3z7714z4bd0za3e2z2eff99e4eb9b},
  abstract = {Modélisation, reconnaissance du geste des doigts et du haut du corps dans le design d’interaction musicale Cette thèse présente un nouvel instrument de musique, appelé Embodied Musical Instrument (EMI), qui a été conçu pour répondre à deux problèmes : comment pouvons-nous “capturer” et modéliser des gestes musicaux et comment utiliser ce modèle afin de contrôler des paramètres de synthèse sonore de manière expressive. L'EMI est articulé autour d'une stratégie de “mapping explicite” qui s'inspire de techniques du jeu pianistique, mais aussi du potentiel gestuel de certains objets. Le système que nous proposons utilise des caméras 3D et des algorithmes de vision par ordinateur afin de libérer le geste de dispositifs intrusifs, tout en facilitant le processus de capture et de performance. Nous utilisons différentes caméras 3D pour le suivi de geste et exploitons pleinement leur potentiel en ajoutant une plaque transparente. Cette plaque créer un seuil de détection pour les doigtés, mais fournit aussi une rétroaction haptique, simple mais nécessaire. Nous avons examiné les gestes des doigts par rapport à la surface de l’EMI et nous avons décomposé leurs trajectoires en phases élémentaires, ce qui nous a permis de modéliser et d'analyser des gestes de type pianistique. Une étude préliminaire sur les gestes musicaux a porté notre intérêt non seulement sur les gestes “effectifs” opérés par les doigts - dans le cas des instruments à claviers - mais aussi sur les gestes “d’accompagnements” et “figuratifs”, caractérisés principalement par les mouvements des bras et de la tête. Par conséquent, nous distinguons deux niveaux d'interactions, délimités par deux volumes d’interaction: un volume englobant dit “micro” inclut les micro-gestes opérés par les doigts, tandis qu’un volume englobant dit “macro” comprend des mouvements plus importants du haut du corps. À partir de cela, nous étendons notre modèle de jeu pianistique à un paradigme d'interaction 3D, où les paramètres musicaux de haut niveau, tels que les effets sonores (filtres, réverbération, spatialisation), peuvent être contrôlés en continu par des mouvements du haut du corps. Nous avons exploré un ensemble de scénarios réels pour cet instrument, à savoir la pratique, la composition et la performance. L'EMI introduit un cadre pour la capture et l'analyse de gestes musicaux spécifiques. Une analyse hors ligne des fonctionnalités gestuelles peut révéler des tendances, des défauts et des spécificités d'une interprétation musicale. Plusieurs œuvres musicales ont été créées pour l’EMI, réalisées en solo, accompagnées d'un quatuor à cordes, et d’autres ensembles musicaux. Un retour d'expérience montre que l'instrument peut être facilement enseigné - sinon de manière autodidacte - grâce aux paradigmes gestuels intuitifs tirés de gestes pianistiques et d'autres gestes métaphoriques.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 12 archive entries; NIME-topic probability 0.77}
}

@phdthesis{thesis:berodia2017musicalinteracti,
  author = {Berodia, Sarasúa and Álvaro, },
  title = {Musical interaction based on the conductor metaphor},
  year = {2017},
  url = {http://mtg.upf.edu/node/3754},
  abstract = {Las metaforas de interfaz se utilizan habitualmente en Interaccion Persona-Ordenador (HCI, por sus siglas en ingles) para explotar el conocimiento que los usuarios ya tienen de otros dominios. Una comunmente utilizada en la construccion de Instrumentos Musicales Digitales (DMIs, por sus siglas en ingles) es la metafora del director. Basicamente, la idea en este caso es convertir el ordenador en una orquesta que el usuario dirige utilizando movimientos similares a los de un director de orquesta real. Hasta ahora, se han propuesto distintas mejoras para proveer de control mas preciso y expresivo sobre distintos parametros musicales. Sin embargo, a pesar de que la metafora del director ofrece un buen caso de uso para investigar distintos aspectos de la interaccion basada en gestos, la manera en que los usuarios interactuan con estas interfaces no ha sido aun explorada en profundidad para mejorar su usabilidad. La disponibilidad actual de camaras con sensores de profundidad, que han estimulado la aparicion de DMIs basados en esta metafora, tambien hace mas sencillo realizar esta exploracion en profundidad. Esta disertacion ofrece tal analisis. Teorizamos que parte del conocimiento que los usuarios tienen del dominio replicado por la metafora es especifico para cada usuario. En este contexto, sugerimos que un sistema que hace uso de una metafora puede mejorar su usabilidad si se adapta a dicho conocimiento especifico del usuario. Proponemos estrategias para disenar mapeos entre movimiento y sonido para DMIs construidas sobre la metafora del director mediante la adaptacion a los matices personales que se pueden analizar a partir de movimientos de direccion espontaneos, hechos sin instrucciones concretas. Para esto, primero analizamos la actuacion de un director profesional en un concierto, identificando descriptores que se pueden obtener a partir de datos de captura de movimientos y que describen la relacion entre el movimiento del director y aspectos especificos de la actuacion potencialmente controlables en un escenario interactivo. A continuacion, utilizamos estas mismas tecnicas para constuir dos sistemas que se adaptan a tendencias especificas de los usuarios en dos contextos. El primero permite controlar el tempo y la dinamica con adaptaciones aprendidas de movimientos de direccion realizados sobre una musica fija. El segundo permite controlar la articulacion musical mediante variaciones expresivas de gesto, siendo el usuario quien explicitamente define el mapeo mediante ejemplos de sus gestos. En ambos casos, comenzamos con estudios observacionales que guian el diseno de la interfaz y realizamos estudios de usuario para evaluar la usabilidad de los sistemas propuestos. Ademas de lo anterior, estudiamos el potencial de la metafora del director en un contexto de juego como un medio para incrementar el interes por la musica clasica. Hemos desarrollado Becoming the Maestro, un juego que explota las ultimas tecnologias desarrolladas en el ambito de e},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.93}
}

@phdthesis{thesis:marier2017musiquespourpong,
  author = {Marier, Martin},
  title = {Musiques pour éponge : la composition pour un nouvel instrument de musique numérique},
  year = {2017},
  doi = {10.71781/4241},
  abstract = {Cette thèse présente un instrument de musique numérique (IMN) que nous utilisons pour interpréter les œuvres que nous avons composées ou pour improviser avec d'autres musiciens. Cet instrument appelé l'éponge se présente comme un rectangle de mousse revêtu d'un tissu synthétique. Il est sans fil et est muni de capteurs qui détectent ses déformations. Les données des capteurs sont utilisées pour affecter les paramètres d'un synthétiseur logiciel. Les caractéristiques techniques de l'éponge sont présentées en détail. Les changements qui y ont été apportés au cours des neuf dernières années sont expliqués et justifiés. Les différentes stratégies de mappage qui ont été développées et utilisées sont décrites. Le mappage est approché à la fois d'un point de vue technique et d'un point de vue artistique. Nous introduisons les notions de "contrôle'' et de "jeu'', et expliquons comment elles peuvent nous aider à mieux comprendre l'art du mappage. Nous terminons en présentant trois pièces qui ont été composées et jouées avec l'éponge. Nous présentons deux pièces solos et un duo. Nous discutons aussi des particularités de l'improvisation avec un IMN comme l'éponge.},
  collection = {Theses},
  note = {Found in OpenAlex (author); cites 20 archive entries; NIME-topic probability 0.92}
}

@phdthesis{thesis:mudd2017nonlineardynamic,
  author = {Mudd, Tom},
  title = {Nonlinear Dynamics In Musical Interactions},
  school = {The Open University},
  year = {2017},
  doi = {10.21954/ou.ro.0000cc07},
  abstract = {This thesis examines nonlinear dynamical processes in musical tools, identifying certain roles that they play in creative interactions with existing tools, and investigates the roles they might play in digital tools. Nonlinear dynamical processes are fundamental in the everyday physical world. They lie at the core of many acoustic instruments, playing a particularly significant role in bowed and blown instruments. Two major studies are presented that approach these issues from different perspectives. Firstly a set of comparative studies explore the ways in which musicians engage with systems that do and do not incorporate nonlinear dynamical processes. Secondly, interviews with a range of musicians engaged in contemporary musical practices — particularly free improvisation — are used to investigate the role of nonlinear dynamical processes in instrumental interactions in relation to unpredictability and creative exploration. Evidence is presented demonstrating that nonlinear dynamical processes can be drawn on as resources for exploration over long time periods. An approach to creative interaction that explicitly draws on the properties of nonlinear dynamical processes is uncovered and connected to material-oriented notions of creative processes. Nonlinear dynamics are shown to facilitate a productive ‘‘sweet spot’’ between unpredictability and complexity on the one hand, and detailed, sensitive, deterministic control, coupled with the potential to repeat and develop particular actions on the other. The importance of timing in interactions with nonlinear dynamical processes is highlighted as being significant in creating explorable interactions, particularly close to critical thresholds. A distinction is raised between instantaneous unpredictabilities that emerge from the interaction with the tool (interactional ), and unpredictabilities that result from the unexpected implications of the conjunction of otherwise anticipated elements (combinatorial). While the usefulness of the latter in creative interactions is frequently acknowledged in HCI research, the former is often excluded, or seen as a hinderance or obstruction. Engagements with nonlinear dynamical processes in existing musical instruments and practices provide clear evidence of the utility of both nonlinear dynamics, and interactional surprises more generally, suggesting that they can be of use in other domains where creative exploration is a concern.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 21 archive entries; NIME-topic probability 0.84}
}

@phdthesis{thesis:he2017revisioningguqin,
  author = {He, Jingyin},
  title = {Re-Visioning Guqin Performance through Interface Design, Digital Measurement, and Signal Processing},
  year = {2017},
  doi = {10.26686/wgtn.20388051},
  abstract = {The guqin is the oldest Chinese stringed instrument with a history of over 3000 years. The most distinct characteristics of the instrument are the fluid modulation of pitch, and the dynamics and timbre in the tones created by the combination of the left and right hand finger techniques, which require many years for mastery of their execution and application. Most guqin research remains limited to its history, aesthetics, philosophy, sonic properties and notation system. Despite its long history and rich literature, much remains to be discovered about the embodied relationship between the intricacies of ancillary and auxiliary movements of master musicians and their rich colour, timbre and subtle nuances in sound. This research addresses the significance of guqin hand gestures, and presents an approach for re-visioning guqin performance: firstly, by developing a physical gesture acquisition system to investigate the guqin music tradition through the measurement of hand gesture techniques; secondly, by exploring the compositional and performative potential of the developed acquisition system as a musical interface, and how guqin playing schema can evoke new amalgams of electro-instrumental music; and thirdly, by utilizing the enhanced understanding of guqin hand gestures to guide the design and development of new musical interfaces. These objectives define the re-visioning of guqin performance, and are described and detailed throughout this document. The implications of this research include preserving and inheriting guqin playing styles; supplementing and advancing pedagogy; revitalizing guqin music tradition through technological means; and utilizing the embodied performer-instrument relation to advance the state of the art in human-mechatronic musical interaction.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:magee2017themodernizedkey,
  author = {Magee, Andrew James},
  title = {The Modernized Keyboard: Improving the Musician's Experience Through User-Centered Design},
  school = {Rochester Institute of Technology},
  year = {2017},
  url = {https://scholarworks.rit.edu/theses/9418},
  abstract = {In 2016, a major part of being a gigging musician is traveling with your instrument. For musicians with smaller instruments, such as the harmonica, traveling is no problem. Simply place it in your pocket and you are good to go anywhere with musical creation at your fingertips. Medium-sized instruments, like the guitar, are somewhat of a hassle to travel with due to their size, but are also typically lightweight, so the traveling still somewhat tolerable. But for musicians with large and heavy instruments, such as drums or a digital keyboard, traveling can be a nightmare. My thesis explores the full experience of the modern-day keyboardist and provides a more convenient solution for traveling with their full-size instrument, while considering important aspects of the keyboard such as the number of keys, size of the keys, and resistance (or feel) of the keys when played.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.75}
}

@phdthesis{thesis:giomi2017theauditorythoug,
  author = {Giomi, Andrea},
  title = {The auditory thought of the body : For an ecological approach to mediation technology, movement and sound interaction},
  school = {Centre Transdisciplinaire d'Épistémologie de la Littérature et des Arts vivants},
  year = {2017},
  url = {http://www.theses.fr/2017AZUR2041/document},
  abstract = {Au cours des dernières années, l’avènement des technologies de captation du mouvement a radicalement transformé l’univers de la pratique artistique tout en ouvrant des perspectives inédites pour la recherche scientifique. La musique est actuellement l’un des domaines les plus impliqués dans ce renouvellement expressif et épistémologique. Dans ce cadre, les processus d’interaction entre médiation technologique, mouvement et son, semblent se décliner selon deux modalités majeures : d’une part, les technologies d’analyse du mouvement permettent d’étudier expérimentalement la connexion mutuelle entre phénomène acoustique et système sensori-moteur; de l’autre, la compréhension de la nature incarnée de l’expérience musicale oriente la conception et le développement de technologies interactives pour la performance vers un modèle plus holistique. En partant de ces prémisses, cette thèse porte sur la manière dont la transformation des aspects imperceptibles du mouvement en données perceptibles – sous forme de son – permet de prendre conscience des processus physiologiques et figuratifs qui sont à la base du geste. Dans ce contexte, la relation entre mouvement et feedback sonore est analysée selon une perspective écologique visant à mettre en lumière comment la médiation technologique induit un processus d’extension et d’intensification autopoïétique de l’anatomie corporelle. Notamment dans le cas de la pratique performative, l’interaction sonore offre alors au performeur la possibilité de redéfinir sa propre organisation perceptive sur la base d’un un nouveau répertoire des données sensorielles, lui permettant ainsi de repenser la composition expressive du mouvement.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.92}
}

@phdthesis{thesis:lucas2017virtualstagemerg,
  author = {Lucas, Stephen},
  title = {Virtual Stage: Merging Virtual Reality Technologies and Interactive Audio/Video},
  year = {2017},
  doi = {10.12794/metadc984124},
  abstract = {Virtual Stage is a project to use Virtual Reality (VR) technology as an audiovisual performance interface. The depth of control, modularity of design, and user immersion aim to solve some of the representational problems in interactive audiovisual art and the control problems in digital musical instruments. Creating feedback between interaction and perception, the VR environment references the viewer's behavioral intuition developed in the real world, facilitating clarity in the understanding of artistic representation. The critical essay discusses of interactive behavior, game mechanics, interface implementations, and technical developments to express the structures and performance possibilities. This discussion uses Virtual Stage as an example with specific aesthetic and technical solutions, but addresses archetypal concerns in interactive audiovisual art. The creative documentation lists the interactive functions present in Virtual Stage as well as code reproductions of selected technical solutions. The included code excerpts document novel approaches to virtual reality implementation and acoustic physical modeling of musical instruments.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 2 archive entries; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:delalez2017vokinesisaninstr,
  author = {Delalez, Samuel},
  title = {Vokinesis : an instrument for suprasegmental control of voice synthesis},
  school = {Laboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur},
  year = {2017},
  url = {http://www.theses.fr/2017SACLS458/document},
  abstract = {Ce travail s'inscrit dans le domaine du contrôle performatif de la synthèse vocale, et plus particulièrement de la modification temps-réel de signaux de voix pré-enregistrés. Dans un contexte où de tels systèmes n'étaient en mesure de modifier que des paramètres de hauteur, de durée et de qualité vocale, nos travaux étaient centrés sur la question de la modification performative du rythme de la voix. Une grande partie de ce travail de thèse a été consacrée au développement de Vokinesis, un logiciel de modification performative de signaux de voix pré-enregistrés. Il a été développé selon 4 objectifs: permettre le contrôle du rythme de la voix, avoir un système modulaire, utilisable en situation de concert ainsi que pour des applications de recherche. Son développement a nécessité une réflexion sur la nature du rythme vocal et sur la façon dont il doit être contrôlé. Il est alors apparu que l'unité rythmique inter-linguistique de base pour la production du rythme vocale est de l'ordre de la syllabe, mais que les règles de syllabification sont trop variables d'un langage à l'autre pour permettre de définir un motif rythmique inter-linguistique invariant. Nous avons alors pu montrer que le séquencement précis et expressif du rythme vocal nécessite le contrôle de deux phases, qui assemblées forment un groupe rythmique: le noyau et la liaison rythmiques. Nous avons mis en place plusieurs méthodes de contrôle rythmique que nous avons testées avec différentes interfaces de contrôle. Une évaluation objective a permis de valider l'une de nos méthodes du point de vue de la précision du contrôle rythmique. De nouvelles stratégies de contrôle de la hauteur et de paramètres de qualité vocale avec une tablette graphique ont été mises en place. Une réflexion sur la pertinence de cette interface au regard de l'essor des nouvelles interfaces musicales continues nous a permis de conclure que la tablette est la mieux adaptée au contrôle expressif de l'intonation (parole), mais que les PMC (Polyphonic Multidimensional Controllers) sont mieux adaptés au contrôle de la mélodie (chant, ou autres instruments).Le développement de Vokinesis a également nécessité la mise en place de la méthode de traitement de signal VoPTiQ (Voice Pitch, Time and Quality modification), combinant une adaptation de l'algorithme RT-PSOLA et des techniques particulières de filtrage pour les modulations de qualité vocale. L'utilisation musicale de Vokinesis a été évaluée avec succès dans le cadre de représentations publiques du Chorus Digitalis, pour du chant de type variété ou musique contemporaine. L'utilisation dans un cadre de musique électro a également été explorée par l'interfaçage du logiciel de création musicale Ableton Live à Vokinesis. Les perspectives d'application sont multiples: études scientifiques (recherches en prosodie, en parole expressive, en neurosciences...), productions sonores et musicales, pédagogie des langues, thérapies vocales.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:labadie2017aninterludebetwe,
  author = {Labadie, Colin M.},
  title = {an interlude between two nothings: A Musical Composition for Flute, Clarinet, Violin, Cello, Piano, Augmented Electric Guitar, and Fixed Electronics, with Accompanying Document},
  school = {University of Alberta},
  year = {2017},
  doi = {10.7939/r3bn9xd9t},
  abstract = {"an interlude between two nothings" is a musical work approximately thirty-five minutes in length. It is scored for flute, clarinet, violin, cello, piano, fixed electronics, and an augmented electric guitar. The work is divided into six movements, which alternate between two contrasting streams. One stream attempts to evoke a rational quest for knowledge through the metaphor of the universe’s origins and evolution, while the other stream suggests the absurdity in such quests by my imagining of the universe’s ultimate destruction. The contrasting goals of these streams is reflected in their respective creative approaches: the former is composed primarily for the acoustic medium, and develops increasingly fixed and ordered musical materials; the latter is improvised exclusively in the electronic medium—namely, an augmented electric guitar that I designed and constructed—and uses a variety of destructive and/or deteriorative signal-processing effects. The separation of fixed/ordered materials in the acoustic medium and improvised/destructive materials in the electronic medium is reflective of my overall creative practice in recent years. This thesis is divided into two broad sections: an analysis of an interlude between two nothings, followed by the score itself. In the analysis, I begin by contextualizing the work within my own creative output as well as the broader repertoire. I then analyze the entire work, beginning with broad considerations such as narrative and formal structure, and then moving to more a more detailed discussion of specific creative approaches in each of the respective streams. Supplementary Audio and Video may be streamed at Aviary: https://ualberta.aviaryplatform.com/r/0000001m2t},
  collection = {Theses},
  note = {Found in OpenAlex; cites 4 archive entries; NIME-topic probability 0.97}
}

@phdthesis{thesis:hart2018aconstructivista,
  author = {Hart, AM},
  title = {A constructivist approach to developing interactive digital technology for musical learning},
  school = {University of Salford},
  year = {2018},
  url = {http://usir.salford.ac.uk/id/eprint/48403/2/Adam%20Hart%20PhD%20Appendix.zip},
  abstract = {This study explores the potential added value of interactive digital technology to early-years music education through the development of software artefacts and their application in the primary classroom. The aims of the study are to investigate and identify new designs and approaches for classroom music-making with technology, to integrate educational theory and software development in this field, and to promote musical creativities at the individual and social level. Following a constructivist-interpretivist approach, a range of qualitative methods are applied in the pursuit of these goals. The emerging educational methodology of Software Design as Research (SoDaR) is combined with an emergent model of Grounded Theory, adapting a new methodological approach for the unique purposes of this project, as well as examining how this model could be applied to similar projects. \n Findings can be summarised as follows: \n Rudimentary and familiar actions can be harnessed, through digital interfaces, as a means of affording creative expression in novice musicians \n Meaning-making structures are as vital as music-making structures in such activities, allowing creative ownership and communication to emerge through basic narrative elements \n Through this process of interactive and representational engagement, digitally-supported environments can allow learners to construct musical concepts for themselves, at the individual and social level. \nThis research has implications for music education: Appropriate digital technologies and approaches can support the process of musical learning in social settings. Furthermore, such technologies, and the framework for their use in the classroom, can be developed through a process grounded in empirical educational research. Closer working links between educational practice and research, and the development and testing of digital resources, are recommended to ensure that a meaningful and active music education, and the valuable opportunities for personal, social and creative development and expression that this affords, is available and accessible for all learners.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.89}
}

@phdthesis{thesis:jablonskis2018adaptivegesturer,
  author = {Jablonskis, Evaldas},
  title = {Adaptive gesture recognition system, transforming dance performance into music},
  school = {University of Vienna},
  year = {2018},
  doi = {10.25365/thesis.52586},
  abstract = {Das Ziel dieser Arbeit war, ein Gestenerkennungssystem zu entwickeln, welches Tanz zu Musik umwandelt und dabei einen maschinellen Lernalgorithmus nutzen konnte. Das Projekt dieser These war in sechs Phasen, den Verarbeitungsketten, gegliedert: Eingang, Merkmalsextraktion, Segmentierung, Klassifizierung, Nachbearbeitung und Ausgabe. Microsoft Kinect v2 Gerät wurde als Eingabemedien ausgewählt. Kinect SDK 2.0 wurde ausgewählt, um relevante Merkmale aus dem Tiefenbild zu extrahieren. Das Bar-Maß wurde als der geeignetste Ansatz zur Segmentierung des Datenstroms auf verschiedene Gesten gewählt. Dynamic Time Warping wurde als der am besten geeignete Algorithmus ausgewählt. Die Umgebung von EyesWeb wurde ausgewählt, um eine vorhergesagte Kategorie in einen Tonauslöser zu verwandeln und eine "Gesten Engine" zu erstellen. Ableton Live wurde ausgewählt, als "Musik Engine" zu fungieren. Das entworfene System hat virtuelle Instrumente mit Körperteilen gepaart: Das System musste Gesten jeder Gruppe von Körperteilen lernen und wissen, welche Geste welchen Clip in einer Musikkomposition spielt. Ein funktionierender Prototyp eines solchen Systems wurde implementiert und geprüft. Die Ergebnisse unterstützten die Hypothese von dieser Arbeit, dass ein maschineller Lernalgorithmus für die flexible Gestenerkennung verwendet werden kann. Die Leistung des Systems wurde unter verschiedenen Bedingungen bewertet, um eigene Stärken und Schwächen aufzudecken. Messungen basierend auf der Signaldetektionstheorie wurden sowohl in der Anpassungs- als auch in der Kreuzvalidierungsanalyse berechnet. Die Ergebnisse zeigten eine sehr hohe Vorhersagegenauigkeit des Systems: in den meisten Fällen waren es mehr als 90 %. Die Analyse zeigte, dass das System am besten funktioniert, wenn alle vorhergesagten Gesten in dem Trainingsdatenset aufgenommen wurden und wenn jede Geste mindestens 16 Trainingsproben hatte.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.94}
}

@phdthesis{thesis:kaltenbrunner2018anabstractionfra,
  author = {Kaltenbrunner, Martin},
  title = {An Abstraction Framework for Tangible Interactive Surfaces},
  year = {2018},
  doi = {10.25643/bauhaus-universitaet.3717},
  abstract = {This cumulative dissertation discusses - by the example of four subsequent publications - the various layers of a tangible interaction framework, which has been developed in conjunction with an electronic musical instrument with a tabletop tangible user interface. Based on the experiences that have been collected during the design and implementation of that particular musical application, this research mainly concentrates on the definition of a general-purpose abstraction model for the encapsulation of physical interface components that are commonly employed in the context of an interactive surface environment. Along with a detailed description of the underlying abstraction model, this dissertation also describes an actual implementation in the form of a detailed protocol syntax, which constitutes the common element of a distributed architecture for the construction of surface-based tangible user interfaces. The initial implementation of the presented abstraction model within an actual application toolkit is comprised of the TUIO protocol and the related computer-vision based object and multi-touch tracking software reacTIVision, along with its principal application within the Reactable synthesizer. The dissertation concludes with an evaluation and extension of the initial TUIO model, by presenting TUIO2 - a next generation abstraction model designed for a more comprehensive range of tangible interaction platforms and related application scenarios.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.84}
}

@phdthesis{thesis:long2018closingtheloopim,
  author = {Long, Jason},
  title = {Closing the Loop: Implementing Real-time Audio Feedback Systems in Musical Robots},
  school = {Victoria University of Wellington},
  year = {2018},
  doi = {10.26686/wgtn.17068541},
  abstract = {A closed-loop control system is any configuration that feeds information about its output back into the control stream. These types of systems have been in use for hundreds of years in various engineering related disciplines to carry out operations such as keeping rooms at the correct temperature, implementing cruise control in cars, and precisely positioning industrial machinery. When a musician performs a piece, a type of biological closed loop is invoked in which the player continuously listens to the sound of their instrument, and adjusts their actions in order to ensure their performance is as desired. However, most musical robots do not possess this ability, instead relying on open-loop systems without feedback. This results in the need for much manual intervention from the operators of these robots, unintuitive control interfaces for composing and performing music with them, and tuning, timing, dynamics and other issues occurring during performances. This thesis investigates applying closed-loop audio feedback techniques to the creation of musical robots to equip them with new expressive capabilities, interactive applications, musical accuracy, and greater autonomy. In order to realise these objectives, following an investigation of the history of musical automata and musical robotic control systems, several new robotic musical instruments are developed based on the principals of utilising embedded musical information retrieval techniques to allow the instruments to continuously ‘listen’ to themselves while they play. The mechanical and electronic systems and firmware of a closed-loop glockenspiel, a modular unpitched percussion control system, and a robotic chordophone control system are described in detail, utilising new software and hardware created to be accessible to electronic artists. The novel capabilities of the instruments are demonstrated both through quantitative evaluations of the performance of their subsystems, and through composing original musical works specifically for the instruments. This paradigm shift in musical robotic construction paves the way for a new class of robots that are intuitive to use, highly accurate and reliable, and possess a unique level of musical expressiveness.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 31 archive entries; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:behseresht2018dancinginvirtual,
  author = {Behseresht, Sarah and Juenke, Hannah and Taft, Kali},
  title = {Dancing in Virtual Reality},
  school = {Texas A&M University Libraries},
  year = {2018},
  url = {https://hdl.handle.net/1969.1/166465},
  abstract = {This creative project serves to explore the fields of choreography, lighting and music design, and virtual reality technology to create a performance piece. There is a growing surge of advances in virtual reality technology, and in order to keep the field of dance innovative and the discussion between the worlds of dance and technology relevant, we are interested in merging the two in a collaborative work. It is important to continue to present dance to audiences using different means to help achieve an experience for the audience and explore creative options in our own choreography. The overall goal of this research is to create an interesting modern dance performance that incorporates virtual reality technology. Our end result will be accomplished by dividing the work into three separate parts. Each team member will then focus on their area of the project. The first area is the dance choreography which will be entirely in a modern dance vernacular. The second aspect is the lighting and music design. The music will be chosen to set the mood of the piece, and the lighting will have to be enough to light the dancer, yet not over power the projections on the screen. The third aspect is the virtual reality aspect. The technology has been designed by the visualization department in collaboration with the dancers. The combination of these three aspects will form a performance piece that will be presented to audiences of various backgrounds.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:choo2018designanddevelop,
  author = {Choo, Chee Wee},
  title = {Design and development of high sensitivity sensor for finger tracking in piano playing},
  school = {Universiti Malaysia Sabah},
  year = {2018},
  url = {http://eprints.ums.edu.my/22487/1/Design%20and%20development%20of%20high%20sensitivity%20sensor%20for%20finger%20tracking%20in%20piano%20playing},
  abstract = {The art of planning the movement of hands in order to produce the desired sound of the piano is one of the important part of piano technique. Various researches have attempted to unveil the technique of virtuoso pianists using technologies. These researches employ different types of sensors in order to capture motion data in piano playing. However, one area in these researches have been under-represented, which is the finger position of a musician while playing the musical instrument. In piano technique, it is very important to study the finger position that could land on any position along the surface of one single key. Researches that embark on this area face a common problem, the sensors used in these researches are short in range and directly in contact with the pianist, which causes a change of piano playing experience. To avoid obstruction to the pianist, the finger tracking sensor should be placed away from the keyboard and track human finger across a set of wooden piano keys with 13 cm thickness. However, current technologies of capacitive finger tracking emphasizes either on near proximity sensing or remote gesture recognition, where both of them do not focus on accurate remote positional tracking that is required in this application. The range limitation of the current sensors is mainly affected by circuit design and size of electrodes. Concluding the challenges, a high sensitivity finger tracking sensor is proposed. A series of researches and comparing are carried out to select a high sensitivity capacitive sensing method with low noise. Upon selecting the sensing method, circuit modifications and components parameters tuning are applied. This includes minimizing stray capacitance and filtering noise. In addition to this, the sizes and arrangements of electrodes are optimized where electrodes are coupled with wooden keys to increase sensitivity of the sensor. The final signals from the sensor are digitalized and trained using artificial neural network to obtain positional data. This prototype sensor is developed to track different position of the fingers on five keys of the piano. To validate the design, 500 sets of independent input data with known output position were used to test the network. The output shows that the average error between the test set and the desired target is 7 mm, which translate to 83.79% accuracy. The error and accuracy from the output is reasonably good for all data set. To summarise, this research presents the design and development of a high sensitivity finger tracking sensor through sensor hardware design and signal processing. The outcome from this work could be applied to researches that require detection of minute capacitance induced by human finger.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.86}
}

@phdthesis{thesis:buys2018developmentandev,
  author = {Buys, Kurijn},
  title = {Development and Evaluation of a Hybrid Wind Instrument},
  school = {The Open University},
  year = {2018},
  doi = {10.21954/ou.ro.0000d17f},
  abstract = {A hybrid wind instrument generates self-sustained sounds via a real-time interaction between a computed excitation model (such as the physical model of human lips interacting with a mouthpiece) and a real acoustic resonator. Attempts to produce a hybrid instrument have so far fallen short, in terms of both the accuracy and the variation in the sound produced. The principal reason for the failings of previous hybrid instruments is the actuator which, controlled by the excitation model, introduces a fluctuating component into the air flow injected into the resonator. In the present thesis, the possibility of using a loudspeaker to supply the calculated excitation signal is evaluated; the loudspeaker is placed at the entrance of the resonator (a clarinet-like tube), along with a microphone. This work focusses particularly on two possibilities: using the instrument as a new musical instrument and using it as a tool to carry out wind instrument research. First, a theoretical study facilitates the modelling of the loudspeaker-resonator system and the design of a feedback and feedforward filter to successfully compensate for the presence of the loudspeaker. The prototype is then evaluated using physical models of a single-reed, a lip-reed and a bow-string interaction and using a purely mathematical “polynomial” excitation model. For the design of excitation models, the usefulness of dimensionless and reduced parameter forms is outlined, and a sound prediction theory is presented, enabling the pre-estimation of both amplitude and spectral related features of the self-sustained sounds. The resulting self-sustained sounds are evaluated by a mapping of their sound descriptors to the input parameters of the excitation models, both for sustained and attack sounds. For all excitation models, the sounds produced by the hybrid instrument are shown to match those predicted by simulation. However, the hybrid instrument is more easily destabilised for certain extreme parameter states.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 5 archive entries; selected by similarity to the archives; NIME-topic probability 0.89}
}

@phdthesis{thesis:antoniadis2018embodiednavigati,
  author = {Antoniadis, Pavlos},
  title = {Embodied navigation of complex piano notation : rethinking musical interaction from a performer’s perspective},
  year = {2018},
  doi = {10.70675/4e5e6ec7zd9f3z478fz94fbz01a6922fcddb},
  abstract = {« Navigation incarnée » de la notation complexe pour piano : repenser l’interaction musicale selon la perspective de l’interprète La thèse propose un paradigme d’interaction avec la notation musicale complexe pour piano selon une perspective « incarnée » et «située » de l’interprète. Ce paradigme, que je nomme navigation incarnée, s’oppose au paradigme traditionnel d’interprétation textuelle. Le paradigme traditionnel considère un processus de lecture linéaire et hiérarchique, selon lequel la compréhension et l’internalisation du texte musical sont les conditions préalables pour l’application de la technique instrumentale, permettant par la suite une interprétation personnelle. À la place de ce paradigme, je propose de traiter la notation musicale comme un élément dynamique, non linéaire, et à la fois incarné et externalisé. Dans une deuxième phase, le paradigme proposé devient la base du développement d’outils adaptés au projet de la navigation incarnée et de diverses applications, incluant l’analyse de la performance, l’apprentissage incarné et interactif, la composition musicale et l’improvisation.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; NIME-topic probability 0.82}
}

@phdthesis{thesis:aestas2018experimentalhard,
  author = {Aestas, Michaela Anna},
  title = {Experimental Hardware Musical Instrument Combining Electronic and Electromechanical Sound Source},
  school = {Brno University of Technology},
  year = {2018},
  url = {http://hdl.handle.net/11012/81998},
  abstract = {Cílem práce je navrhnout a realizovat experimentální elektroakustický hardwarový hudební nástroj; experimentálnost spočívá v neobvyklé kvalitě zvuku, netradičním způsobu ovládání a vzhledu nástroje.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:bressolette2018gesturalmanipula,
  author = {Bressolette, Benjamin},
  title = {Gestural manipulations of a sonified virtual object for interface control in driving situations},
  school = {Perception, Représentations, Image, Son, Musique},
  year = {2018},
  url = {http://www.theses.fr/2018ECDM0009/document},
  abstract = {Les constructeurs automobiles proposent un vaste éventail de fonctions secondaires à la conduite, en relation avec le GPS, la musique, ou encore la ventilation. L'ensemble de ces fonctions est centralisé sur un écran accessible au centre de l'habitacle, équipé d'une dalle tactile dans nombre de véhicules récents. Cependant, leur manipulation en conduite peut se révéler périlleuse : la sollicitation de la modalité visuelle pour interagir avec l'interface peut entraîner une baisse de vigilance vis-à-vis de la tâche de conduite, ce qui peut mener à des situations dangereuses. Au cours de cette thèse, fruit d'une collaboration entre le Groupe PSA et le laboratoire PRISM, nous nous sommes attachés à proposer une association de gestes et de sons comme alternative à une sollicitation visuelle. Le but est de proposer des interactions réalisables en aveugle, pour permettre au conducteur de focaliser ses yeux sur la route. Pour réaliser conjointement une manipulation de l'interface et une tâche de conduite, une sollicitation multisensorielle peut en effet permettre de faire baisser la charge mentale du conducteur, en comparaison à une situation unimodale visuelle. Pour que le lien entre les gestes et les sons paraisse naturel, un objet virtuel a été introduit, manipulable grâce à des gestes. Cet objet est le support des stratégies de sonification, par analogie aux sons de notre environnement, qui sont la conséquence d'une action sur un objet. L'objet virtuel permet également de structurer différents gestes autour d'une même métaphore, ou encore de redéfinir le menu d'une interface. La première partie de cette thèse est consacrée à la mise au point de stratégies de sonification pour transmettre des informations pertinentes sur la dynamique de l'objet virtuel. Deux expériences perceptives ont été mises en place, qui ont conduit à la discrimination de deux stratégies de sonification intéressantes. Dans une deuxième partie, nous avons œuvré à la mise en situation automobile par un travail sur les stimuli sonores, sur l'interface, et par l'étude de l'intégration multisensorielle. Un design des stratégies de sonification a été proposé pour permettre de se projeter dans une utilisation en véhicule. Par la suite, les évocations provoquées par le couplage des gestes et des sons ont été au centre d'une troisième expérience perceptive. Cette étude a été effectuée en aveugle, où le concept d'objet virtuel était inconnu et découvert progressivement par les sujets. Ces images mentales véhiculées par les stratégies de sonification peuvent en effet être utiles lors de la familiarisation des utilisateurs avec l'interface. Une quatrième expérience perceptive s'est concentrée sur la prise en main de l'objet virtuel, où l'intégration des stimuli visuels et auditifs a été étudiée, dans le contexte du maniement d'une interface. Les sujets ont été placés dans des conditions similaires à la découverte de l'interface en véhicule à l'arrêt, avec des stimuli audio-visuels ; puis à s},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:dias2018interfacingjazza,
  author = {Dias, Rui},
  title = {Interfacing Jazz: A Study in Computer-Mediated Jazz Music Creation And Performance},
  school = {University of Porto},
  year = {2018},
  doi = {10.34626/f3cr-cc71},
  abstract = {O objetivo central desta dissertação é o estudo e desenvolvimento de algoritmos e interfaces mediados por computador para performance e criação musical. É sobretudo centrado em acompanhamentos em Jazz clássico e explora um meta-controlo dos parâmetros musicais como forma de potenciar a experiência de tocar Jazz por músicos e não-músicos, quer individual quer coletivamente. Pretende contribuir para a pesquisa existente nas áreas de geração automática de música e de interfaces para expressão musical, apresentando um conjunto de algoritmos e interfaces de controlo especialmente criados para esta dissertação. Estes algoritmos e interfaces implementam processos inteligentes e musicalmente informados, para gerar eventos musicais sofisticados e corretos musical estilisticamente, de forma automática, a partir de um input simplificado e intuitivo do utilizador, e de forma coerente gerir a experiência de grupo, estabelecendo um controlo integrado sobre os parâmetros globais. A partir destes algoritmos são apresentadas propostas para diferentes aplicações dos conceitos e técnicas, de forma a ilustrar os benefícios e potencial da utilização de um meta-controlo como extensão dos paradigmas existentes para aplicações musicais, assim como potenciar a criação de novos. Estas aplicações abordam principalmente três áreas onde a música mediada por computador pode trazer grandes benefícios, nomeadamente a performance, a criação e a educação. Uma aplicação, PocketBand, implementada no ambiente de programação Max, permite a um grupo de utilizadores tocarem em grupo como uma banda de jazz, quer sejam ou não treinados musicalmente, cada um utilizando um teclado de computador ou um dispositivo iOS multitoque. O segundo protótipo visa a utilização em contextos coletivos e participativos. Trata-se de uma instalação para vários utilizadores, para ecrã multitoque, intitulada MyJazzBand, que permite até quatro utilizadores tocarem juntos como membros de uma banda de jazz virtual. Ambas as aplicações permitem que os utilizadores experienciem e participem de forma eficaz como músicos de jazz, quer sejam ou não músicos profissionais. As aplicações podem ser utilizadas para fins educativos, seja como um sistema de acompanhamento automático em tempo real para qualquer instrumentista ou cantor, seja como uma fonte de informação para procedimentos harmónicos, ou como uma ferramenta prática para criar esboços ou conteúdos para aulas. Irei também demonstrar que esta abordagem reflete uma tendência crescente entre as empresas de software musical comercial, que já começaram a explorar a mediação por computador e algoritmos musicais inteligentes.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 5 archive entries; NIME-topic probability 0.75}
}

@phdthesis{thesis:lee2018musicinmotionast,
  author = {Lee, Sunjung},
  title = {Music in Motion: A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music.},
  school = {The University of Kansas},
  year = {2018},
  url = {https://hdl.handle.net/1808/27862},
  abstract = {This paper will discuss research on how knowledge of actual dance movements affects the interpretation of music. The essence of rhythmic elements can be easily misunderstood, despite performers’ efforts to study the context of the notes including programmatic backgrounds, dynamics, harmonic languages, and textures. One of the reasons why rhythm can be easily misinterpreted is the current notation system, which hardly can give the performers enough information to show the characteristics of rhythmic movements unless the performer comprehends the context of the rhythm. This problem can lead musicians to misinterpretations of the aesthetics of the piece because rhythm is one of the major elements that makes music distinctive. People often think music inspires the dancer’s movements. However, we should know the beat is, in fact, from our body’s natural rhythms. Eventually, our body rhythm and the beat are intermingled. Also, even before composers write their music, what they hear and experience in their culture, which is deeply associated with the folk dances, courtly dances, and simple body movements, can have a strong influence on their music. Thus, the sound and tone that have invisible motion in the space could be specified with visual dance movements. Historical research on the relationship of the dominant dances and music from the renaissance era to the twentieth century will be one of main resources to provide the knowledge of dance movement. These are the questions that I would research for better understanding of the intention of the composers in each period: • When was the dance historically performed and for which circumstances was the dance appropriate? • How were the dance movements choreographed, and what is distinctive about the dance? • Where were the dances performed, what speed was preferable, and what were the specific gestures for the meters? Furthermore, comparing the current recording examples to describe the motion in the space is expected to provide the performers with the ability to discern the choice of rhythmic interpretation. Also, this research will provide a critical interpretation of the major musical repertoire. In this way, performers can have critical discernment of interpretation based on the rhythmic context, not only for music with dance titles, but also for music that was not originally written for dancing. Not all piano music was intended to be dance music, and thus, learning and researching the major dance movements of a specific historical period will allow us, as musical performers, to more richly understand the music. The idea of spatial understanding of musical notation will enhance pianists’ ability to interpret and interact with piano music.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:wang2018narrativetoactio,
  author = {Wang, Chi},
  title = {Narrative to Action in the Creation and Performance of Music with Data-driven Instruments},
  school = {University of Oregon},
  year = {2018},
  url = {http://hdl.handle.net/1794/23277},
  abstract = {The seven compositions that comprise this dissertation are represented by the following files: text file (pdf), seven video performances (mp4), and corresponding zipped files of custom software and affiliated files (various file types).},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; NIME-topic probability 0.96}
}

@phdthesis{thesis:waite2018networksoflivene,
  author = {Waite, Simon},
  title = {Networks of Liveness in Singer-Songwriting: A practice-based enquiry into developing audio-visual interactive systems and creative strategies for composition and performance.},
  school = {De Montfort University},
  year = {2018},
  url = {https://www.dora.dmu.ac.uk/handle/2086/18298},
  abstract = {This enquiry explores the creation and use of computer-based, real-time interactive audio-visual systems for the composition and performance of popular music by solo artists. Using a practice-based methodology, research questions are identified that relate to the impact of incorporating interactive systems into the songwriting process and the liveness of the performances with them. Four approaches to the creation of interactive systems are identified: creating explorative-generative tools, multiple tools for guitar/vocal pieces, typing systems and audio-visual metaphors. A portfolio of ten pieces that use these approaches was developed for live performance. A model of the songwriting process is presented that incorporates system-building and strategies are identified for reconciling the indeterminate, electronic audio output of the system with composed popular music features and instrumental/vocal output. The four system approaches and ten pieces are compared in terms of four aspects of liveness, derived from current theories. It was found that, in terms of overall liveness, a unity to system design facilitated both technological and aesthetic connections between the composition, the system processes and the audio and visual outputs. However, there was considerable variation between the four system approaches in terms of the different aspects of liveness. The enquiry concludes by identifying strategies for maximising liveness in the different system approaches and discussing the connections between liveness and the songwriting process.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:ottavi2018newformsofnetwor,
  author = {Ottavi, Julien},
  title = {New forms of networked sound practices : collaborative practice, shared creation, the Internet as a non-space, extended listening and permanent installations},
  school = {Université de Lorraine},
  year = {2018},
  doi = {10.70675/a4bc1256zaf17z4152z8e89zbdb0d0e0928d},
  abstract = {Since the advent of portable technologies and the Internet, many artists conceive their works beyond a given space and time and invent permanent and immaterial forms scattered over the networks. Within the framework of this research, the aim is to produce a series of sound works using the network and collaborative modes of participation, as well as to stimulate discussion of the concepts revealed by these new practices and forms of artistic language: noise, sound poetry and experimental music. This research will focus on the key elements of a connected laboratory of shared sound production: questions will be raised through the lens of the author’s own artistic practice using geodelocalised forms of installation and simultaneous musical performances on the Internet. I will also consider the work and thinking of a community of artists within this field and seek to understand how these artists and theorists formulate their thoughts and create new concepts. Finally, this thesis addresses these creative projects, practices and expertise and articulates a theoretical methodology which draws together current forms of artistic language relating to cutting edge music and poetry and networked practices},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.89}
}

@phdthesis{thesis:trail2018noninvasivegestu,
  author = {Trail, Shawn},
  title = {Non-invasive gesture sensing, physical modeling, machine learning and acoustic actuation for pitched percussion},
  school = {University of Victoria},
  year = {2018},
  url = {http://hdl.handle.net/1828/9345},
  abstract = {This thesis explores the design and development of digitally extended, electro- acoustic (EA) pitched percussion instruments, and their use in novel, multi-media performance contexts. The proposed techniques address the lack of expressivity in existing EA pitched percussion systems. The research is interdisciplinary in na- ture, combining Computer Science and Music to form a type of musical human- computer interaction (HCI) in which novel playing techniques are integrated in perfor- mances. Supporting areas include Electrical Engineering- design of custom hardware circuits/DSP; and Mechanical Engineering- design/fabrication of new instruments. The contributions can be grouped into three major themes: 1) non-invasive gesture recognition using sensors and machine learning, 2) acoustically-excited physical mod- els, 3) timbre-recognition software used to trigger idiomatic acoustic actuation. In addition to pitched percussion, which is the main focus of the thesis, application of these ideas to other music contexts is also discussed.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:ransun2018pembuatanaplikas,
  author = {Ransun, Kevin Agustinus},
  title = {Pembuatan Aplikasi Music Grid Instrument},
  school = {University of Surabaya},
  year = {2018},
  url = {http://repository.ubaya.ac.id/34701/1/TI_1978_Abstrak.pdf},
  abstract = {Music Grid Instrument adalah sebuah controller untuk memainkan clip musik dan mixing music, biasanya terdapat 4x4 tombol yang bernama pad yang berfungsi untuk memainkan clip musik. Music Grid Instrument sekarang terbilang mahal, karena berharga sekitar 1,5 juta hingga 5 juta rupiah. Harga yang mahal dan cara memasukkan clip musik yang membutuhkan waktu lama ini menjadikan Music Grid Instrument ini jarang diminati. Maka dibutuhkan sebuah aplikasi mobile yang khusus untuk Music Grid Instrument tanpa membeli perangkat. Dengan berkembangnya aplikasi di platform Android, memungkinkan seseorang dengan mudah mengunduh aplikasi secara gratis. Tidak perlu mengatur clip melalui PC dan mudah untuk disebar luaskan di social media. Music Grid Instrument dibuat menggunakan Unitydan menggunakan plug-inEveryplay , Proses yang dilalui dalam membuat aplikasi ini adalah membuat fitur play,looping, record, edit clip, insert clip, edit color, dan change clip.Berdasarkan uji coba yang melalui dua tahap verifikasi dan validasi maka dapat disimpulkan bahwa 100% responden merasa aplikasi Music Grid Instrument ini sudah bisa menggantikan Music Grid Instrumentyang sudah ada.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:desvages2018physicalmodellin,
  author = {Desvages, Charlotte},
  title = {Physical modelling of the bowed string and applications to sound synthesis},
  year = {2018},
  url = {http://hdl.handle.net/1842/31273},
  abstract = {This work outlines the design and implementation of an algorithm to simulate two-polarisation bowed string motion, for the purpose of realistic sound synthesis. The algorithm is based on a physical model of a linear string, coupled with a bow, stopping fi ngers, and a rigid, distributed fingerboard. In one polarisation, the normal interaction forces are based on a nonlinear impact model. In the other polarisation, the tangential forces between the string and the bow, fingers, and fingerboard are based on a force-velocity friction curve model, also nonlinear. The linear string model includes accurate time-domain reproduction of frequency-dependent decay times. The equations of motion for the full system are discretised with an energy-balanced finite difference scheme, and integrated in the discrete time domain. Control parameters are dynamically updated, allowing for the simulation of a wide range of bowed string gestures. The playability range of the proposed algorithm is explored, and example synthesised gestures are demonstrated.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:akkaya2018soundmorphingusi,
  author = {Akkaya, Uğur Can},
  title = {Sound Morphing Using Auditory P300 Based Attentional Brain-computer Musical Interface},
  year = {2018},
  url = {http://polen.itu.edu.tr/xmlui/handle/11527/18148?show=full},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:tilbian2018stridealanguagef,
  author = {Tilbian, Joseph},
  title = {Stride: A Language for Sound Synthesis, Processing, and Interaction Design},
  school = {University of California},
  year = {2018},
  url = {https://escholarship.org/uc/item/0sc948c2},
  abstract = {This dissertation presents Stride, a language for sound synthesis, processing, and interaction design. With a novel and unique approach for handling sampling rates as well as clocking and computation domains, Stride prompts the generation of highly optimized target code. Optimization is achieved by giving the user of Stride control over the Stride code generator through its syntax. The optimizations render Stride an ideal language to target resource-constrained devices such as microcontrollers. Stride is a declarative language and adopts features from dataflow languages. With only two syntactic constructs, Stride is easy to learn. Through resource abstraction and separation of semantics from implementation, a wide range of computation devices could be targeted such as microcontrollers, system-on-chips, general-purpose computers, and heterogeneous systems. Users of Stride can write code once and deploy on any supported hardware.After presenting the challenges of targeting resource-constrained microcontrollers with popular music programming languages in use today for sound synthesis and processing, a new programming language and its syntax are introduced to address these challenges. This is followed by demonstrating how the language enables its user to control the code generation process to yield efficient and optimized target code. Next, the semantics of the language and some of its core building blocks are presented in detail followed by the user-controlled concurrency model built into the language. Designing interaction using some of the core blocks is then presented through a set of examples followed by some of the advanced building blocks of the language. Finally, the language is presented as part of an encompassing development environment and all of its components including the integrated development environment and the compiler.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.82}
}

@phdthesis{thesis:wofford2018studyoftheintera,
  author = {Wofford, Timothy},
  title = {Study of the interaction between the musician and the instrument. Application to the playability of the cello},
  school = {Sorbonne Université},
  year = {2018},
  doi = {10.70675/e631011bzc336z4b74za975z0a239151855a},
  abstract = {Étude de l'interaction entre le musicien et son instrument. Application à la joubabilité du violoncelle Nous explorons le lien entre la mobilité au chevalet et la perception de la jouabilité en observant si le musicien perçoit des différences dans les limites supérieure et inférieure de Schelleng, pour les notes autres que la note de loup. Nous recherchons également d’autres facteurs pertinents pour la perception de la jouabilité en étudiant les interactions entre le musicien et l’instrument lors d’une tâche d’évaluation et d’interprétation. Contrairement aux approches précédentes, nous observons toutes les parties de la boucle de rétroaction de la jouabilité, à savoir les paramètres de contrôle, les mesures vibro-acoustiques de l’instrument, la réponse de l’instrument en situation de jeu et les commentaires du musicien sur les qualités de cet instrument. Nous trouvons que la courbure du chevalet du violoncelle peut amener le musicien à utiliser moins de force que d’habitude afin d’éviter de toucher accidentellement des cordes adjacentes. Cela entraîne des transitoires plus longs et des timbres différents, qui sont perçus d’une manière non lié à la géométrie ou aux paramètres de contrôle. Parfois, des adaptations inconscientes de la géométrie affectent les sons produits et la perception ultérieure de l’instrument. Un effort conscient est nécessaire pour surmonter ces comportements naturels afin de compenser la géométrie de la configuration et d’arriver à une évaluation stable.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:ilsar2018theairsticksanew,
  author = {Ilsar, Alon},
  title = {The AirSticks: a new instrument for live electronic percussion within an ensemble},
  school = {University of Technology Sydney},
  year = {2018},
  url = {http://hdl.handle.net/10453/125647},
  abstract = {This research explores the design of a new gestural instrument for electronic percussionists, the AirSticks.For the purposes of this work, a gestural instrument is defined as one which can, through some form of motion capture and the process of mapping on a computer, convert physical movement data into sound.The infinite ways of mapping this movement to sound is identified within as the 'mapping problem.'The aim of the research is to investigate different approaches to tackling this mapping problem within diverse collaborative musical situations to help overcome 'creative paralysis.' The method has been to use practice-based research to develop a series of mappings of the instrument for use in dozens of distinct projects which follow on from the researcher's own creative practice as a drummer and electronic producer.Self-reflections of the researcher's role as performer/designer are provided, along with observations of working closely with a computer programmer and several expert musicians, dancers and visual artists.These reflections suggest that many different approaches are needed to tackle the mapping problem, and that laying out a clear artistic goal for a project can at least get the designer through some of this creative choice paralysis and more difficult decisions that need to be made.Considerations of how the performance may look, sound and the degree of control given to the performer leads to different mapping approaches.Mapping approaches are also influenced by whether the performance is improvised or composed, filmed or simply recorded, the size of the ensemble, the skillset of the collaborators and the genre conventions of the piece.To enable this research, the AirSticks were designed to allow the composition, improvisation and performance of live percussive electronic music using hand and finger movements captured by gestural controllers, enabling the control of complex sound textures at the same time as allowing the performer to time and execute precise rhythmic gestures within various collaborative musical situations.A background to the field of electronic percussion in new instrument design with a focus on the use of gestural controllers is provided.The reasoning behind the choice of a particular gestural controller is discussed, as are the artistic motivations behind the project.The technical and creative components of the work, including custom software and the use of off-the-shelf controllers and sensors, are also outlined.As part of this project, more than one hundred musical situations on the AirSticks were documented.These musical situations included live performances, films and recordings, some in solo form, but most with collaborators.Some video documentation is linked to within the thesis to help demonstrate the workings of the instrument and showcase the instrument within these projects.A detailed overview of these projects is presented along with insights into the creative and design processes.A discussion of the diff},
  collection = {Theses},
  note = {Found in OpenAlex; cites 18 archive entries; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:wilson2018theconstraintsae,
  author = {Wilson, Rebekah},
  title = {The constraints, aesthetic implications, and creative strategies of composing for networked music performance},
  year = {2018},
  doi = {10.26686/wgtn.17068691},
  abstract = {Performing music together over a public network while being located at a distance from each other necessarily means performing under a particular set of technical and performative constraints. These constraints are antithetical to—and make cumbersome—the performance of tightly synchronised music, which traditionally depends on the conditions of transmission stability, ultra-low latency, and shared presence. These conditions are experienced optimally only when musicians perform at the same time and in the same place. Except for specialized private network services, public networks are inherently latent and unstable, which disrupts musicians’ ability to achieve precise vertical synchronisation and create an environment where approaches to music performance and composition must be reconsidered. It is widely considered that these conditions mean that networked music performance is a future genre for when network latencies and throughput improve, or one that is currently reserved for high-end heavily optimised networks afforded by institutions and not individuals, or one that is primarily reserved for improvisatory or aleatoric composition and performance techniques. I disagree that networked music is dependent on access to advanced Internet technologies and suggest that music compositions for networked music performance can be highly successful over regular broadband conditions when the composer considers the limitations as opportunities for new creative strategies and aesthetic approaches. In this exegesis, I outline the constraints that prove that while networked music performance is latent, asynchronous, multi-located, multi-authorial, and hopelessly, intrinsically, and passionately digitally mediated, these constraints provide rich creative opportunities for the composition and performance of synchronised and resonant music. I introduce four aesthetic approaches, which I determine as being critical towards the development of networked music: 1) postvertical harmony, where the asynchronous arrival of signals ruptures the harmonic experience; 2) new timbral fusions created through multi-located resonant sources; 3) a contribution to performative relationships through the generation and transmission of vital information in the musical score and through the development of new technologies for facilitating performer synchronisation; and 4) the post-digital experience, where all digital means of manipulation are permitted and embraced, leading to new ways of listening to and forming reproduced realities. Each of these four aesthetic approaches are considered individually in relation to the core constraints, through discussion of the present-day technical conditions, and how each of these approaches are applied to my musical portfolio through practical illustration.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.80}
}

@phdthesis{thesis:murrayleslie2018theliberationoft,
  author = {Murray-Leslie, Alexandra},
  title = {The liberation of the feet : computer enhanced footwear for theatrical audiovisual expression},
  school = {University of Technology Sydney},
  year = {2018},
  url = {http://hdl.handle.net/10453/137049},
  abstract = {Building upon my established history as a performance artist and pop musician, this research investigates new ways of costuming the foot for theatrical audiovisual expression as a ‘gesamtkunstwerk’—an all-embracing artwork that adopts and makes use of many artforms and disciplines. Through the development of a series of 𝘊𝘰𝘮𝘱𝘶𝘵𝘦𝘳 𝘌𝘯𝘩𝘢𝘯𝘤𝘦𝘥 𝘍𝘰𝘰𝘵𝘸𝘦𝘢𝘳 (𝘊𝘌𝘍) prototypes, this research demonstrates how this gesamtkunstwerk came together through the intersection of fashionable costume design, pop music, dance choreography, lens-based work, scenography, kinesiology, sound and lighting system design and 3D fabrication practices. Resulting in a unified body of work, grounded by the notion that shoes and feet are more than simply tools to help carry our bodies around. They can be reimagined through the act of performance and the application of audiovisual technology to make a statement, semantically communicate social-political concerns and facilitate free, spontaneous expression. Explorations of philosophical concepts around the feet and footwear from anthropology, natural science and medical literature are featured in this research, along with examples and descriptions of foot-based designs related to prosthetics, fashion, pop music, and performance art to illustrate the vast potentials for the feet as instruments, costumes and more. Detailed portrayals of my personal art method are presented to showcase my cross-disciplinary, reflexive and experimental practice-based approach, which occurred within varied contexts and settings, including fabrication workshops, sports science laboratories, pole dance studios, music festival stages, fashion catwalks and art museum events. As well as illustrate how these divergent practices converged during the research, to create the 𝘊𝘌𝘍 prototypes and shape their materials, functions and aesthetics, in an effort to liberate the feet when in the air, on the ground or submerged in water. Analysis and self-reflections of the researcher’s role as performer and fabricator are provided together with video and photographic documentation to help demonstrate the outcomes and processes of the various 𝘊𝘌𝘍 projects. This includes recounting the insights which directed theoretical, physical and metaphysical development of past and future 𝘊𝘌𝘍 iterations, as well present a framework outlining the different aspects to consider when prototyping instruments such as 𝘊𝘌𝘍. This research also documents more than two hundred performative situations that developed out of the process of developing and testing the 𝘊𝘌𝘍. These include live solo performances, group performances with my music band Chicks on Speed, as well as studio workshops and performances with collaborating musicians, scientists, pole dancers, choreographers and performance artists. As well as other unexpected outcomes and future project directions that organically evolved out of the research—all of which culminate to guide, influence and form this research gesamtkunstwerk.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:bodo2018tcnicasdetermins,
  author = {Bodo, Roberto Piassi Passos},
  title = {Técnicas determinísticas para acompanhamento musical automatizado},
  school = {Universidade de São Paulo},
  year = {2018},
  doi = {10.11606/d.45.2018.tde-22122017-164922},
  abstract = {Automated musical accompaniment systems are very useful as didactic tools.With them, a music student can rehearse a musical piece being accompanied by the computer, with the freedom to play at the desired speed and, moreover, to perform accidental errors or intentional deviations from the expected (defined by a musical score).A musical accompaniment system should have the skills to analyze the live performance of a musician (input preprocessor), compare the events received with those of a preloaded score (matcher), generate the accompaniment according to the inferred tempo (accompaniment), and synthesize the sounds related to this accompaniment (synthesizer).The work presented in this text consisted of studying several techniques related to the musical accompaniment problem, implementing some algorithms based on the literature, validating the quality obtained with such algorithms, and providing a modular open source system with more than one alternative algorithm for each module.Furthermore, an additional element was developed for the system -the MetaMatcher -that combines all the tracking techniques implemented by running them in parallel and obtaining a greater reliability in the information extracted from the input, considering several different opinions about the position of the musician in the musical score.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 2 archive entries; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:morciano2018writingofsoundti,
  author = {Morciano, Lara},
  title = {Writing of sound, time and space in the interaction between instruments and synchronous digital devices},
  school = {Paris Sciences et Lettres (ComUE)},
  year = {2018},
  doi = {10.70675/870503c2zd0d6z4cb5za7b6z6c7b3728ae09},
  abstract = {This research project aims to study the contemporary integration, in the composition and performance, of technological and artistic tools corresponding to the state of the art in terms of real-time interaction between instrumental production, digital sound production and production of spatio-temporal forms in the listening space. In particular, we study how this integration can in turn constitute a new modality of writing in which a coherent writing of sound, a writing of time and a writing of space informed by technology do merge together in a coherent way.Computer paradigms for time and interaction management, synchronization tools, sound and gestural flow analysis, parameter control from instrumental sound, research on the issue of instrumental timbre and its digital descriptors, and interpreter-computer interaction are key elements of this research and creation work.We focus on real-time interaction with smart computer devices in a particularly virtuoso writing with specific aspects of temporal and spatial construction, this hybrid situation in turn influencing the nature of the writing itself. The various themes relating to this exploration, such as the writing of sound, time and space, are the starting point for declining and developing, according to the nature of the various productions envisaged, the possible links with other artistic disciplines.},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:navarro2019cenestpaslehipho,
  author = {Navarro, Cécile},
  title = {"Ce n'est pas le hip-hop qui nous fait voyager, c'est nous qui faisons voyager le hip-hop": Représentations et pratiques d'(im)mobilités au sein d'une scène musicale translocale au Sénégal},
  school = {IRIS},
  year = {2019},
  doi = {10.13140/rg.2.2.12271.59045},
  abstract = {À l’aune de la célébration des 30 ans du « Rap Galsen », nom communément donné au rap au Sénégal (1988-2018), ce travail interroge les dynamiques de sa production du point de vue des (im)mobilités de différents acteur.trice.s (artistes, producteurs, promoteurs). Ce parti-pris, ancré dans les études sur le transnational et le « mobility turn », propose de renouveler l’approche des pratiques musicales en globalisation tout en revisitant les sciences sociales des migrations au prisme des pratiques artistiques. À l’aide du concept de « scène », le rap galsen est abordé au travers des répertoires d’action et de discours utilisés pour définir son existence, faisant appel aux catégories de « local » et « global », dans le cadre d’établissement de frontières entre « nous » et « eux ». L’ancrage « local » du rap sénégalais est ainsi exploré à l’aune de processus d’authentification de ce que signifie être « Sénégalais » tout en faisant du rap. Comment ces revendications locales s’accommodent-elles des mobilités croissantes de certains artistes de rap sénégalais et des désirs d’« exportation » de nombreux autres ? Ce travail montre comment les dynamiques d’(im)mobilités s’enchâssent au cœur de rapports de pouvoir, entre ceux qui cherchent à imposer une certaine définition du rap galsen et ceux qui cherchent à s’en défaire. La prise en compte de la diversité des (im)mobilités impliquées (mobilités circulatoires, « en étoile », pendulaires, migrations, migrations de retour, immobilités) dans la pratique artistique permet d’envisager comment chaque forme de mobilité impacte les positionnements des acteurs (im)mobiles sur la scène, et leur capacité à peser sur les processus de définition du « rap galsen ». Dakar, Paris, Berlin, Munich, Lausanne, Genève, Baltimore, New York et Washington, tels sont les lieux visités au cours de ce travail pour suivre ou rencontrer des acteur.trice.s de la scène rap sénégalaise, tissant les liens entre plusieurs localités au-delà des frontières nationales, dessinant les contours d’une « scène musicale translocale ». -- In the light of the celebration of the 30th anniversary of “Rap Galsen”, a name commonly given to rap in Senegal (1988–2018), this work examines the dynamics of its production from the point of view of the (im)mobility of its diverse agents (artists, producers, promoters). This perspective, drawing from transnational and “mobility” studies, proposes to renew the analysis of musical practices in globalisation, while revisiting migration studies in the light of artistic practices. Using the concept of “scene”, rap galsen is approached through the repertoires of action and speech used to establish its existence, mobilising references to the “local” and the “global”, thus participating to boundary-making processes between “us” and “them”. The “local” anchoring of Senegalese rap is thus explored through processes of authentication of what it means to be “Senegalese” while making rap. How then do these “local” claims acc},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.85}
}

@phdthesis{thesis:franco2019aframeworkforemb,
  author = {Franco, Ivan de Almeida Soares},
  title = {A framework for embedded digital musical instruments},
  school = {McGill University},
  year = {2019},
  doi = {10.82308/11836},
  abstract = {Les contrôleurs gestuels permettent aux musiciens d'utiliser les ordinateurs en tant qu'instruments numériques de musique (INM). Les mouvements corporels de l'artiste sont enregistrés par des capteurs sur le contrôleur, puis envoyés sous forme de données de contrôle numériques à un logiciel de synthèse audio. Jusqu'ici, les INM étaient largement dépendants de la puissance de calcul des ordinateurs portables et des unités centrales, mais les générations les plus récentes d'ordinateurs à carte unique disposent d'une puissance de calcul suffisante pour satisfaire aux exigences de nombreux INM. L'avantage de ces ordinateurs à carte unique sur les ordinateurs traditionnels réside dans leur taille qui s'avère bien moindre. Ils peuvent facilement être embarqués dans le corps du contrôleur et être utilisés pour créer des INM indépendants et totalement intégrés.Cette dissertation examine les diverses applications des systèmes d'informatique embarquée aux INM. Dans un premier lieu, nous ferons un rappel de l'histoire des INM, puis nous exposerons certaines des limites associées à l'utilisation d'ordinateurs génériques. Par la suite nous présenterons une analyse des différentes technologies applicables aux INM embarqués et l'état de l'art des systèmes et instruments. Enfin, nous proposerons de nouvelles voies conceptuelles et techniques, matérialisées par le système Prynth, développé par l'auteur ainsi qu'une équipe de collaborateurs dans le cadre de cette recherche.Le système Prynth permet aux fabricants d'instruments de disposer d'une solide base de développement pour la création de leurs INM embarqués. Il est composé de nombreux éléments matériels et logiciels en interopération, de technologies disponibles en open-source et continuellement mises à jour pour intégrer de nouvelles fonctionnalités. Prynth a été acclamé à la fois dans les cercles académiques et artistiques, avec pour conséquence une communauté très active et motivée.Cette communauté utilise notre système pour construire de nombreux INM qui ont un objectif idiosyncratique et une large panoplie de contextes musicaux. L'auteur lui-même est responsable de la conception et de la construction de l'instrument nommé « The Mitt » qui a été sélectionné pour la finale de l'édition 2017 de la Guthman Musical Instrument Competition, l'événement le plus prestigieux de sa catégorie au monde.Nous croyons que l'informatique embarquée jouera un rôle fondamental dans le futur des INM. En surpassant la dépendance aux ordinateurs classiques, les INM embarqués ont la possibilité de devenir des appareils interactifs solides et intégrés, disposant d'une utilisabilité et de performances améliorées. Tous ces critères représentant des éléments-clés de l'évolution et de la croissance de ces instruments de musique.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 1.00}
}

@phdthesis{thesis:tirumalabukkapatnam2019aprecharacterize,
  author = {Tirumala Bukkapatnam, Aditya},
  title = {A pre-characterized toolkit for vibrotactile feedback},
  school = {McGill University},
  year = {2019},
  doi = {10.82308/45927},
  abstract = {Vibrotactile feedback - a type of haptic feedback, is a popular area of research. Aside from widespread applications in video games and mobile phones, vibrotactile feedback is also implemented in Digital Music Instruments (DMIs) to improve the quality of interaction for performers, or as general-purpose interfaces for conducting experimental research. Musical interaction is known to involve high cognitive expertise, requiring responsive and highly accurate tools. When implementing such devices, the outputs of the vibrotactile implementations are characterized and equalized. However, these implementations are often “one-of-a-kind”, bulky (&gt;8 kg), expensive (&lt;1000 $), and impractical to some musical applications, whereas, inexpensive and portable alternatives often lack characterized and equalized outputs. The latter also rely on actuators that cannot display the various types of stimuli that are possible in musical interactions. This study describes the design and implementation of a cost-effective and portable vibrotactile toolkit with a characterized output. The goal of this toolkit is to allow users to prototype and study vibrotactile feedback in musical applications. Many perceptual and technological factors influence the design of vibrotactile systems meant for musical applications. By using these factors as guidelines, suitable actuators, and amplifiers are selected for implementing the toolkit. The outputs of these devices are measured to obtain their magnitude-frequency and harmonic distortion characteristics. In this study, harmonic distortion is characterized by Total Harmonic Distortion (THD) for actuators and Total Harmonic Distortion + Noise (THD+N) for amplifiers. All the tested actuators and amplifiers are found to operate in the full vibrotactile bandwidth (40-1000 Hz). The actuators are measured both when placed on a sandbag (unloaded) as well as when attached to an external surface (loaded). The characteristics of the actuator change with loading; Resonant features appear in the frequency response, along with an overall increase in the harmonic distortion. Previously, the resonant characteristics were equalized manually using parametric equalizers. Unlike previous cases, the autoregressive Yule-Walker method is proposed to equalize the resonant characteristics automatically. From the tested actuators and amplifiers, an inexpensive (approximately 200 $) and portable (&lt;40 g) 2-channel toolkit is implemented. The implemented toolkit is characterized, and the results are presented in a datasheet. Lastly, vibrotactile feedback is implemented in the chassis of an unfinished T-Stick DMI using the toolkit, and its frequency response is automatically equalized using an accelerometer measurement},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:carvajal2019augkitanaugmente,
  author = {Carvajal, Mario A},
  title = {Augkit: an Augmented Drum Set System Designed for Live Performance},
  school = {Florida International University},
  year = {2019},
  doi = {10.25148/etd.fidc007851},
  abstract = {Augkit is an augmented drum set system designed for live performance. Augkit consists of a drum kit, microphone, audio interface, MIDI pad controller with foot switches, set of speakers, and a computer. I designed the processing audio engine in the visual programming language Max. Max processes the audio signal in a variety of ways that include delays, flanger, reverb, and synthesis that depend on the frequency content of the signal. Foot switches and MIDI pads toggle and modify the parameters of Augkit. This approach to playing drum set proves to be very flexible and offers new aesthetic possibilities for live performance and interaction with other musicians.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:purvis2019cjingcombiningli,
  author = {Purvis, Jack Voldemars},
  title = {CJing: Combining Live Coding and VJing for Live Visual Performance},
  school = {Victoria University of Wellington},
  year = {2019},
  doi = {10.26686/wgtn.17138669.v1},
  abstract = {Live coding focuses on improvising content by coding in textual interfaces, but this reliance on low level text editing impairs usability by not allowing for high level manipulation of content. VJing focuses on remixing existing content with graphical user interfaces and hardware controllers, but this focus on high level manipulation does not allow for fine-grained control where content can be improvised from scratch or manipulated at a low level. This thesis proposes the code jockey practice (CJing), a new hybrid practice that combines aspects of live coding and VJing practice. In CJing, a performer known as a code jockey (CJ) interacts with code, graphical user interfaces and hardware controllers to create or manipulate real-time visuals. CJing harnesses the strengths of live coding and VJing to enable flexible performances where content can be controlled at both low and high levels. Live coding provides fine-grained control where content can be improvised from scratch or manipulated at a low level while VJing provides high level manipulation where content can be organised, remixed and interacted with. To illustrate CJing, this thesis contributes Visor, a new environment for live visual performance that embodies the practice. Visor's design is based on key ideas of CJing and a study of live coders and VJs in practice. To evaluate CJing and Visor, this thesis reflects on the usage of Visor in live performances and feedback gathered from creative coders, live coders, and VJs who experimented with the environment.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 1 archive entries; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:silva2019compositionstrat,
  author = {Silva, Alisson Rodrigo Martins Rocha da},
  title = {COMPOSITION STRATEGIES FROM THE INTERACTION BETWEEN TEMPORALITIES OF THE COMPOSER, THE PERFORMER AND THE COMPUTER},
  year = {2019},
  url = {https://repositorio.ufba.br/handle/ri/34790},
  abstract = {O presente trabalho compreende uma reflexão teórica em torno da música eletroacústica mista, pensando o desenvolvimento de ferramentas para a sua composição, as quais potencializam a interação entre as temporalidades do compositor, do performer e do computador. Pensamos essas questões no contexto de um conjunto de obras musicais compostas durante a pesquisa. Assim, o trabalho foca os possíveis embates concernentes à relação entre tempo cronológico e tempo musical na música mista, propondo estratégias de composição que respondem aos desafios da interação entre os agentes de uma composição mista.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.93}
}

@phdthesis{thesis:arandas2019computermusicand,
  author = {Arandas, Luís Henrique Pinto},
  title = {Computer Music and Digital Media Art Through a Web-Based Collaborative Interface},
  school = {University of Porto},
  year = {2019},
  doi = {10.34626/r40w-8f59},
  abstract = {A dissertação apresentada é resultado de uma investigação em interfaces colaborativas usando tecnologias web, feita no contexto do Braga Media Arts. Como resultado é apresentado um ambiente audiovisual em rede como desenvolvimento prático, o Akson. O Akson foi inicialmente concebido como uma exploração do que poderia ser construído aproveitando a infraestrutura global da Internet, bem como a reprodução musical e visual em vários dispositivos. Este sistema foi feito pensando em seu uso em performance ao vivo e é capaz de interagir com os dispositivos do público.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.97}
}

@phdthesis{thesis:thordarson2019condisconducting,
  author = {Thordarson, Hilmar},
  title = {ConDiS – Conducting Digital System Extended role of the conductor in mixed music performance},
  year = {2019},
  url = {https://hdl.handle.net/11250/2678159},
  abstract = {Hilmar Thordarson presents his work a doctoral project in the Norwegian Fellowship Programme for Artistic Research, carried out at NTNU Department of Music.\n\nConDiS - Conducting Digital System is a personal artistic research project in which I have tried to solve certain practical and artistic problems through the application of my own artistic vision. This vision is based on the desire to combine electronic sound processing with the conductor's expressive gestures shaping the musical material of the orchestra. This has long been a dream of mine: to find a way to treat the electronics with the same precision and expression as the notes of the written instrumental score. For these reasons, the ConDiS artistic research project has been from the beginning an exciting journey exploring what happens when these tools are put in the “hands” of the conductor.\n\nWith a custom-made conducting glove – “Con Glove” – the conductor can conduct and control the overall balance, volume, tempo, and synchronization of the electronic sounds written in the musical score. That way extending the role of the conductor in mixed music performance.\n\nConDiS – Conducting Digital System is, in its artistic essence, a tool that brings the electronic aspects of musical expressivity directly under the conductor´s control, and in doing so the conductor is able to rely on this ability the tool affords him. So, in turn, it enables the writing of through-composed mixed music with precision while maintaining a certain amount of flexibility and expressivity.\n\nWriting through-composed music for mixed music media is a challenge especially when writing for larger ensembles. In these cases, synchronization between the acoustic instruments and the electronics becomes critical. \n\nIn order to reduce these variations and compose music with more precision, as required of through-composed music, I needed to create the ConDiS system. The possibilities bestowed by this system are exemplified in my composition Kuki no Sukima (Between the Air) written for Trondheim Sinfonietta and conductor Halldis Rønning.\n\nWhat turns a written composition into music is the musician’s interpretation of the written musical score. It is what is written in-between: the interplay between what is written and what is performed. It has everything to do with the interpretation of music in time and space; hence the creation of ConDiS – Conducting Digital System.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:scurto2019designingwithmac,
  author = {Scurto, Hugo},
  title = {Designing With Machine Learning for Interactive Music Dispositifs},
  school = {Sorbonne Université},
  year = {2019},
  doi = {10.70675/1bf87ea2z8d0cz4c5eza982zdb110f9744bb},
  abstract = {Design de l’apprentissage machine pour les dispositifs interactifs musicaux La musique est une pratique culturelle permettant aux êtres humains d'exprimer sensiblement leurs intentions à travers le son. L'apprentissage machine définit un ensemble de modèles permettant de nouvelles formes d'expression au sein desdits systèmes interactifs musicaux. Cependant, en tant que discipline informatique, l'apprentissage machine demeure essentiellement appliquée à la musique du point de vue des sciences de l'ingénieur, qui, très souvent, conçoit les modèles d'apprentissage sans tenir compte des interactions musicales prenant place entre humains et systèmes. Dans cette thèse, j'envisage la possibilité de mener des pratiques de design avec l'apprentissage machine pour les systèmes interactifs musicaux. Je soutiens que l'apprentissage machine doit avant tout être situé au sein d'un contexte humain afin d'être conçu et appliqué au design de systèmes interactifs musicaux. Pour défendre cette thèse, je présente quatre études interdisciplinaires, dans lesquelles j'introduis des modèles intermédiaires d'apprentissage, dits modèles-prototype, au sein de méthodes de conception centrées humain, afin d'appliquer l'apprentissage machine à quatre tâches musicales situées : le mapping mouvement-son, l'exploration sonore, l'exploration de la synthèse, et l'interaction musicale collective. À travers ces études, je montre que les modèles-prototype permettent de générer des idées de design pour l'apprentissage machine en amont de la phase d'ingénierie desdits modèles, ce en lien étroit avec les utilisateurs potentiels de ces systèmes. Je montre également que les systèmes d'apprentissage machine centrés humain résultant de ce processus de conception rendent possible des processus dynamiques d'expression entre les humains et les machines, allant au-delà de la création d'artefacts musicaux statiques. Je propose de nommer co-expression ces processus d'interaction musicale entre des êtres humains - faisant preuve d'un élan expressif et créatif quelque soit leur expertise musicale - et des machines - dont les capacités d'apprentissage peuvent être perçues comme expressives du point de vue de l'humain. En outre, je présente cinq systèmes interactifs musicaux conçus avec lesdits modèles-prototypes, et relate leurs restitutions publiques au sein d'ateliers, expositions, installations et performances. Par une approche réflexive, je montre que les contributions musicales apportées par des pratiques de design avec l'apprentissage machine peuvent, à terme, complémenter les contributions scientifiques apportées par les méthodes de conception centrées humain. Ainsi, je suggère que la recherche musicale peut être menée par le design de dispositifs interactifs musicaux, c'est-à-dire, par la réalisation technique d'artefacts esthétiquement fonctionnels remettant en cause les normes culturelles régissant l'informatique et la musique.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; selected by its English title, the abstract being in another language; NIME-topic probability 0.94}
}

@phdthesis{thesis:sheffield2019designingandcomp,
  author = {Sheffield, Eric},
  title = {Designing and Composing for Interdependent Collaborative Performance with Physics-Based Virtual Instruments},
  school = {Louisiana State University},
  year = {2019},
  doi = {10.31390/gradschool_dissertations.4918},
  abstract = {Interdependent collaboration is a system of live musical performance in which performers can directly manipulate each other’s musical outcomes. While most collaborative musical systems implement electronic communication channels between players that allow for parameter mappings, remote transmissions of actions and intentions, or exchanges of musical fragments, they interrupt the energy continuum between gesture and sound, breaking our cognitive representation of gesture to sound dynamics. Physics-based virtual instruments allow for acoustically and physically plausible behaviors that are related to (and can be extended beyond) our experience of the physical world. They inherently maintain and respect a representation of the gesture to sound energy continuum. This research explores the design and implementation of custom physics-based virtual instruments for realtime interdependent collaborative performance. It leverages the inherently physically plausible behaviors of physics-based models to create dynamic, nuanced, and expressive interconnections between performers. Design considerations, criteria, and frameworks are distilled from the literature in order to develop three new physics-based virtual instruments and associated compositions intended for dissemination and live performance by the electronic music and instrumental music communities. Conceptual, technical, and artistic details and challenges are described, and reflections and evaluations by the composer-designer and performers are documented.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 22 archive entries; NIME-topic probability 0.99}
}

@phdthesis{thesis:costa2019directmanipulati,
  author = {Costa, Jeronimo},
  title = {Direct manipulation for musical interfaces based on visual software: design and evaluation},
  school = {McGill University},
  year = {2019},
  doi = {10.82308/41625},
  abstract = {Grâce à la popularisation des plateformes d’informatique mobile et de distribution de logiciels, telles que l’Apple Store et Google Play, de nombreuses interfaces musicales basées sur des logiciels avec retour visuel sont en cours de conception. Des exemples récents tels que Loopy, Borderlands et Ocarina montrent que de puissantes interfaces logicielles visuelles sont capables de captiver autant les musiciens amateurs que les experts, tout en fournissant une manipulation musicale plus directe.Bien que certains exemples soient disponibles, il demeure difficile de conceptualiser de telles in- terfaces directes, puisque l’accent est porté davantage sur “l’art plutôt que la science”. Par exemple, contrairement aux instruments acoustiques, la production du son est physiquement découplée des commandes d’entrée, offrant ainsi des possibilités infinies de mappage. De plus, la facilité d’accès et d’utilisation grandissante pour les novices peut conduire à des applications ressemblant plutôt à des jouets, ce qui désintéresse les experts. Enfin, l’analyse des interfaces musicales existantes reste inhabituelle et peu de recherches sont menées afin de mieux comprendre ces interfaces.Cette thèse a pour objectif de mieux comprendre ces interfaces musicales dans le but de fournir des bases empiriques qui informeront les principes entourant leur conception et leur évaluation. Tout en me basant sur les recherches conduites dans le domaine de l’interaction personne-machine, je propose l’hypothèse qu’une stratégie efficace consiste à adopter un modèle d’interaction appelé manipulation directe (MD) caractérisé par une représentation visuelle continue de l’objet en ques- tion, des actions physiques pour manipuler les représentations visuelles, un retour visuel rapide, et des actions incrémentales facilement réversibles.Afin d’étudier cette hypothèse, je présente des études de cas exploratoires au sein desquelles la MD est conçue et évaluée selon trois contextes spécifiques reliés à des outils musicaux: a) outils de bouclage en temps réel; b) outils de création d’installations artistiques interactives; et c) outils de création musicale. En conséquence, je présente trois nouveaux outils logiciels de musique: le Voice Reaping Machine; le ZenStates; et le StateSynth. Enfin, je présente un ensemble de stratégies de conception d’interface et d’approches d’évaluation permettant de conceptualiser efficacement la MD pour les interfaces musicales logicielles},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.92}
}

@phdthesis{thesis:frid2019diversesoundsena,
  author = {Frid, Emma},
  title = {Diverse Sounds : Enabling Inclusive Sonic Interaction},
  school = {KTH Royal Institute of Technology},
  year = {2019},
  url = {http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-265159},
  abstract = {This compilation thesis collects a series of publications on designing sonic interactions for diversity and inclusion. The presented papers focus on case studies in which musical interfaces were either developed or reviewed. While the described studies are substantially different in their nature, they all contribute to the thesis by providing reflections on how musical interfaces could be designed to enable inclusion rather than exclusion. Building on this work, I introduce two terms: inclusive sonic interaction design and Accessible Digital Musical Instruments (ADMIs). I also define nine properties to consider in the design and evaluation of ADMIs: expressiveness, playability, longevity, customizability, pleasure, sonic quality, robustness, multimodality and causality. Inspired by the experience of playing an acoustic instrument, I propose to enable musical inclusion for under-represented groups (for example persons with visual- and hearing-impairments, as well as elderly people) through the design of Digital Musical Instruments (DMIs) in the form of rich multisensory experiences allowing for multiple modes of interaction. At the same time, it is important to enable customization to fit user needs, both in terms of gestural control and provided sonic output. I conclude that the computer music community has the potential to actively engage more people in music-making activities. In addition, I stress the importance of identifying challenges that people face in these contexts, thereby enabling initiatives towards changing practices.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 14 archive entries; NIME-topic probability 0.71}
}

@phdthesis{thesis:landry2019interactivesonif,
  author = {Landry, Steven},
  title = {INTERACTIVE SONIFICATION STRATEGIES FOR THE MOTION AND EMOTION OF DANCE PERFORMANCES},
  school = {Michigan Technological University},
  year = {2019},
  doi = {10.37099/mtu.dc.etdr/896},
  abstract = {The Immersive Interactive SOnification Platform, or iISoP for short, is a research platform for the creation of novel multimedia art, as well as exploratory research in the fields of sonification, affective computing, and gesture-based user interfaces. The goal of the iISoP’s dancer sonification system is to “sonify the motion and emotion” of a dance performance via musical auditory display. An additional goal of this dissertation is to develop and evaluate musical strategies for adding layer of emotional mappings to data sonification. The result of the series of dancer sonification design exercises led to the development of a novel musical sonification framework. The overall design process is divided into three main iterative phases: requirement gathering, prototype generation, and system evaluation. For the first phase help was provided from dancers and musicians in a participatory design fashion as domain experts in the field of non-verbal affective communication. Knowledge extraction procedures took the form of semi-structured interviews, stimuli feature evaluation, workshops, and think aloud protocols. For phase two, the expert dancers and musicians helped create test-able stimuli for prototype evaluation. In phase three, system evaluation, experts (dancers, musicians, etc.) and novice participants were recruited to provide subjective feedback from the perspectives of both performer and audience. Based on the results of the iterative design process, a novel sonification framework that translates motion and emotion data into descriptive music is proposed and described.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 11 archive entries; NIME-topic probability 0.99}
}

@phdthesis{thesis:longden2019inclusivepartici,
  author = {Longden, William Edward},
  title = {Inclusive participatory design of bespoke music instruments and auxiliary access equipment, as emancipatory arts interventions advocating for equality and wellbeing},
  school = {London Metropolitan University},
  year = {2019},
  url = {https://repository.londonmet.ac.uk/5700/1/LongdenWilliam_PhD_2019.12.04%20.pdf},
  abstract = {This practice-based research aims to increase participation in community music making, by exploring the production and use of bespoke instruments and associated access equipment designed to meet the personal needs and preferences of disabled people, who participate as co-designers and players. \n \nGrounded in the tradition of participatory community arts, and using emancipatory approaches, the research challenges disabling attitudes and practices that inhibit social inclusion. \n \nThree case studies demonstrate inclusive approaches to instrument design and making, contributing to the medical humanities and social sciences, and to the fields of community music, organology, inclusive design research and disability studies. \n \nBespoke music instruments are significant to Arts for Wellbeing practices and to the emerging Social Prescribing agenda; the possibility of Music Instruments on Prescription is proposed. \n \nThe inclusive methods used offer therapeutic benefit to individuals and society; by facilitating pathways for participation in product design and innovation, knowledge creation and transfer, and community music making. \n \nBespoke Music Instruments embody social, cultural and material qualities. As agents of personal and social development they are revealed as potent material for use in object-based learning as rich containers of stories about their designers, makers and players, and about the social environments in which they are created. \n \nDemonstrating benefits that arise through inclusive participation, the research facilitates expression of voice by disabled, non-verbal and marginalised participants whose contribution works to increase social awareness and equal rights; and toward their self-emancipation as designers and musicians. \n \nAs experts by experience, disabled participants advocate for participatory community music by demonstrating the broader personal, social, and cultural advantages that can be gained through inclusive society.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.76}
}

@phdthesis{thesis:fernandes2019limprovisationmu,
  author = {Fernandes, João Eduardo Dias},
  title = {L’improvisation musicale électroacoustique : enjeux et problématiques du développement des technologies numériques},
  school = {Université Paris 8},
  year = {2019},
  doi = {10.70675/e8188fbdz099ez4b43za8aazc9cf12ff17e5},
  abstract = {Cette thèse en recherche-création est centrée autour de l’exploration des besoins des musiciens dans le cadre de la pratique de l’improvisation musicale électroacoustique. Cette réflexion a été menée à partir d’un travail d’observation participante au sein de différents ensembles musicaux. Elle vise aussi à présenter les stratégies adoptées dans le développement des outils numériques d’un instrument de notre création. Comment la pratique de l’improvisation libre dans la musique électroacoustique fonctionne-t-elle et quelles sont les connaissances nécessaires pour la réaliser ? Pour aborder cela, cette thèse explore plusieurs pistes : d’abord en considérant la situation de la performance elle-même, et en interrogeant les raisons musicales et extramusicales qui entourent une action improvisée. Ensuite, cette recherche s’articule autour de l’étude des caractéristiques d’un instrument numérique, dont l’aspiration consiste à détenir la même souplesse que les instruments acoustiques. Le volet « création » de cette thèse se décline à travers le développement d’un instrument numérique qui est notamment doté d’un système de recommandation des échantillons sonores. Il est utilisé dans des situations d’improvisation avec plusieurs ensembles, qui constituent le corpus des données de ce travail. Pour finir, cette thèse cherche à caractériser l’improvisation musicale à travers les nombreuses interactions qui se produisent lors d’une performance. La recherche a donc pour objectif d’offrir un cadre, pratique et théorique, pour l’utilisation et pour l’exploration des outils numériques contemporains à destination des musiciens qui pratiquent l’improvisation libre collective.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 6 archive entries; NIME-topic probability 0.96}
}

@phdthesis{thesis:chavez2019maintenancestrat,
  author = {Chavez, Luis Nieva},
  title = {Maintenance strategies and design recommendations on input devices for musical expression},
  school = {McGill University},
  year = {2019},
  doi = {10.82308/19735},
  abstract = {Différents défis sont à surmonter lors de la conception et la construction d'interfaces pour l'expression musicale telles que les instruments de musique numériques (IMNs), les technologies portables pour la performance, entre autres. Les principaux enjeux techniques sont le développement rapide et imprévisible de la technologie, les changements dans le personnel de soutien et le manque de documentation technique. Ces défis, s'ils ne sont pas traités de manière adéquate, conduisent, dans de nombreux cas, à l'abandon de tels dispositifs. Cette thèse présente trois études de cas qui visent à fournir des recommandations relatives à l'entretien et à la conception pour la création d'interfaces plus robustes et durables. La première étude de cas illustre le défi d'entretenir différents modèles d'un IMN appelé le T-Stick dans l'espoir de prolonger leur durée de vie. Les T-Sticks ont été originalement conçus en 2006 et 20 exemplaires ont été construits au cours des 12 dernières années. Bien que tous les instruments préservent le concept original d'IMN, leur évolution les a distingués par des variations spécifiques dans le choix des microcontrôleurs, des capteurs, ainsi que de leur taille. Pour cette étude de cas, nous avons travaillé avec huit exemplaires de T-Sticks afin de résoudre les problèmes liés à l'obsolescence des composants électroniques, aux changements de logiciels externes, aux incohérences entre les versions de microprogrammes, au manque de documentation et, de manière générale, au problème de maintenance technique. Dans la deuxième étude de cas, nous avons reconceptualisé l'électronique d'un neuvième T-Stick, le WiFi Sopranino, tout en conservant son concept d'IMN original et en se basant sur les résultats tirés de la première étude de cas. Ce travail a mené à la troisième étude de cas, pour laquelle nous avons conçu une nouvelle interface pour l'expression musicale afin d'accroître les possibilités gestuelles et visuelles liées à la performance du violoncelle. Cette thèse vise à relier les concepts de maintenance technique et de conception électronique afin de fournir une approche systématique pour l'entretient de dispositifs. Nous proposons des recommandations telles que la maintenabilité, la re-usabilité et l'auto-confinement comme des outils pour la conception d'interfaces pour l'expression musicale.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:holmes2019mobilemusicdevel,
  author = {Holmes, Daniel Stuart},
  title = {Mobile Music Development Tools for Creative Coders},
  school = {Louisiana State University},
  year = {2019},
  doi = {10.31390/gradschool_dissertations.4935},
  abstract = {This project is a body of work that facilitates the creation of musical mobile artworks. The project includes a code toolkit that enhances and simplifies the development of mobile music iOS applications, a flexible notation system designed for mobile musical interactions, and example apps and scored compositions to demonstrate the toolkit and notation system. The code library is designed to simplify the technical aspect of user-centered design and development with a more direct connection between concept and deliverable. This sim- plification addresses learning problems (such as motivation, self-efficacy, and self-perceived understanding) by bridging the gap between idea and functional prototype and improving the ability to contextualize the development process for musicians and other creatives. The toolkit helps to circumvent the need to learn complex iOS development patterns and affords more readable code. CSPD (color, shape, pattern, density) notation is a pseudo-tablature that describes performance interactions. The system leverages visual density and patterns of both color and shape to describe types of gestures (physical or musical) and their relationships rather than focusing on strict rhythmic or pitch/frequency content. The primary design goal is to visualize macro musical concepts that create middleground structure.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 6 archive entries; NIME-topic probability 0.89}
}

@phdthesis{thesis:johnson2019musexrmusicalexp,
  author = {Johnson, David W.},
  title = {MusE-XR: musical experiences in extended reality to enhance learning and performance},
  school = {University of Victoria},
  year = {2019},
  url = {http://hdl.handle.net/1828/10988},
  abstract = {Integrating state-of-the-art sensory and display technologies with 3D computer graphics, extended reality (XR) affords capabilities to create enhanced human experiences by merging virtual elements with the real world. To better understand how Sound and Music Computing (SMC) can benefit from the capabilities of XR, this thesis presents novel research on the de- sign of musical experiences in extended reality (MusE-XR). Integrating XR with research on computer assisted musical instrument tutoring (CAMIT) as well as New Interfaces for Musical Expression (NIME), I explore the MusE-XR design space to contribute to a better understanding of the capabilities of XR for SMC. The first area of focus in this thesis is the application of XR technologies to CAMIT enabling extended reality enhanced musical instrument learning (XREMIL). A common approach in CAMIT is the automatic assessment of musical performance. Generally, these systems focus on the aural quality of the performance, but emerging XR related sensory technologies afford the development of systems to assess playing technique. Employing these technologies, the first contribution in this thesis is a CAMIT system for the automatic assessment of pianist hand posture using depth data. Hand posture assessment is performed through an applied computer vision (CV) and machine learning (ML) pipeline to classify a pianist’s hands captured by a depth camera into one of three posture classes. Assessment results from the system are intended to be integrated into a CAMIT interface to deliver feedback to students regarding their hand posture. One method to present the feedback is through real-time visual feedback (RTVF) displayed on a standard 2D computer display, but this method is limited by a need for the student to constantly shift focus between the instrument and the display. XR affords new methods to potentially address this limitation through capabilities to directly augment a musical instrument with RTVF by overlaying 3D virtual objects on the instrument. Due to limited research evaluating effectiveness of this approach, it is unclear how the added cognitive demands of RTVF in virtual environments (VEs) affect the learning process. To fill this gap, the second major contribution of this thesis is the first known user study evaluating the effectiveness of XREMIL. Results of the study show that an XR environment with RTVF improves participant performance during training, but may lead to decreased improvement after the training. On the other hand,interviews with participants indicate that the XR environment increased their confidence leading them to feel more engaged during training. In addition to enhancing CAMIT, the second area of focus in this thesis is the application of XR to NIME enabling virtual environments for musical expression (VEME). Development of VEME requires a workflow that integrates XR development tools with existing sound design tools. This presents numerous technical challenges, especia},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.80}
}

@phdthesis{thesis:elmlund2019musiccomputergam,
  author = {Elmlund, Fredrik},
  title = {Music, computer games and player performance : How music affects player performance},
  school = {KTH Royal Institute of Technology},
  year = {2019},
  url = {http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17254},
  abstract = {Detta arbete fokuserade på att undersöka hur spelmusik påverkar spelarprestationer. I bakgrunden presenteras en kort historisk bakgrund av spelmusik samt studier som har gjorts inom ämnet. För att undersöka detta analyserades klassiska plattformsspelsbanor och utifrån den data som införskaffades via detta så skapades grunden för längden av spelet som skulle komma att utgöra artefakten. Efter detta så skapades ett ramverk för att kunna systematiskt bygga upp en nivå utifrån ett givet musikstycke. Resultaten av denna studie stärker idén om att musik påverkar spelarprestationer positivt. Den sammanställda datan indikerade dessutom att dynamisk musik verkar vara den typ som har störst påverkan på spelare överlag.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.91}
}

@phdthesis{thesis:meja2019penetrableaudiov,
  author = {Mejía, David Guijarro},
  title = {Penetrable Audiovisual, inspirado en la interactividad que propone la obra de Jesús Rafael Soto en cuanto a experiencia artística del espectador, adaptado a una instalación de video itinerante},
  year = {2019},
  url = {http://repositorio.uisrael.edu.ec/bitstream/47000/2275/1/UISRAEL-EC-P.TM-378.242-2019-008.pdf},
  abstract = {This project focuses on the conceptualization and development of a video installation, inspired by the interactivity proposed by the artist Jesus Rafael Soto. The idea of penetrating an artistic work is based on the need to create an interactive space for spectators, who acquire participatory characteristics that allow them to move freely through the environment. This video installation starts from the analysis of the relationship between digital image, technologies and the Internet, which has changed the way of distributing and consuming multimedia content, and rising new ways of understanding and sharing art. The conceptualization of the work was carried out based on research methods such as interview and observation to combine concepts and elements that result on an installation in which audiovisual theory is merged with artistic experimentation. The project seeks to give autonomy to the public, therefore, the viewer perceives unpublished and compiled images that are projected from different angles in a room and has the possibility of interposing between the light rays and becoming an essential element of the work. The project involves an early spatial conception of the environment that affects the way of perceiving reality and resignifying it according to the personal experiences of each spectator who is immersed in an artistic, sound and visual experience. Keywords: Video, video installation, penetrable, interactivity, Jesus Rafael Soto, audience.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.76}
}

@phdthesis{thesis:santos2019usingmotionsenso,
  author = {Santos, Augusto Dias Pereira dos},
  title = {Using Motion Sensor and Machine Learning to Support the Assessment of Rhythmic Skills in Social Partner Dance: Bridging Teacher, Student and Machine Contexts},
  year = {2019},
  url = {https://ses.library.usyd.edu.au/handle/2123/21302},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; NIME-topic probability 0.72}
}

@phdthesis{thesis:talianni2019walkingwithsound,
  author = {Talianni, Aikaterini},
  title = {Walking-with-sounds : creative agency, artistic collaboration and the sonic production of acoustic city spaces},
  year = {2019},
  url = {http://hdl.handle.net/1842/36042},
  abstract = {This thesis interrogates the urban environment through the filter of the sonic to explore the significance of sound in society. As such, it is located within studies of the auditory culture in combination with theoretical aspects of sociology, cultural studies, anthropology, philosophy, geography, and musicology that together comprise the inter-discipline of sound studies. Examples of sound art are introduced that demonstrate the development of the social interactions that take place in the networks formed by the interlacing of spatial, acoustic and informational layers, mixed realities and digital landscapes. This thesis focuses on sound art works that are coproduced by artists and audiences, exist in - real, imagined, or hybrid - space, are technologically mediated, geo-located and experienced through headphones. The audiences of this type of sound art are the listeners who explore and appropriate an area while becoming aware of the rich soundscapes of everyday life. Audiences in this sense may become participants involved in creating the content of sound art, which is in most cases field recordings and soundscape compositions. These interactions between sound art and the public space construct acoustic city spaces where sound art audiences may form acoustic communities. I argue that sound art generates new ways to think about our cities and the ways we exist as social agents within them. For this, I explore phenomenological listening as a form of collective belonging to a place and a feeling of participating equally to our everyday sonic experience of our cities. I propose the use of an interdisciplinary research methodology that firstly triangulates ethnographic tools, and experimental auditory phenomenology, and secondly understands soundwalks and soundmaps as a method for knowing soundscapes. A research methodology for the artistic practices that use mobile audio devices can contribute to the development of a new interdisciplinary theoretical and methodological framework for researching sound art practices in public space. The research is based on the concept of the soundscape and its multiple uses for capturing and studying the sonic environment. A case study of collaborative sound walking/mapping enables me to explore the relation between body and physical space, and in this, consider the application of playful, collaborative and creative sonic affordances in urban design and in the right to the city. Ultimately, I present a definition of acoustic communities and acoustic space through a sound art outlook. I examine acoustic community emergence and formation and how this informs the ways these communities perceive, document, and share their experience of space. My aim is to show that the development of a sound art practice, where everyday and artistic listening practices intertwine with agency and creativity, assembles inclusive acoustic spaces where emerging artistic acoustic communities are empowered to construct agonistic acoustic city},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.91}
}

@phdthesis{thesis:thiede2020digitaltapdancet,
  author = {Thiede, Jacob},
  title = {"Digital Tap Dance": Tap Dance as Medium for Composition},
  year = {2020},
  doi = {10.12794/metadc1703288},
  abstract = {This dissertation investigates the process of collaboration and the application of both notational and technological schemes to integrate elements of contemporary composition and tap dance as a consolidated art form. Overall, this document gives an overview of choreographer/composer collaborations in Western classical music; movement notation; and ultimately analyzes my original music—a live set for tap dancer, live musicians and electronics—entitled Digital Tap Dance. Altogether, this project represents the culmination of music and dance as a compelling intermedia collaboration. By (1) researching different practices of composer-choreographer collaborations, (2) notating rudiments for tap dance, (3) creating software for tap dancers, and (4) composing original music for tap dancers, this dissertation will create options for composers and choreographers alike in composition and improvisation.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.87}
}

@phdthesis{thesis:michaud2020afterthemusicbox,
  author = {Michaud, Alyssa},
  title = {After the music box: A history of automation in real-time musical performance},
  school = {McGill University},
  year = {2020},
  doi = {10.82308/3974},
  abstract = {Après la boîte à musique : une histoire de l’automation dans la performance musicale en temps réel prend pour objet de recherche la réception et l’usage de l’automation dans la musique au cours du dernier siècle. Faisant appel à des méthodes empruntées à la musicologie ainsi qu’aux études médiatiques, j’examine la transformation du discours entourant les technologies musicales au cours de leurs toutes premières années d’existence, cette période qui précède la cristallisation de leurs fonctions et de leurs significations, et j’y situe la démarche humaine qui sous-tend chaque processus d’automation. Cette thèse explore trois périodes historiques qui font la lumière sur la relation entre l’automation et la création musicale par l’humain : la technologie des pianos mécaniques au début du vingtième siècle, les synthétiseurs et les séquenceurs au milieu de ce même siècle, ainsi que la technologie de synthèse vocale au début du vingt-et-unième siècle. Au cours des chapitres 1 et 2, j’examine trois modèles comparables de pianos mécaniques. À partir de matériaux publicitaires, de publications commerciales et de discours tirés de la presse populaire, je me penche sur l’anxiété générée par ces nouvelles technologies et sur les efforts faits en vue de définir la fonction de ces machines. J’y corrige certaines incompréhensions historiques au sujet des pianos mécaniques, rétablis une certaine compréhension de l’importance accordée à la créativité humaine en lien avec l’utilisation de ces appareils, et situe ces derniers dans un contexte technologique favorable à la facilitation du travail. Dans le chapitre 3, j’analyse l’histoire de la réception de deux groupes qui furent parmi les premiers à proposer une musique techno pop, de manière à identifier les différentes formes d’anxiété engendrées cette fois par la déshumanisation de la création musicale dans le panorama globalisé de la musique populaire des années 1970. Enfin, dans les chapitres 4 et 5, je m’intéresse au logiciel de synthèse vocale Vocaloid et aux concerts holographiques. En examinant des performances réalisées à l’aide de ce logiciel dans le contexte de recherches sur les communautés créatives en ligne et la culture des admirateurs [fan culture], je défends l’idée selon laquelle les contributions d’utilisateurs en ligne et la participation structurée des admirateurs à l’occasion des concerts sont la preuve d’un nouveau type de performance, rendu possible par les technologies d’automation au vingt-et-unième siècle. Cette étude soutient une compréhension et une reconnaissance de la démarche humaine au cœur de performances intégrant l’automation, et démontre l’importance que prend la création musicale amatrice dans le développement des nouvelles technologies musicales},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.97}
}

@phdthesis{thesis:marasco2020benditioasystemf,
  author = {Marasco, Anthony T.},
  title = {Bendit_I/O: A System for Extending Mediated and Networked Performance Techniques to Circuit-Bent Devices},
  school = {Louisiana State University},
  year = {2020},
  doi = {10.31390/gradschool_dissertations.5343},
  abstract = {Circuit bending—the act of modifying a consumer device's internal circuitry in search of new, previously-unintended responses—provides artists with a chance to subvert expectations for how a certain piece of hardware should be utilized, asking them to view everyday objects as complex electronic instruments. Along with the ability to create avant-garde instruments from unique and nostalgic sound sources, the practice of circuit bending serves as a methodology for exploring the histories of discarded objects through activism, democratization, and creative resurrection. While a rich history of circuit bending continues to inspire artists today, the recent advent of smart musical instruments and the growing number of hybrid tools available for creating connective musical experiences through networks asks us to reconsider the ways in which repurposed devices can continue to play a role in modern sonic art. Bendit_I/O serves as a synthesis of the technologies and aesthetics of the circuit bending and Networked Musical Performance (NMP) practices. The framework extends techniques native to the practices of telematic and network art to hacked hardware so that artists can design collaborative and mediated experiences that incorporate old devices into new realities. Consisting of user-friendly hardware and software components, Bendit_I/O aims to be an entry point for novice artists into both of the creative realms it brings together. This document presents details on the components of the Bendit_I/O framework along with an analysis of their use in three new compositions. Additional research serves to place the framework in historical context through literature reviews of previous work undertaken in the circuit bending and networked musical performance practices. Additionally, a case is made for performing hacked consumer hardware across a wireless network, emphasizing how extensions to current circuit bending and NMP practices provide the ability to probe our relationships with hardware through collaborative, mediated, and multimodal methods.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.74}
}

@phdthesis{thesis:kirkbride2020collaborativeint,
  author = {Kirkbride, Ryan},
  title = {Collaborative interfaces for ensemble live coding performance},
  school = {University of Leeds, The University of Sheffield, University of York},
  year = {2020},
  url = {https://etheses.whiterose.ac.uk/28901/6/ch5_1a-Rehearsal-09_04_17.mpg},
  abstract = {This research is a practice-led investigation into collaborative user interfaces within the practice of live coding; the act of writing computer code for generating improvised music live in front of an audience. It examines the impact of user interface design parameters on group creativity and explores the roles of data, text, and programming languages as media for musical communication. Utilising a multi-faceted research method that combines iterative “participatory design” (Spinuzzi, 2005) with performance-led “research in the wild” (Benford et al., 2013), this research couples ethnographic and autoethnographic observations to gain insight into the practice of ensemble live coding and inform software design. Three novel collaborative interfaces have been developed as part of this research that explore various facets of musical collaboration in live coding. Each interface was developed through an iterative and reflexive methodology focused on user-centred design and was employed in a cyclical process of artistic practice and refinement based on user evaluation and in-depth study. The first interface, entitled Troop, is a shared text editor that allows multiple performers to collaborate on the same single body of code together. The second, CodeBank, explores how private working in a collaborative context affects creativity and improvisation. Finally, PolyGlot, combines multiple live coding languages into a single collaborative interface that enables live coding musicians to play together, regardless of their knowledge of languages. As well as these three graphical interfaces, the functionality of an existing live coding language, FoxDot, was extended to help facilitate the sharing of musical information within an ensemble. Each interface was used in live performance by The Yorkshire Programming Ensemble and evaluated through group interview sessions that examined the themes of immediacy, trust, and risk with regards to both human-computer interaction and intra-ensemble communication as well as the experience of personal- and group-flow states.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:ke2020designingfornewg,
  author = {Öke, Ethem Hürsu},
  title = {Designing for new generation electronic musical instruments: Strategies to improve interaction, user experience and live performance},
  year = {2020},
  url = {https://open.metu.edu.tr/bitstream/handle/11511/69141/12625919.pdf},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:neto2020digitalcompositi,
  author = {Neto, Alexei [UNESP] Lisounenko},
  title = {Digital composition: the use of digital tools as an instrument of musical composition},
  year = {2020},
  url = {http://hdl.handle.net/11449/192100},
  abstract = {A escrita e criação musical sofreram grandes mudanças com o advento das tecnologias digitais. Das inscrições em paredes da civilização pré-histórica, passamos para a pena, o lápis, a caneta chegando ao computador. Com a criação e evolução dos programas de composição musical o compositor passou a ter uma ferramenta que aumenta as possibilidades e facilidades de criação. Programas onde são permitidos escrever música com o teclado do computador, com o teclado virtual, ou até mesmo com o auxílio de um instrumento musical eletrônico, armazenar a música composta, inserir regras de composições, se transformam num importante assistente do músico, podendo auxiliá-lo a descobrir novas possibilidades e criar novos rumos para a composição musical. As tecnologias digitais dão suporte para a produção e distribuição de informações que causam grandes impactos na forma de criar e no que se cria. Com estas tecnologias, além de escrever, é possível ouvir o que foi escrito, e com os sons dos instrumentos escolhidos. Com estas ferramentas um compositor pode escutar a sua obra completa antes mesmo dela ser experimentada por músicos. Essa funcionalidade permite ao compositor corrigir eventuais erros e verificar se o resultado final ficou de acordo com o esperado, permitindo alterações e até novas experiências com notas e instrumentos. Os objetos deste trabalho são softwares de composição musical. O objetivo geral foi selecionar softwares de composição musical que salvem em arquivo MIDI, MusicXML, PDF e que possuam versão DEMO. Os objetivos específicos foram apresentar as características dos softwares selecionados demonstrando particularidades que auxiliem o compositor na criação e produção de música e definir dentre eles qual é o mais adequado para um compositor profissional compor música de forma digital.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.90}
}

@phdthesis{thesis:viator2020findingmusicinch,
  author = {Viator, Landon},
  title = {Finding Music in Chaos: Designing and Composing with Virtual Instruments Inspired by Chaotic Equations},
  school = {Louisiana State University},
  year = {2020},
  doi = {10.31390/gradschool_dissertations.5177},
  abstract = {Using chaos theory to design novel audio synthesis engines has been explored little in computer music. This could be because of the difficulty of obtaining harmonic tones or the likelihood of chaos-based synthesis engines to explode, which then requires re-instantiating of the engine to proceed with sound production. This process is not desirable when composing because of the time wasted fixing the synthesis engine instead of the composer being able to focus completely on the creative aspects of composition. One way to remedy these issues is to connect chaotic equations to individual parts of the synthesis engine instead of relying on the chaos as the primary source of all sound-producing procedures. To do this, one can create a physically-based synthesis model and connect chaotic equations to individual parts of the model. The goal of this project is to design a physically-inspired virtual instrument based on a conceptual percussion instrument model that utilizes chaos theory in the synthesis engine to explore novel sounds in a reliable and repeatable way for other composers and performers to use. This project presents a two-movement composition utilizing these concepts and a modular set of virtual instruments that can be used by anyone, which can be interacted with by a new electronic music controller called the Hexapad controller and standard MIDI controllers. The physically-inspired instrument created for the Hexapad controller is called the Ambi-Drum and standard MIDI controllers are used to control synthesis parameters and other virtual instruments.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 4 archive entries; NIME-topic probability 0.95}
}

@phdthesis{thesis:bouteiller2020instrumentsnumri,
  author = {Bouteiller, Madeleine Le},
  title = {Instruments numériques et performances musicales : enjeux ontologiques et esthétiques},
  year = {2020},
  doi = {10.70675/1fbd5a44z9bbez4191zb65fzc118ab5d3005},
  abstract = {Les ordinateurs et instruments numériques sont-ils des instruments de musique ? Selon des définitions traditionnelles, la réponse est négative. Pourtant, de nombreux outils numériques sont aujourd’hui utilisés pour jouer de la musique. L’objectif de cette thèse est d’approfondir, au moyen d’une enquête ontologique et d’une réflexion esthétique, le statut de ce genre d’instruments et des performances qu’ils mettent en œuvre. Nous étudions des systèmes musicaux caractérisés par l’élaboration numérique et algorithmique du son : des instruments à interfaces gestuelles, des contrôleurs MIDI, des logiciels de création musicale, des performances d’orchestres d’ordinateurs et de live coding. Nous cherchons à montrer que, sous certaines conditions, il est possible de les considérer comme de véritables instruments de musique. Nous explorons les dynamiques qu’ils font émerger ainsi que leurs productions : des œuvres musicales particulièrement orientées vers la performance, proposant une expérience sonore mais aussi fortement visuelle. Par leur rapport au temps et à l’espace de la scène, les instruments numériques sont intimement liés à leurs performances.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 14 archive entries; NIME-topic probability 0.99}
}

@phdthesis{thesis:sncal2020learningandunder,
  author = {Sénécal, Simon},
  title = {Learning and understanding partner dance through motion analysis in a virtual environment},
  school = {University of Geneva},
  year = {2020},
  doi = {10.13097/archive-ouverte/unige:142477},
  abstract = {Partner dance is a physical activity that is social and involves two partners dancing to music. Learning such dance is difficult and presents many challenges, such as finding a partner, learning the right skills, etc. Through the motion analysis of couples as entities with regards to tempos, we aim at developing new ways to understand and characterize partner dance. We are proposing a set of features that can extract high-level information from low-level data, usable enough to help design learning systems. In the first place, we selected three main dance skills considered important for Salsa dance learning from interviews with experts - namely Rhythm, Guidance, and Styling - and searched for clues in the theoretical description of the movement that could help to describe high-level dance skills in terms of low-level motion measurements. Next, we suggest a set of musicalrelated motion features (MMF) to characterize Salsa performance (two people interacting and dancing with each other to the music) in terms of learning levels. These features lead to 29 measurements applied to captured motion data and music beat analysis. Secondly, a database is created with 26 couples performing from three levels of experience (beginners: less than 6 months, intermediates: 1 to 3 years, experts: more than five years - teachers or jury) along with ten music with varying tempos. All MMFs are then extracted from the database and submitted to a machine learning algorithm. The "Random forest" algorithm shows the best results for level classification, up to 90% accuracy. A feature importance study is also conducted to enhance our MMF set by identifying the features that contribute the most to the classification. Finally, we designed and evaluated an interactive dance learning system that allows a person to learn Guidance and Rhythm skills through a virtual reality Salsa dance environment containing a virtual partner with hand to hand interaction. We installed the experiment in different dance schools and at dance parties to make several dancers of various levels test our system. The overall user motion data was recorded and a learning analysis performed using our Musical Motion Features and the well-known Laban Motion Analysis, showing an improvement of the dance skills of users after training, thus validating the relevance of our design. More extended studies could be conducted to further validate the learning aspect of our interactive system by defining more precisely the learning groups, and new exercises could be imagined to add new skills to the existing rhythm and guidance. Our proposed framework of MMFs could also be refined by considering the more complex and precise definitions of each of the features, taking more skeleton joints into account than the foot joints for the Rhythm skill. The Guidance skill can also be redefined in the light of the final design of our learning system, based on gesture recognition on a specific time frame. Overall, our approach, root},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.88}
}

@phdthesis{thesis:bloomberg2020makingmusicalmag,
  author = {Bloomberg, Benjamin},
  title = {Making musical magic live : inventing modern production technology for human-centric music performance},
  year = {2020},
  url = {https://dspace.mit.edu/handle/1721.1/129893},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.97}
}

@phdthesis{thesis:roche2020musicsoundsynthe,
  author = {Roche, Fanny},
  title = {Music sound synthesis using machine learning : Towards a perceptually relevant control space},
  school = {Université Grenoble Alpes},
  year = {2020},
  doi = {10.70675/11139a1bz26bdz4352za195ze6e849dec3bf},
  abstract = {Synthèse de sons musicaux par apprentissage machine : vers un espace de contrôle perceptivement pertinent Un des enjeux majeurs du marché des synthétiseurs et de la recherche en synthèse sonore aujourd'hui est de proposer une nouvelle forme de synthèse permettant de générer des sons inédits tout en offrant aux utilisateurs de nouveaux contrôles plus intuitifs afin de les aider dans leur recherche de sons. En effet, les synthétiseurs sont actuellement des outils très puissants qui offrent aux musiciens une large palette de possibilités pour la création de textures sonores, mais également souvent très complexes avec des paramètres de contrôle dont la manipulation nécessite généralement des connaissances expertes. Cette thèse s'intéresse ainsi au développement et à l'évaluation de nouvelles méthodes d'apprentissage machine pour la synthèse sonore permettant la génération de nouveaux sons de qualité tout en fournissant des paramètres de contrôle pertinents perceptivement.Le premier challenge que nous avons relevé a donc été de caractériser perceptivement le timbre musical synthétique en mettant en évidence un jeu de descripteurs verbaux utilisés fréquemment et de manière consensuelle par les musiciens. Deux études perceptives ont été menées : un test de verbalisation libre qui nous a permis de sélectionner huit termes communément utilisés pour décrire des sons de synthétiseurs, et une analyse à échelles sémantiques permettant d'évaluer quantitativement l'utilisation de ces termes pour caractériser un sous-ensemble de sons, ainsi que d'analyser leur "degré de consensualité".Dans un second temps, nous avons exploré l'utilisation d'algorithmes d'apprentissage machine pour l'extraction d'un espace de représentation haut-niveau avec des propriétés intéressantes d'interpolation et d'extrapolation à partir d'une base de données de sons, le but étant de mettre en relation cet espace avec les dimensions perceptives mises en évidence plus tôt. S'inspirant de précédentes études sur la synthèse sonore par apprentissage profond, nous nous sommes concentrés sur des modèles du type autoencodeur et avons réalisé une étude comparative approfondie de plusieurs types d'autoencodeurs sur deux jeux de données différents. Ces expériences, couplées avec une étude qualitative via un prototype non temps-réel développé durant la thèse, nous ont permis de valider les autoencodeurs, et en particulier l'autoencodeur variationnel (VAE), comme des outils bien adaptés à l'extraction d'un espace latent de haut-niveau dans lequel il est possible de se déplacer de manière continue et fluide en créant de tous nouveaux sons. Cependant, à ce niveau, aucun lien entre cet espace latent et les dimensions perceptives mises en évidence précédemment n'a pu être établi spontanément.Pour finir, nous avons donc apporté de la supervision au VAE en ajoutant une régularisation perceptive durant la phase d'apprentissage. En utilisant les échantillons sonores résultant du test perceptif avec échelles },
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.93}
}

@phdthesis{thesis:martins2020mquinashbridasde,
  author = {Martins, André Lopes},
  title = {Máquinas híbridas de performance: novas formas de instrumenticidade em práticas musicais experimentais},
  year = {2020},
  doi = {10.11606/t.27.2020.tde-25022021-093715},
  abstract = {novas formas de instrumenticidade em práticas musicais experimentaisSão},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; NIME-topic probability 0.80}
}

@phdthesis{thesis:scipio2020questcequiestviv,
  author = {Scipio, Agostino Di},
  title = {Qu’est-ce qui est « vivant » dans la performance live electronics ? : une perspective écosystémique des pratiques de création sonore et musicale},
  school = {Université Paris 8},
  year = {2020},
  doi = {10.70675/6bbe3ab3z9f22z4d7czb4b4z28f767bb9df4},
  abstract = {Ce travail de thèse pose la question du caractère « vivant » (liveness) dans la musique électronique « en direct » (live, dal vivo), particulièrement en considération du fait que tout milieu d’art sonore performatif est aujourd’hui intégralement composé par des infrastructures technologiques de type hétérogène. Les approches de musique live electronics fournissent des images éloquentes du processus d’écologisation générale de la technique à l’âge contemporain et de notre façon de vivre dans des milieux d’existence profondément technicisés. La thèse s’adresse à ce sujet dans une perspective systémique et opératoire, en faisant suite à la démarche de « recherche-création » que l’auteur a lui-même développé depuis plusieurs années. En outre — en passant de la question du « vivant » à celle du « vécu » — la thèse vise finalement à traiter les conditions d’expérience du son chez les pratiques de création qui connectent la dimension performative à une « conscience écosystémique » de l’environnement sonore et de l’expérience de l’écoute, ainsi qu’à une forte « économie des moyens ».},
  collection = {Theses},
  note = {Found in OpenAlex; cites 3 archive entries; NIME-topic probability 0.96}
}

@phdthesis{thesis:goudard2020reprsentationetc,
  author = {Goudard, Vincent},
  title = {Représentation et contrôle dans le design interactif des instruments de musique numériques},
  school = {Sorbonne Université},
  year = {2020},
  doi = {10.70675/9cdbce88zc815z4621zb5ebz1415a28d33f8},
  abstract = {Les instruments de musique numériques se présentent comme des objets complexes, qui se situent à la fois dans une continuité historique avec l'histoire de la lutherie tout en étant marqués par une rupture forte provoquée par le numérique et ses conséquences en terme de possibilités sonores, de relations entre le geste et le son, de situations d'écoute, de re-configurabilité des instruments, etc. Ce travail de doctorat propose une analyse des caractéristiques émanant de l'intégration du numérique dans les instruments de musique, en s'appuyant notamment sur une réflexion musicologique, sur des développements logiciels et matériels et sur une pratique musicale, ainsi que sur des échanges avec d'autres musiciens, luthiers, compositeurs et chercheurs.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 14 archive entries; NIME-topic probability 0.98}
}

@phdthesis{thesis:svenns2020sensitivdesignin,
  author = {Svenns, Thelma},
  title = {SENSITIV : Designing for Interactive Dance and the Experience of Control},
  school = {KTH Royal Institute of Technology},
  year = {2020},
  url = {http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280814},
  abstract = {In the last decade, many studies and performances within the field of interactive dance have been made. Interactive dance means involving technology into the dance, which opens opportunities to execute a dance in another way than used to. The studies in the past have often involved manipulation of music, but not many studies seem to involve manipulating real-time music produced by a live musician. Hence, this study consisted of a musician and a dancer investigating in the co-play between the two artists through sensory technology in a project called SENSITIV. More specifically, the investigation focused on the input design, i.e. the placement and processing of the motion sensors, for an interactive system, and how the involvement of the sensory technology affects the dance. Inertia-based motion sensors were worn by the dancer, by which the real-time sound produced by the musician was manipulated through the movements of the dancer. This created in turn an interaction within the intermediate connection, where the dancer came to act as a co-musician. Two studies were conducted, where in the first study a prototype was developed and designed in a first-person perspective, and the second study tested the developed prototype on a larger group of dancers. The results showed that placement on the outer parts, such as wrist and ankles, were the most suitable. It was further found that for reaching a positive experience, in terms of feeling in control with dancing with sensors involved, it requires some time as having an understanding and knowledge of the system is needed.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:ko2020theglobeevaluati,
  author = {Ko, Chantelle},
  title = {The GLOBE: Evaluating Sensors for Interactive Computer Music Performance},
  year = {2020},
  doi = {10.11575/prism/38097},
  abstract = {This thesis research proposes a creative process for designing a DMI (Digital Musical Instrument) through an evaluation of sensors and in the context of interactive computer music performance. In this process, the author uses the affordances and limitations of different types of sensors to generate ideas for possible DMI designs. The chosen design to construct is the GLOBE (Gesture-sensing, Luminous, Oscillating Ball Environment). It has touch sensors, an accelerometer, a proximity sensor, a colour sensor, and colour-changing LEDs. The sensors and physical geometry of the GLOBE supports many gestures and instrumental techniques for the performer to control sound in real time. Two Etudes performed with the GLOBE premiered on YouTube Live on May 22nd, 2020. The online audience was asked to complete a voluntary survey to provide their feedback on the instrument and performance. The evaluation of the GLOBE as an effective musical instrument includes their feedback, as well as the author’s perspective as the designer, composer/programmer, and performer.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 11 archive entries; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:roman2020thedesignandeval,
  author = {Roman, Samuel Damien},
  title = {The design and evaluation of the Gyroshuffle - A real-time quantised rhythmic instrument},
  year = {2020},
  url = {http://urn.nb.no/URN:NBN:no-84027},
  abstract = {The aim of this study is to develop and evaluate the Gyroshuffle, a real time rhythmic instrument played with body movement. The instrument produces a quantised rhythmic drum loop that can be played by the user, utilising velocity based IMU sensors as an input. The hypothesis is that the more movement made, the more rhythmically complex the drum loop will become. The mapping and sound engine reflect this concept, resulting in an intuitive, physical world inspired relationship between gesture and sound. Rhythm, its characteristics, meter and its beauty are all discussed in relation to creating an IMS, as well as evaluating what makes a successful IMS in a prototyping environment. The system is created with Myo armbands, MyoMapper, Max and Ableton Live, and evaluated by users with a musical background compared against a traditional controller based IMS. It was found that the Gyroshuffle was successful for short term changes in rhythm, and is preferred for performance, however it performs less well for longer term compositional changes. Moving to the rhythm, whilst controlling the rhythm is possible with the Gyroshuffle, blurring the lines between dancing and producing music in real time.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 4 archive entries; NIME-topic probability 0.97}
}

@phdthesis{thesis:pigg2020videojockeysnewm,
  author = {Pigg, Ella},
  title = {Video Jockeys: New Media in Performance Art},
  school = {The Ohio State University},
  year = {2020},
  url = {http://hdl.handle.net/1811/91715},
  abstract = {Since the introduction of digitized media into culture, the artistic venture to integrate technology into performance has taken many names. Multimedia performance, interactive media, and digital media design are all novel forms in the lexicon of new media art. The medium of projection arts encapsulates those arts which utilize media projection as a foundational tool. In this thesis, I will investigate a novel projection art: VJing. VJing is a live visual art form that has risen in popularity across music genres. It utilizes a multitude of new media to alter the traditional music performance into an audio-visual synaesthetic experience. First, I analyze VJing by tracing the genealogy of its predecessors, Secondly, I interrogate the underlying critical implications of VJing within the larger context of visual culture. This project does not seek to romanticize the VJ but instead to insert it into scholarly discourse so that we may begin to critically interrogate its existence in contemporary media and performance. By placing the VJ in conversation with different schools of study, such as film, literature, and media studies, I hope to invite and legitimize additional critiques of the artform. Further, this thesis aims to inspire similar studies about projection arts.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:goto2020virtualinstrumen,
  author = {Goto, Suguru},
  title = {Virtual instruments, automated instruments, An artistic approach to robotics},
  school = {Paris 8},
  year = {2020},
  doi = {10.70675/80f51126zef21z4412z94abz4a8ce3d57e11},
  abstract = {In this thesis, the main subject is the virtual musical instrument: RoboticMusic has been also described as an evolved form, to be an automatic instrument. In other words, connecting virtual reality and the robot is an important point of this research. This has also been done in the past in order to link the BodySuit to RoboticMusic, as well as to link the Powered Suit to the Internet.A lot of research has been done on the new media arts, as well as on creative coding, as it relates to their development. This research derived to the birth to Cymatics, Duali and Hypnoid. Following these, research on visual performance and the research based on projection mapping, augmented reality and augmented performance - has emerged. Further research was then carried out on virtual reality, robotic art and motion capture. Along with these, Haptic Suit and Wearable Computing are also mentioned in this thesis. This work ultimately led to the integration of virtual reality and robots that simulate the state of weightlessness. Body in zero G and Gravity Zero are works related to virtual reality and the robot in the state of weightlessness.These technical explanations constitute a preamble to the examples of our own technical developments carried out for our artistic works. The explanations of the developments of these technologies will ultimately be conducted to form part of the philosophy of our artistic works.Descriptions of works such as Cymatics, Duali, Hypnoïde, Body in zero G, are in chapter 6. Chapter 7 will be devoted to the philosophy that results from these case studies. In the past, discussions have taken place on A Thousand Plateaus by Deleuze and Guattari, as well as To Have Done With the Judgment of God of Artaud. We also develop these discussions on transhumanism, posthumanism and Cartesian dualism in this chapter.},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:coler2021asystemforexpres,
  author = {Coler, Henrik von},
  title = {A system for expressive spectro-spatial sound synthesis},
  school = {DepositOnce},
  year = {2021},
  doi = {10.14279/depositonce-11350},
  abstract = {The GLOOO system is a holistic digital musical instrument for spatial sound synthesis, considering a control device, a real time synthesis algorithm with a related modeling procedure and the integration of sound reproduction systems. Statistical Spectral Modeling is introduced as a novel method for transferring a sample library of musical instrument sounds into a data model for the application in expressive synthesis systems. A custom sample library of anechoic violin sounds has been produced to generate the model used within this project. Centerpiece of the instrument is a multi-channel synthesis software, implementing the Statistical Spectral Synthesis algorithm in C++. All spectral components of the synthesis software are dynamically routed to multiple outputs and sent to a third party spatial rendering software. This allows the realization of Spectro-Spatial Sound Synthesis - the integrated spectral synthesis of sound with dynamic spatial distribution properties, controlled through a set of shared control parameters. Expressive control over synthesis and spatialization is enabled through a custom-designed haptic developed in an interdisciplinary team. Within a user study, participants had the opportunity to create individual mappings between interface and spatial synthesis, using a visual programming environment. Control and synthesis parameters of the system as well as the mapping strategies of different users were investigated. Results show a preference for specific sensor units of the control device and for specific connections between control and synthesis parameters. Case examples reveal different mapping types, including the high confidence mapper, the exploring mapper and the confused mapper. The full system can be considered an environment for further studies on human-computer interaction in musical contexts.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:sullivan2021builtforperforma,
  author = {Sullivan, John},
  title = {Built for performance: Designing digital musical instruments for professional use},
  school = {McGill University},
  year = {2021},
  doi = {10.82308/40299},
  abstract = {Le domaine de la conception d'instruments numériques de musique (INM) touche plusieurs disciplines et comprend diverses approches pour développer de nouveaux instruments qui seront utilisés de manière artistique. Bien que ces écosystèmes dynamiques de conception et de pratique créative prospèrent dans certaines communautés, ils demeurent majoritairement centrés sur la performance musicale expérimentale et contemporaine et la recherche universitaire. De plus, les technologies numériques sont bien présentes au sein des communautés musicales et pratiques professionnelles, toutefois, l’utilisation d’INMs novatrices reste toujours limitée. L’objectif de cette thèse est d'étudier les exigences uniques des musiciens professionnels lorsqu’ils pratiquent activement un instrument de musique, et d'identifier les moyens de répondre à ces préoccupations tout au long du processus de conception, pouvant ainsi faciliter le développement durable d'instruments attrayants pour ces professionnels. Cette thèse s’échelonne en trois phases de recherche orientées sur l’utilisateur, proposant des méthodes tirées du domaine de l'interaction homme-machine et de la conception centrée sur l’humain. D’abord, des musiciens ont rempli un questionnaire afin de comprendre comment les INMs sont utilisées dans différentes pratiques musicales et d‘identifier les facteurs d'engagement des utilisateurs avec les nouveaux instruments. Deuxièmement, des ateliers de conception ont été élaborés et organisés avec des groupes de musiciens experts. Ces derniers ont utilisé le prototypage non fonctionnel et la fiction de conception comme méthodes pour déceler les priorités des interprètes lors de la conception d’instruments numériques et développer des spécifications tangibles. Enfin, deux contextes ont dirigé la création des INMs : premièrement, suite aux résultats issus de l’atelier, trois instruments ont été créés pour répondre aux critères généraux qui ont été proposés quant aux performances avec INMs; deuxièmement, deux systèmes de performance de harpe augmentée ont été construits et intégrés dans la pratique professionnelle d'une musicienne basée sur une collaboration de recherche-conception à long terme. À travers ces projets, je propose les contributions suivantes qui aideront les concepteurs dans le développement de nouvelles INMs destinées aux musiciens professionnels. Les résultats du questionnaire ont été condensés dans une liste de considérations pour les concepteurs qui répondent aux demandes et aux priorités des interprètes quant au développement de nouvelles INMs. Une méthodologie a été développée pour produire des spécifications lors de la conception d’INMs, qui tire profit des connaissances tacites des musiciens professionnels. Enfin, je présente des lignes directrices pratiques, des outils et des suggestions pour la conception technique et la fabrication d'instruments durables qui seront utilisés dans la pratique professionnelle d'un instrument de musique à long terme},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.97}
}

@phdthesis{thesis:alemi2021expressivemoveme,
  author = {Alemi, Omid},
  title = {Expressive movement generation with machine learning},
  school = {Simon Fraser University},
  year = {2021},
  url = {http://summit.sfu.ca/item/21507},
  abstract = {Movement is an essential aspect of our lives. Not only do we move to interact with our physical environment, but we also express ourselves and communicate with others through our movements. In an increasingly computerized world where various technologies and devices surround us, our movements are essential parts of our interaction with and consumption of computational devices and artifacts. In this context, incorporating an understanding of our movements within the design of the technologies surrounding us can significantly improve our daily experiences. This need has given rise to the field of movement computing – developing computational models of movement that can perceive, manipulate, and generate movements. In this thesis, we contribute to the field of movement computing by building machine-learning-based solutions for automatic movement generation. In particular, we focus on using machine learning techniques and motion capture data to create controllable, generative movement models. We also contribute to the field by creating datasets, tools, and libraries that we have developed during our research. We start our research by reviewing the works on building automatic movement generation systems using machine learning techniques and motion capture data. Our review covers background topics such as high-level movement characterization, training data, features representation, machine learning models, and evaluation methods. Building on our literature review, we present WalkNet, an interactive agent walking movement controller based on neural networks. The expressivity of virtual, animated agents plays an essential role in their believability. Therefore, WalkNet integrates controlling the expressive qualities of movement with the goal-oriented behaviour of an animated virtual agent. It allows us to control the generation based on the valence and arousal levels of affect, the movement’s walking direction, and the mover’s movement signature in real-time. Following WalkNet, we look at controlling movement generation using more complex stimuli such as music represented by audio signals (i.e., non-symbolic music). Music-driven dance generation involves a highly non-linear mapping between temporally dense stimuli (i.e., the audio signal) and movements, which renders a more challenging modelling movement problem. To this end, we present GrooveNet, a real-time machine learning model for music-driven dance generation.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.84}
}

@phdthesis{thesis:kirkegaard2021integratingdoffo,
  author = {Kirkegaard, Mathias},
  title = {Integrating 1-DoF force feedback interactions in self-contained DMIs},
  school = {McGill University},
  year = {2021},
  doi = {10.82308/13391},
  abstract = {This thesis presents a system for designers of Digital Musical Instruments (DMIs) to explore the integration of 1 degree of freedom (DoF) force feedback interactions in new self-contained instruments.The system developed consists of an open-source graphical tool and a rotary force-feedback device made from commercially available components to facilitate the authoring of audio-haptic applications. The system's requirements are collected through a background analysis: I review related research in force-feedback DMI's to motivate the capabilities of the system and inspire musical application examples. I survey current software solutions for audio-haptic authoring to understand how the system should work. I obtain latency and stability requirements for the device by reviewing existing open-source force feedback devices and according to related literature on the performance evaluation of haptic devices. Implementing an early prototype is used to inform the development of the graphical editing tool and its integration in an embedded audio-haptic environment using the functional programming language FAUST for real-time signal processing.I implement the device with a low-cost stepper motor and compensate cogging torque for maximizing haptic transparency. The device is integrated into two DMI's, the T-Stick, and a standalone haptic knob, and used to prototype four audio-haptic applications. I provide a technical evaluation, showing that the system meets latency and stability requirements, and provide all source code and assembly instructions as open-source available to the community},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:clara2021linstrumentdemus,
  author = {Clara, Sébastien},
  title = {L'instrument de musique à l'ère du numérique : théorie, facture d'une panoplie et création musicale.},
  year = {2021},
  doi = {10.70675/8a62b326z192bz4e32z8caez51970b3eec43},
  abstract = {Dans le cadre d’une interaction classique entre un musicien et son instrument, le son produit est le corollaire d’un geste et il est intrinsèquement marqué par celui-ci. L’énergie générée par le geste est transformée mécaniquement par l’instrument en énergie vibratoire. La relation traditionnelle entre un musicien et son instrument est donc une relation énergétique bidirectionnelle.L’instrument de musique électronique ou numérique est pour sa part composé principalement d’un instrument de saisie du geste, appelé contrôleur, d’un moteur audio et d’un troisième organe reliant les deux premiers. À la différence de l’instrument de musique traditionnel, le geste instrumental sur un instrument électronique ou numérique est médiatisé par ce dernier organe pour générer des sons. Un prérequis pour réaliser un dispositif instrumentalement expressif est de réaliser une interface de transfert d’énergie mécanique bidirectionnelle à l’image des instruments traditionnels.Toutefois, les contrôleurs commercialisés à ce jour ne disposent pas de fonction rétroactive à l’énergie mécanique produite par un musicien. Par conséquent, le prérequis pour réaliser un dispositif instrumentalement expressif n’est pas réalisable. L’histoire de la lutherie électronique a un siècle et durant cette période, des facteurs ont proposé des dispositifs instrumentaux qui selon nous, ne sont pas dénués d’expressivité instrumentale.L’objectif de notre projet de thèse est d’imaginer et de réaliser une panoplie d’outils numériques, apte à la facture de dispositifs instrumentalement expressifs. Certes, le lien entre le geste instrumental et le moteur audio est majeur pour l’expressivité instrumentale, mais son édification dépend aussi de l’instrument de saisie et du moteur audio. Dans ce cadre systémique, notre hypothèse principale est de mettre à contribution les trois organes principaux de l’instrument numérique pour que conjointement, ils concourent chacun à leur niveau à augmenter l’expressivité instrumentale d’un dispositif. Dans ce cadre, nous proposons trois hypothèses pour affecter respectivement l’instrument de saisie, le moteur audio et l’organe reliant les deux premiers.Pour valider l’usage de notre panoplie instrumentale dans un contexte créatif, nous avons composé une pièce et nous présentons le dispositif que nous avons développé, mais nous décrivons aussi les éléments musicaux que nous avons utilisés pour la composer.Cette thèse s’adresse aux musiciens et aux artistes en général qui s’intéressent à la création d’un dispositif instrumental. Après la lecture de notre mémoire, toute personne sera en capacité d’utiliser notre solution instrumentale. Pour analyser et détourner nos développements, des connaissances en programmation sont nécessaires, notamment avec les langages Max, JavaScript, FAUST et SuperCollider. Enfin, la discussion théorique que nous développons dans ce mémoire s’adresse aussi à tous les musicologues qui s’intéressent à la facture instrumentale ou aux musique},
  collection = {Theses},
  note = {Found in OpenAlex; cites 5 archive entries; NIME-topic probability 0.99}
}

@phdthesis{thesis:bredholt2021liveloopingofdis,
  author = {Bredholt, Mathias},
  title = {Live-looping of distributed gesture-to-sound mappings},
  school = {McGill University},
  year = {2021},
  doi = {10.82308/4190},
  abstract = {Cette thèse présente le développement d'un système de bouclage en direct de mappages entre gestes et sons. Ce système est construit sur une infrastructure de connectivité pour des instruments de musique embarqués sans fil utilisant un écosystème de mappage et de synchronisation distribuée. J'ai porté mon écosystème s'inscrivant dans la tendance récente de l'Internet des objets musicaux (IoMusT) vers une plateforme embarquée et je l'ai évalué avec des métriques de contraintes temps réel de la performance musicale telles que la faible latence et la haute stabilité. Sur base de cette infrastructure, j'ai développé un système de bouclage en direct à travers trois exemples d'applications: 1) un instrument de musique numérique sans fil (DMI) avec des capacités de lecture en boucle et de mappage flexibles, 2) un synthétiseur de boucle intégré et 3) un synthétiseur/boucleur de harpe logiciel avec une interface utilisateur graphique. Ma dernière itération est basée sur une nouvelle approche du mappage, extrapolant l'utilisation de filtres à réponse impulsionnelle finie et infinie (FIR et IIR) sur des données gestuelles par l'utilisation de lignes à retard dans le cadre du mappage des DMI. Le système a une fonctionnalité de quantification rythmique du temps pour la manipulation flexible de boucles pour l'exploration musicale créative. J'ai publié mes outils sous forme de bibliothèques à code source ouvert pour la construction de nouveaux DMI, d'interactions musicales et d'installations multimédia interactives},
  collection = {Theses},
  note = {Found in OpenAlex; cites 1 archive entries; selected by its English title, the abstract being in another language; NIME-topic probability 0.92}
}

@phdthesis{thesis:blessing2021livingroomorches,
  author = {Blessing, Matthew},
  title = {Living Room Orchestra: Designing Embedded Furniture as a Family of Electronic Musical Instruments},
  school = {Louisiana State University},
  year = {2021},
  doi = {10.31390/gradschool_dissertations.5522},
  abstract = {Musical Chairs is a project that explores ways to bring more music and sound art into people’s homes in an unobtrusive manner. In a world of embeddable technologies and Internets of Things, the home is getting increasingly “smarter” and not all things are as they once seemed–a refrigerator can tell you the weather, a smart speaker can order a dollhouse. By embedding musicality in everyday home objects, performable sonic beauty can be all around without requiring any dedicated space to hold instruments. One no longer requires a grand piano taking up space in order to host a Salon. This dissertation discusses the author’s philosophies on the benefits of such a paradigm, and provides four examples of how this could be implemented in common household furniture pieces. Musical Chairs consists of a set of hand-crafted living room furniture: an Ottoman, Wingback-style Armchair, Coffee Table, and End Table. All contain embedded sensing electronics that control custom synthesis software which are connected to loud- speakers built into the furniture. Each piece has its own interface developed specifically for the type of furniture and how it is traditionally used. The sound design is conceived to work in tandem with the physical interface and also to create distinct timbral voices for each furniture/instrument. These pieces have been shown as art installations and conference demos as a basic living room configuration, letting audiences play seemingly mundane furniture in a musical ensemble.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 6 archive entries; NIME-topic probability 0.98}
}

@phdthesis{thesis:horrell2021musicandthebrain,
  author = {Horrell, Rachel},
  title = {Music and the Brain: Composing with the Electroencephalogram},
  school = {University of Plymouth},
  year = {2021},
  doi = {10.24382/dspace/24},
  abstract = {The field of brain-computer music interfaces have been expanding ever since the first development in the 1960s. Although many brain-computer music interfaces have been developed for the purpose of composing music, these systems have not been accessible to musicians due to the use of complex programming and signal processing mathematics. In addition, these systems have often focused on the process of composing music by allowing for specific note selection, or the formation of structure. While these systems are beneficial for those who cannot compose music the traditional way, such as those with motor disabilities, they do not offer a new compositional tool to those with full muscular control. This thesis aims to develop an interactive compositional tool using a brain-computer music interface, utilising methods and techniques that will make it accessible to musicians. An investigation into harnessing brainwaves for musical control has been explored, determining that the alpha and beta waves will be most appropriate for this system. Furthermore, a survey of current BCMI systems have been provided, concluding that the musification approach is best suited to harness the user’s alpha and beta waves. This approach allows for a set of musical rules to be implemented, as well as allowing for the creation of music that is representative of the user’s biological state. The system developed for this thesis used the alpha and beta waves to control parameters of a pre-composed composition. The composition featured elements which were aimed to elicit a change in the user’s brainwave frequency, such as a rise in pitch, rhythmic changes, and key changes. The frequency bands are mapped to the parameters of note velocity, chord changes, and key changes.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.77}
}

@phdthesis{thesis:cameli2021omniandalganewds,
  author = {Cameli, Francesco},
  title = {Omni and Alga: new DSLs for audio programming and live coding},
  school = {University of Huddersfield},
  year = {2021},
  url = {https://eprints.hud.ac.uk/id/eprint/35586/1/Cameli%20THESIS.pdf},
  abstract = {This research presents two new DSLs (Domain Specific Languages): one to develop audio algorithms and a second to order the structure of their connections over time. The first one, Omni, allows users to define the behaviour of audio objects at the lowest level. In DSP (Digital Signal Processing) terms, Omni is a language that describes the sample-by-sample behaviour of an algorithm. It compiles Omni code to native binaries for all the major operating systems (macOS, Windows and Linux) that can then be imported and used in creative coding environments such as Max or SuperCollider. Alga, on the other hand, is a framework for live coding developed as an extension to the SuperCollider environment. Its main feature, in contrast with similar projects like TidalCycles or FoxDot, is not to define musical patterns whose changes happen statically only on code execution (however complex these changes are), but to use the act of manipulating code to describe the start of interpolation processes from current states to future ones, over specified windows of time. This research is situated from the perspective of an electronic music improviser whose main motivation is to build these tools to enhance his creative practice. Therefore, development choices are both driven by personal aesthetic needs and the desire to have an integrated and fluid workflow in live performance scenarios (Alga) and low-level algorithm development (Omni). The submission includes the source code for both projects, together with installation notes and usage examples. Furthermore, x86-64 binaries for various Max objects and SuperCollider UGens are provided for all operating systems.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:reboursire2021organologygeneal,
  author = {Reboursière, Loïc},
  title = {Organology, genealogy and practice of the hexaphonic guitar : from individual string processing to instrumental gestural control},
  school = {theses.fr (ABES)},
  year = {2021},
  url = {http://www.theses.fr/2021LILUH052/document},
  abstract = {La guitare hexaphonique est une guitare électrique munie d'un microphone hexaphonique. Celui-ci correspond à un ensemble de six microphones, chacun captant chacun le son d’une corde particulière. Cette prothèse peut être utilisée pour faciliter le contrôle gestuel instrumental, comme c’est le cas avec les guitares-synthétiseurs, par exemple. Elle permet aussi l'application de traitements sonores indépendants pour chaque corde par le biais de pédales de traitements sonores hexaphoniques. Ces deux usages constituent deux approches très différentes de la guitare électrique et ont développé, au fil des années, des communautés de pratique de taille très différentes. Cette différence de développement de ces deux types d’usages est peu compréhensible à nos yeux, tant les deux approches nous semblent fécondes en termes de potentiels sonores et compositionnels. Ce travail de recherche tente de comprendre pourquoi la pratique de traitements sonores hexaphoniques ne s’intègre pas dans une communauté de guitaristes et pourquoi y’a-t-il une différence entre les deux usages du microphone hexaphonique ? Pour répondre à ces questions, cette thèse s'articule autour d'une double approche organologique et pratique. Un socle de connaissance sur l'évolution est tout d'abord créé par l'analyse descriptive de 18 mutations qui ont jalonné et qui jalonne le développement de l'instrument. Cette base nous permet ensuite de développer une généalogie technique et gestuelle de la guitare mettant en lumière des filiations. Celles-ci sont à la fois le reflet des grandes évolutions techniques mais aussi le développement de concept transversaux actualisés au fil de l’évolution. Ces développements aideront à positionner le double objet de notre étude (traitements sonore hexaphonique et contrôle gestuel instrumental) tant en termes techniques (par rapport à ce qui a existé) qu’en termes d’ancrage dans une ou plusieurs pratiques transversales. La partie pratique de cette thèse est double et se nourrit de la l'organologie réalisée. Les éléments matériels et logiciels permettant d'utiliser les potentiels de la guitare hexaphonique ont été développés. Les différents éléments sont développés à partir des plateformes actuelles de prototypage rapide et démontrent que ces deux usages peuvent s'intégrer dans l'instrumentarium du guitariste électrique. Parmi les différents éléments développés, un multi-effets hexaphoniques et un logiciel de détection de notes et de techniques de jeu ont été utilisés dans deux types de pratiques : la première est la création d'une performance musicale et vidéo professionnelle (Puzzle, Ivann Cruz et Lionel Palun) et la seconde est une série d'expérimentations avec cinq guitaristes. Cette dernière pratique a permis de constituer un dataset d'une dizaine d'heures d'improvisations musicales annotées.L'analyse de ces différentes pratiques a mis en lumière plusieurs caractéristiques du dispositif hexaphonique créé : celui-ci positionne la guitare comme un instrumen},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:bourachot2021perceptionsonore,
  author = {Bourachot, Antoine},
  title = {Perception sonore des objets pour un contrôle intuitif de la synthèse : vers un langage des sons},
  school = {Aix-Marseille Université},
  year = {2021},
  doi = {10.70675/638d9553z0fd3z482fzb122z8e61ac160c79},
  abstract = {Aujourd’hui les processus de synthèse sont aptes à engendrer des sons au réalisme impressionnant ou à créer des sons inouïs. Cependant le contrôle perceptif de ces outils reste une problématique d'actualité. Sur la base de l'approche écologique de la perception, un synthétiseur proposant un paradigme de contrôle intuitif, appelé action-objet, a été développé au laboratoire. Il permet de créer des sons à partir des évocations liées à l’action et à l’objet via une description sémantique. Ce dernier présente encore des limitations, en particulier les contrôles relatifs à la forme perçue des objets. Ce travail de thèse vise à définir une nouvelle stratégie de contrôle perceptif d’un objet virtuel à partir de l’étude de la perception sonore des objets du quotidien. En particulier, quels sont les attributs perceptifs et les structures sonores invariantes liés à la forme d'un objet? Au cours de ce travail, nous avons mis en évidence les invariants associés à la perception de la forme via une approche d’analyse par synthèse. Des méthodes de simulation physique ont été utilisées afin de modéliser des transitions continues entre catégories de formes. Ces résultats ont permis de définir des modèles de signaux reproduisant les morphologies sonores observées par la simulation. Ces modèles ont ensuite été évalués et calibrés perceptivement. L’ensemble de ces données a permis de proposer une nouvelle stratégie de contrôle basée sur les principaux attributs perceptifs de l’objet. Ce travail de thèse a ainsi contribué à la construction d’un véritable langage des sons. Il ouvre par ailleurs de nombreuses perspectives dans les domaines de la réalité virtuelle ou de la création sonore},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 4 archive entries; NIME-topic probability 0.77}
}

@phdthesis{thesis:tarrs2021pratiquestechniq,
  author = {Tarrès, Ariadna Alsina},
  title = {Pratiques, techniques et enjeux de l’écriture du temps dans la musique mixte},
  school = {Université Paris 8},
  year = {2021},
  doi = {10.70675/01b41e5bzbbb0z4a01zb3f4z91b7e5ca16bc},
  abstract = {Dans le contexte de la composition de musique mixte nous observons un développement constant des technologies pour la composition et l’écriture ainsi que des outils de performance. La question des rapports temporels entre partie instrumentale et partie électroacoustique est un des sujets récurrents qui préoccupe les compositeurs et les développeurs. De nos jours il y a une variété de ressources combinant différentes techniques du temps réel ou du temps différé, utilisées pour formaliser la temporalité latente de l’œuvre et assurer sa réalisation au moment de l’interprétation. L’objectif de notre travail est d’étudier de quelle manière nous pouvons intégrer une écriture des rapports temporels entre instrument et électronique qui soit pertinente et cohérente avec le projet musical que nous souhaitons réaliser - avec son type de temps musical par exemple. Notre champ d’étude est la musique mixte ainsi que les projets interdisciplinaires (notamment de musique électroacoustique et danse).Pour atteindre cet objectif nous partons d’une étude théorique sur les aspects philosophiques et perceptifs du temps et du temps musical ainsi que des aspects temporels de l’informatique, comme sa représentation du temps. Nous analysons par la suite deux œuvres du point de vue de l’écriture temporelle : hist whist de Marco Stroppa (pour violon et électronique) et Threads, de Roque Rivas (œuvre interdisciplinaire de musique électroacoustique et danse). Nous complétons ce travail avec trois de nos réalisations, qui ont été composées tout au long de la thèse. Elles ont permis de tester différentes technologies et méthodologies de travail avec la finalité de proposer comme exemples, les choix faits en fonction des caractéristiques et besoins de chaque projet.Cette thèse de recherche et création aborde donc les imbrications des pratiques et techniques de composition de musique mixte avec les concepts de temps musical, de convergences temporelles et de représentation du temps.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 5 archive entries; NIME-topic probability 0.92}
}

@phdthesis{thesis:lugoelas2021reassemblingthed,
  author = {Lugo-Elías, César},
  title = {Reassembling the Dance Floor: Exploring Interactions at After-Parties in Spaces of Consumption of Electronic Music in the City of Oporto in the years 2016-2018},
  school = {University of Porto},
  year = {2021},
  doi = {10.34626/azct-b121},
  abstract = {This thesis explores the interactions occurred during dance floor experience at after-parties involving the consumption of electronic music during DJ performances.This exploration is focused in the house music scene in the city of Oporto, Portugal, especially at the Lottus After-Hours, and it took place between the years 2016 and 2018.Resorting to ethnographic methods, such as participatory observation and interviews, this thesis discusses the dance floor experience as an act of mutual implication between different social, technological, and material aspects.Furthermore, the scope of this research explores the potential of design as the discipline capable to mediate between those aspects.Through the thematic analysis of the data, this thesis disentangles relations and interactions among those aspects into seven themes: music, venue, audience, abilities, enthusiasm, stances, and journey.Subsequently, these themes are reassembled in four theoretical models: the material assemblage, the social assemblage, the performative assemblage, and the experiential assemblage.These four theoretical assemblages constitute our effort to explore the process of shared agency among social, material and technological aspects involved in the design of the dance floor experience.Finally, the four assemblages are operationalised, resulting in the proposal of a Dance Floor Model Canvas as an instrument for the analysis of the different factors involved in the design of dance floor experience.The aim of this model is to help other designers to understand, modify, and design similar club experiences and performances.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.91}
}

@phdthesis{thesis:nilchiani2021soundinstallatio,
  author = {Nilchiani, Azadeh},
  title = {Sound installations in urban spaces},
  school = {Université Gustave Eiffel},
  year = {2021},
  doi = {10.70675/b932c21fz1a24z445cza18fz3475d8c92898},
  abstract = {Since the sixties, sound installations have been established more prominently in large Western cities. The sounds produced by these urban sound installations have been spatially integral parts of these environments, and inseparable features of these cities. The multiplicity of coexisting spaces within the medium of sound installation and considering space as a composable material enables us to perform an in-depth analysis of the spatial organization of sound installations in the city. Therefore, the question and hypothesis of this thesis was formed based on the following: what are the links between these multiple spaces and their respective connections in urban sound installations?To answer this question, we examined the possibility of adopting the term of cospatiality, borrowed from the field of social geography, defined by Jacques Lévy and Michel Lussault. The concept of cospatiality stems from the analysis of interactions between complex urban spaces. The analysis of the particular situation of urban sound installations implies to consider the plurality of the sound space and of the urban space.The complex and shifting sound dimension of urban spaces and sound installations, as well as the social dimension related to movement in addition to practice, experience and spatial cohabitation, intervenes in the analysis process.There are multiple factors to consider in the analysis process of this thesis, including the complex and shifting sound dimension of urban spaces and their sound installations, social dimensions related to movement, experience and spatial cohabitation.The temporality of the urban sound installation can be studied at several levels. The study of a work with a fixed duration will be different from an installation created by a continuous sound matter. In a similar way, if the sound matter is generative or a product of interaction, according to the case studies of this thesis, different time scales need to be considered.The multiple temporalities of the city can be defined in connection with the multiple uses of the social space by individuals. The urban sound space can then be considered as a collective production of its actors, what Abraham Moles calls the socialized time. The urban sound installation, just like the urban sound space, can be perceived and experienced by all the individuals who frequently use it.We have explored and examined the concept of cospatiality by analyzing the sound installations of some fifty artists, including Nicolas Schöffer, Max Neuhaus, Christopher Janney, Bill Fontana, Luc Ferrari, Susan Philipsz, Erik Samakh and Nicolas Frize, among others which will be discussed in this thesis.From the method of conception of the work to the way in which each artist has positioned the work in relation to its environment, the spatial composition of the work relates the urban space, the technological tools of choice, and the interactions with the urban space.These sound installations can be the origin of a social },
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.81}
}

@phdthesis{thesis:placencia2021thedesignandcons,
  author = {Placencia, Juan Pablo Yepez},
  title = {The Design and Construction of an Expressive Mechatronic Chordophone},
  school = {Victoria University of Wellington},
  year = {2021},
  doi = {10.26686/wgtn.15029166},
  abstract = {Mechatronic chordophones are stringed instruments that integrate mechanical components and electronics to make music. These instruments offer precise control over multiple sound parameters and expressive techniques for enhanced musical expression. There have been multiple successful mechatronic chordophone designs,from robotic slide guitars to bass guitar robots. Among these designs are plucked string and pitch shifting mechatronic chordophones, which make music by exciting the string with a picking mechanism and selecting musical notes with a pitch shifter mechanism. This configuration enables these systems to enhance their musical performance through pitch-based expressive techniques and micro tonal pitches. However, even if these instruments can achieve speeds and precision beyond the capabilities of a human performer, their expressive capabilities are limited. It is difficult for mechatronic chordophones to perform dynamic variations and expressive techniques,and the presence of extraneous noise usually interferes with their musical performance. Furthermore, it is still challenging for users to control such instruments. We have built two mechatronic chordophones. The first is Protochord, a mechatronic monochord prototype. We used this system as a platform for iterative design to develop new expressive mechatronic chordophone subsystems. The second is Azure Talos,a multi-string mechatronic chordophone designed to outperform other existing systems and to afford a wide array of parameters for musical expression. Our research has led to the development of novel mechatronic chordophone subsystems such as: a revolving picking mechanism with superior dynamic variation capabilities compared to that of other existing designs; a fast and precise robot arm pitch shifting mechanism that affords pitch-based expressive techniques; and an optical pickup that rejects extraneous noise. We have demonstrated the technical capabilities of these designs through quantitative evaluation processes, in many cases providing the first set of quantitative tests in the literature of these types of sub-assemblies and systems. A key aim is to provide standards and benchmarks in evaluation criteria which may be used in the development of new mechatronic chordophones. Finally, we developed strategies to assess Azure Talos' musical capabilities through standard guitar techniques, repertoire examples,and creative musical explorations.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 10 archive entries; selected by similarity to the archives; NIME-topic probability 0.75}
}

@phdthesis{thesis:gregorio2021timbrespacelearn,
  author = {Gregorio, Jeff and Kim, Youngmoo E.},
  title = {Timbre space learning for augmentation of musical audio synthesizer interfaces},
  year = {2021},
  doi = {10.17918/00000391},
  abstract = {Machine learning systems are increasingly being explored for potential applications in the design of creative tools. In particular, musical audio synthesis is one such domain in which these systems can lend to the development of alternative modes of user interaction by means of control spaces based on relevant sonic qualities, rather than traditional synthesis parameters. Although these alternatives effectively lower the barrier to entry to synthesis by obviating the systems-level knowledge required to use traditional parametric synthesizers, we note that with few exceptions, prior work has simply presupposed a general utility in simplified modes of control, or used quantitative efficacy metrics which sacrifice ecological validity for precise evaluation. Meriting further investigation are relevant questions regarding the lack of widespread adoption of such systems, and their relation to the experience levels, creative processes, and aesthetic values that motivate synthesists. Toward answering these questions, this work proposes a novel timbre space learning (TSL) system which uses a generative neural network model to learn mappings from low-dimensional control spaces to synthesis parameters, and an example application which augments a novel parametric synthesizer rather than serving as its primary mode of interaction. A primarily inductive analysis of qualitative and quantitative data from 20 synthesists across a range of experience levels indicates that, when presented with the option of a simplified mode of interaction, users generally give primacy to parameter spaces and seek systems-level understanding of how parameters relate to sonic quality. This work highlights a range of creative uses of TSL augmentation for discovery of new sounds, expressive modulations of parameters, and timbral transpositions. Further, thematic analysis of participant interviews suggests a range of musical aesthetic values and complex relationships to expertise which may have implications for the use of TSL systems.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.89}
}

@phdthesis{thesis:ferreira2021triaumeevelopmen,
  author = {Ferreira, Marcio Albano Hermelino},
  title = {Triaume : evelopment of an augmented musical instrument using capacitive sensing},
  year = {2021},
  url = {https://hdl.handle.net/20.500.12733/2744},
  abstract = {Orientador: Tiago Fernandes Tavares},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:rau2021visualizationfor,
  author = {Rau, Simeon},
  title = {Visualization for human-AI collaborative music composition},
  school = {Universität Stuttgart},
  year = {2021},
  doi = {10.18419/opus-11933},
  abstract = {We propose an AI-assisted approach based on interactive visualizations to support users in composing music and getting insights into the AI through hyperparameter analysis. Our user-centered approach allows the user to better control the composition by steering the AI’s suggestions. We use symbolic music data and piano rolls as visual music notation for easier understanding for amateur users and interaction with the notes of a melody. As the user requests multiple possible continuation for a given seed melody, and also multiple continuations for each of the previous continuations, a tree or graph structure of melodies occurs. We visualize this structure with an icicle plot, where the nodes are represented by a piano roll, to show the hierarchical structure of the melody samples. To add sorting options for easier sample selection, while still displaying the structure, we added links between the nodes. Both visualizations enable listening to selected melodies. For larger numbers of generated suggestions, we added a similarity-preserving scatterplot to visualize all samples at the same time with different glyphs representing melody samples. The scatterplot improves the efficiency of sample selection, as similar samples are close together and the user can disregard entire neighborhoods if one sample does not fit at all. We support brushing the scatterplot to select neighborhoods for which we then show visual aggregations to allow for insights into groups. To evaluate our design, we conducted a pair analytics study with two participants with limited musical knowledge. Both participants were able to quickly create compositions they liked and found our approach helpful. They also learned new things about the AI, like the influence of the hyperparameter temperature on the resulting melody.},
  collection = {Theses},
  note = {Found in DataCite; cites 7 archive entries; NIME-topic probability 0.76}
}

@phdthesis{thesis:onderka2022analogmodularmus,
  author = {Onderka, Jan and Onderka, Jan},
  title = {Analog Modular Music Synthesizer with Digital Control},
  school = {Czech Technical University in Prague},
  year = {2022},
  url = {http://hdl.handle.net/10467/101676},
  abstract = {V této práci jsou shrnuty často používané techniky pro konstrukci modulárních zvukových syntetizátorů. Je zhotoven modulární syntetizátor s digitálním sekvencerem a analogovými moduly navržený zejména pro účely demonstrace a~studia elektrotechniky. Pro kompatibilitu s profesionálními syntetizátory jsou následovány technické parametry běžného standardu modulárních syntetizátorů Eurorack. Místo upevnění modulů ve skříni jsou nicméně použity malé plastové konstrukční krabičky pro snížení ceny a jednodušší výrobu. Syntetizátor je zkonstruován a vyhodnocen s důrazem na cenu, užitné vlastnosti a složitost. I přes některé problémy, které by mohly být opraveny v další revizi, je syntetizátor plně funkční a hodí se pro užití jako demonstrační a výuková pomůcka.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:wang2022analysisofwirele,
  author = {Wang, Johnty Yizhong},
  title = {Analysis of Wireless Interface Latency and Usability for Digital Musical Instruments},
  school = {McGill University},
  year = {2022},
  doi = {10.82308/37632},
  abstract = {The proliferation of mobile and wireless technologies has resulted in an increasing number of wireless interfaces and protocols that facilitate the transmission of data in the context of sensor interfaces and controllers for the implementation of Digital Musical Instruments (DMIs). Despite the large number of wireless devices and controllers available, there has been little systematic evaluation of these design choices from the perspective of DMI design. The diversity of choice creates potential confusion when selecting interfaces, made up of a combination of a physical interface (hardware), and messaging protocol (software). Specifically, the latency performance (of how responsive an instrument is, and how that might scale when additional devices are present in an ensemble setting), and usability (how easy it is to integrate with the user application) are often unspecified. This thesis presents answers to these questions by looking at two main issues: An empirical analysis of latency in wireless interfaces and the definition of tools to increase the usability of DMIs. A system for measuring end-to-end latency, where a sensor interface configuration is integrated into a system that responds to test trigger input and synthesizes audio output, is implemented to measure the latency performance of different wireless sensor interface configurations. Wi-Fi, Bluetooth, and LoRa are compared against wired USB/serial interfaces, with Open Sound Control (OSC) and MIDI as messaging protocols. Based on the findings of the work, Wi-Fi-based physical interfaces provide the most scalability in terms of number of concurrent devices, overall bandwidth, as well as minimal latency, although care must be taken when scaling beyond 5 concurrent devices operating within a single wireless channel. The interoperability of the interface will be dependent on the messaging protocol, and here there is a trade-off between flexibility of representation offered by a more open standard such as OSC on the one hand, and compatibility with existing standards such as MIDI on the other. The second part of this thesis then further explores the concept of interoperability and usability of sensor interfaces from the perspective of mapping frameworks, tools, and environments, including the recommendation for the incorporation of sensor interface characteristics as part of visual mapping utilities},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:cambourian2022characterization,
  author = {Cambourian, Paul},
  title = {Characterization and perception of vibrotactile feedback : the case of the electric guitar},
  school = {Université de Lille (2022-....)},
  year = {2022},
  doi = {10.70675/e9bc05c7z2139z4533za93cz3dea5ce2e953},
  abstract = {Most of the previous work in musical acoustics have focused on the study of the sound emitted by instruments. However, musical instruments vibrate, resonate, and provide vibrotactile feedback to musicians, to which they are known to be sensitive. This thesis is a multidisciplinary approach to the characterization and perception of vibrotactile feedback from the electric guitar, as this instrument allows a partial decoupling of sound and vibration emissions.In the first part of this thesis, a methodology for analyzing verbalizations is proposed and developed, then applied to the musicians' discourse during experiments that are in line with the principles of the ecological approach to situated perception. To analyze the perception of vibrotactile feedback, the discourse on the sense of touch is studied using linguistic tools. It is shown that the words ``comfort'', ``touch'' and ``vibration'' allow musicians to express themselves on the sense of touch, whereas other words, a priori descriptors of the musician-instrument interaction and the sense of touch such as ``response'' and ``feeling'', do not. This robust analysis allows for example to identify that certain words as belong to the lexicon of vibrotactile perception, and to underline the role of the researchers conducting the experiments as to the implication in the musicians' discourse.The second part is devoted to the perception of the modifications of the vibrotactile feedback of the instrument. These modifications are obtained from a reproduction of the vibratory signal in a playing situation in which one can control certain attributes. This allows parametric studies on the perception of this vibrotactile feedback. The main objective is to amplify the vibrotactile feedback of the electric guitar in a playing situation and to investigate how to improve it. To achieve this goal while keeping ecological conditions, it is shown that vibratory signal can be constructed from the guitar's pickup (rather than being measured with an accelerometer), and be reduced to only a few frequency components. This experiment shows the interest of guitarists in controlling the vibrations of their instrument in a playing situation, because the presence of vibrations favors, for example, concentration, immersion and the restitution of concert sensations.This research work develops methodological tools necessary for the study of vibrotactile feedback, which has been applied to the electric guitar. It allows us to better understand the perception of vibrations and the expression of this perception by musicians. It offers new research perspectives on multimodal interaction with the possibility of modifying the vibratory behavior of an instrument under ecological conditions.},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.88}
}

@phdthesis{thesis:gonzlez2022composingwithint,
  author = {González, Héctor},
  title = {Composing with Interactive Computer Music Systems},
  year = {2022},
  doi = {10.14418/wes01.2.353},
  abstract = {for all the conversations and great times we spent},
  collection = {Theses},
  note = {Found in OpenAlex; cites 7 archive entries; NIME-topic probability 0.98}
}

@phdthesis{thesis:cavaills2022controloftheacou,
  author = {Cavaillès, Colas},
  title = {Control of the acoustic radiation of the trombone using a loudspeaker array},
  school = {Laboratoire d'Acoustique de l'Université du Mans},
  year = {2022},
  url = {http://www.theses.fr/2022LEMA1029/document},
  abstract = {Dans la famille des instruments de type cuivre, il est parfois nécessaire de réduire le niveau sonore à l'aide d'une sourdine généralement insérée dans le pavillon. Celle-ci modifie le timbre et l'impédance d'entrée de l'instrument et perturbe donc la sensation de jeu du musicien. L'objectif de cette thèse est d'étudier le principe et la faisabilité technologique d'un contrôle actif du rayonnement d'un trombone, à l'aide d'un réseau de haut-parleurs placés à l'extérieur de l'instrument. Le dispositif doit réduire la puissance acoustique émise par le trombone ou contrôler sa directivité en ne modifiant que très peu son impédance d'entrée. Le système de contrôle est composé de haut-parleurs (sources secondaires) disposés en couronne autour du pavillon et en ligne devant ce dernier. Plusieurs configurations du nombre et de la position des sources secondaires sont étudiées par la théorie du contrôle optimal afin de maximiser l'atténuation en puissance ou de favoriser le rayonnement vers le musicien. Dans ce dernier cas, deux stratégies de synthèse de champ sont considérées : l'une consiste à générer une zone d'écoute et une zone de silence et l'autre à reproduire des directivités cibles. Les résultats expérimentaux confirment les prédictions des modèles analytiques et numériques et montrent qu'il est possible de réduire la puissance acoustique du trombone jusqu'à 2000 Hz et de contrôler sa directivité jusqu'à 1500 Hz. Dans le cas du contrôle en puissance, le placement d'un haut-parleur devant le pavillon modifie le champ proche de l'instrument, ce qui engendre une atténuation supérieure à celle prédite. L'impédance d'entrée de l'instrument est très légèrement affectée par ce type de contrôle. Dans le cas du contrôle en directivité, augmenter le nombre de sources en ligne permet de minimiser l'erreur entre les pressions cibles et générées. Imposer des zones d'écoute et de silence permet d'obtenir un contraste acoustique important mais nécessite des débits très élevés et la fréquence du premier pic de résonance de l'impédance d'entrée peut être décalée d'un demi-ton. En revanche, imposer une directivité cible nécessite des débits plus faibles et modifie plus légèrement l'impédance d'entrée, d'autant plus que la directivité est peu marquée. La faisabilité du contrôle en puissance est évaluée connaissant le débit du trombone estimé pour plusieurs nuances de jeu. Le dimensionnement technologique montre que le système de contrôle est réalisable à condition d'effectuer une régularisation pour limiter la puissance électrique nécessaire à chaque haut-parleur placé dans l'axe du pavillon. L'ajout du paramètre de régularisation a pour effet de réduire l'efficacité du contrôle pour les fréquences inférieures à 300 Hz. Les perspectives de ce travail s'orientent vers la mise en œuvre d'un contrôle externe effectif en temps réel, ainsi que l'étude d'un contrôle interne monté sur sourdine.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.95}
}

@phdthesis{thesis:meneses2022iterativedesigni,
  author = {Meneses, Eduardo},
  title = {Iterative design in DMIs and AMIs: expanding and embedding a high-level gesture vocabulary for T-Stick and GuitarAMI},
  school = {McGill University},
  year = {2022},
  doi = {10.82308/5050},
  abstract = {Les instruments de musique numériques et augmentés (IMN/IMA) sont créés à l'aide de capteurs, d'actionneurs et d'unités de production sonore (synthèse). Maîtriser les techniques instrumentales est l'une des exigences pour développer une expertise pour tout instrument, y compris les IMN/IMA.Une différence critique entre les IMN/IMA et les instruments conventionnels est que les commandes de l'utilisateur et la production sonore ne sont pas couplées acoustiquement.Pour cette raison, les mappages IMN/IMA entre les gestes instrumentaux et les unités de synthèse sont arbitraires, et les interprètes ne peuvent pas s'appuyer sur le son pour créer et pratiquer des techniques instrumentales IMN/IMA transférables entre interprètes ou pièces. Une solution possible consiste à créer un ensemble de techniques basées sur des descripteurs gestuels de haut niveau, ce qui mène à construire des couches de mappage intermédiaires pour exposer le vocabulaire gestuel des IMN/IMA. Ce vocabulaire gestuel de haut niveau est créé à partir des données de capteurs traitées et organisées par mouvement plutôt que par sortie sonore.Cette thèse se focalise sur deux questions de recherche liées à la performance et au développement de l'expertise avec les IMN/IMA : 1) comment les concepteurs d'instruments, les compositeurs et les interprètes développent et étendent les vocabulaires gestuels pour IMN/IMA ; 2) comment ce vocabulaire impacte-t-il la performance et l'enseignement avec les IMN/IMA ?Nous avons étudié par conception itérative les aspects de l'exploration des instruments directement liés à la conception, la fiabilité, la contrôlabilité et la jouabilité des IMN/IMA. Un vocabulaire gestuel de haut niveau a émergé des paramètres identifiés et de l'exploration gestuelle et a été intégré dans nos IMN/IMA.Nous avons proposé deux projets de recherche-création pour explorer comment les compositeurs et les interprètes apprennent à jouer des IMN/IMA spécifiques, créent des techniques instrumentales basées sur le geste et, comment l'accessibilité du vocabulaire gestuel de haut niveau impacte l'engagement des interprètes.A travers des observations, nous avons vérifié le rôle d'un vocabulaire gestuel déjà établi pour l'engagement des interprètes et l'impact du vocabulaire sur le processus d'apprentissage. Nous avons constaté qu'intégrer des descripteurs gestuels de haut niveau dans le micrologiciel du contrôleur et exposer leurs paramètres de mappage facilite l'accès aux techniques instrumentales et la communication pendant les performances d'ensemble.Cette thèse aide les interprètes, les compositeurs, les concepteurs et les chercheurs en technologie musicale à comprendre comment les utilisateurs interagissent avec les IMN/IMA.Les contributions de la thèse s'étendent à la façon dont les concepteurs peuvent faciliter l'utilisation de ces instruments en fournissant et en favorisant la création d'un vocabulaire gestuel de haut niveau},
  collection = {Theses},
  note = {Found in OpenAlex (author); selected by its English title, the abstract being in another language; NIME-topic probability 0.91}
}

@phdthesis{thesis:paz2022ontheflysynthesi,
  author = {Paz, Iván},
  title = {On-the-fly synthesizer programming with rule learning},
  year = {2022},
  doi = {10.5821/dissertation-2117-368003},
  abstract = {This manuscript explores automatic programming of sound synthesis algorithms within the context of the performative artistic practice known as live coding. Writing source code in an improvised way to create music or visuals became an instrument the moment affordable computers were able to perform real-time sound synthesis with languages that keep their interpreter running. Ever since, live coding has dealt with real time programming of synthesis algorithms. For that purpose, one possibility is an algorithm that automatically creates variations out of a few presets selected by the user. However, the need for real-time feedback and the small size of the data sets (which can even be collected mid-performance) are constraints that make existing automatic sound synthesizer programmers and learning algorithms unfeasible. Also, the design of such algorithms is not oriented to create variations of a sound but rather to find the synthesizer parameters that match a given one. Other approaches create representations of the space of possible sounds, allowing the user to explore it by means of interactive evolution. Even though these systems are exploratory-oriented, they require longer run-times. This thesis investigates inductive rule learning for on-the-fly synthesizer programming. This approach is conceptually different from those found in both synthesizer programming and live coding literature. Rule models offer interpretability and allow working with the parameter values of the synthesis algorithms (even with symbolic data), making preprocessing unnecessary. RuLer, the proposed learning algorithm, receives a dataset containing user labeled combinations of parameter values of a synthesis algorithm. Among those combinations sharing the same label, it analyses the patterns based on dissimilarity. These patterns are described as an IF-THEN rule model. The algorithm parameters provide control to define what is considered a pattern. As patterns are the base for inducting new parameter settings, the algorithm parameters control the degree of consistency of the inducted settings respect to the original input data. An algorithm (named FuzzyRuLer) able to extend IF-THEN rules to hyperrectangles, which in turn are used as the cores of membership functions, is presented. The resulting fuzzy rule model creates a map of the entire input feature space. For such a pursuit, the algorithm generalizes the logical rules solving the contradictions by following a maximum volume heuristics. Across the manuscript it is discussed how, when machine learning algorithms are used as creative tools, glitches, errors or inaccuracies produced by the resulting models are sometimes desirable as they might offer novel, unpredictable results. The evaluation of the algorithms follows two paths. The first focuses on user tests. The second responds to the fact that this work was carried out within the computer science department and is intended to provide a broader, nonspecific domain evalua},
  collection = {Theses},
  note = {Found in OpenAlex; cites 6 archive entries; NIME-topic probability 0.90}
}

@phdthesis{thesis:melbye2023acontinuallyrece,
  author = {Melbye, Adam Pultz},
  title = {A Continually Receding Horizon: Making, performing, and improvising with semi-autonomous double bass feedback instruments},
  year = {2023},
  doi = {10.5281/zenodo.8017965},
  abstract = {This thesis explores double bass feedback systems, with a focus on the FAAB (feedback-actuated augmented bass)—a self-resonating vibrotactile feedback string bass instrument equipped with onboard DSP. Developing against a background of an extensive acoustic instrumental practice in improvised and experimental music, the thesis examines how salient properties of timbral complexity and performative resistance may be applied in an extended electro-acoustic domain. An analysis and discussion of interaction and human-machine improvisation informed by neocybernetic and enactivist theories of autonomy and interactional asymmetry leads to the development of a conceptual framework for the creation of adaptive signal processing architectures. This framework is applied to the design of a set of algorithms, the behaviours of which are described in the context of performance, improvised as well as composed. The discussion is guided by the conviction that what is often conceived of as digital/material binaries is better understood in a shared performative domain. In the discussion of performance, attention is paid to how the FAAB affords the reconsideration of old—as well as the development of new—instrumental techniques and modes of performance, through the unpredictable, yet largely deterministic behaviour of the instrument. The final chapter of the thesis discusses resistance, mastery, and virtuosity, again in the context of a performance practice with the FAAB. With the instrument eluding traditional notions of performative control, materialist, queer, and decolonial theories are employed in a discussion of precariousness and failure as artistic opportunities particularly suited to feedback musicianship and human-machine improvisation. The practice-based contribution of the thesis consists of a set of solo and duo performances using three different feedback bass configurations. The majority of these highlight the role of the FAAB in developing a largely improvised solo performance practice in which the feedback-induced and algorithmically extended behaviour of the instrument affords timbral, amplitudal, and interactional complexity. The two collaborative works situate the FAAB within a performance ecology comprised of other performers, compositional scaffolding, and a set of laptop-based multichannel signal processing algorithms developed in extension of the embedded DSP of the FAAB. The accompanying DSP library consists of familiar low-level algorithms. Yet, their creative integration with a feedback instrument and the implementation of an adaptive and largely autonomous high-level digital infrastructure contributes to the field of feedback signal processing, and can be of value to practitioners beyond the specific field of feedback. The identification of instrumental resistance as being intimately tied to the establishment of interactional asymmetry and instrumental autonomy affects the cultivation of a performance practice as well as an aesthetic, both },
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:fouilleul2023atemporalprogram,
  author = {Fouilleul, Martin},
  title = {A Temporal Programming Environment for Live Shows and Art Installations},
  school = {Sciences et Technologies de la Musique et du Son},
  year = {2023},
  url = {http://www.theses.fr/2023SORUS016/document},
  abstract = {Le temps est un aspect fondamental de tout spectacle vivant, et de bon nombre d’installations artistiques. Les dispositifs techniques participent à un riche réseau d'interactions temporelles avec les interprètes humains et le public. Dans ce contexte, les techniciens et les artistes ont besoin d’outils pour planifier et contrôler les scénarios temporels de leurs œuvres. Dans ce travail, nous présentons un environnement appelé Quadrant, destiné à concevoir et mettre en œuvre des scénarios temporels. Ces scénarios peuvent être utilisés pour piloter divers aspects techniques de spectacles, comme lancer des sons ou des vidéos, contrôler des lumières, etc. Nous explorons une approche hybride entre un langage de programmation et un logiciel de conduite de spectacle. Cet environnement comporte un éditeur structuré opérant sur un arbre de syntaxe combinant des éléments textuels et graphiques. Ceci permet de spécifier algorithmiquement des scénarios, tout en exprimant des transformations temporelles continues grâce à des courbes de tempo. Les scénarios sont compilés à la volée vers un bytecode exécuté par une machine virtuelle. Un ordonnanceur coopératif organise l’exécution de flux concurrents le long d'axes temporels multiples, utilisant des dates et des délais symboliques. Le temps symbolique est traduit en temps réel par le biais de courbes de tempo, pour lesquelles nous fournissons un formalisme en termes d'équations différentielles. La machine virtuelle fournit un flux d'informations à l'éditeur, qui peut ainsi afficher ces informations directement dans le code du programme. Ceci permet à l'utilisateur de visualiser la progression du scénario pendant la performance.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.92}
}

@phdthesis{thesis:bardin2023cyberinetintegra,
  author = {Bardin, Matthew},
  title = {Cyberinet: Integrated Semi-Modular Sensors for the Computer-Augmented Clarinet},
  school = {Louisiana State University},
  year = {2023},
  doi = {10.31390/gradschool_dissertations.6254},
  abstract = {The Cyberinet is a new Augmented instrument designed to easily and intuitively provide a method of computer-enhanced performance to the Clarinetist to allow for greater control and expressiveness in a performance. A performer utilizing the Cyberinet is able to seamlessly switch between a traditional performance setting and an augmented one. Towards this, the Cyberinet is a hardware replacement for a portion of a Clarinet containing a variety of sensors embedded within the unit. These sensors collect various real time data motion data of the performer and air fow within the instrument. Additional sensors can be connected to the Cyberinet to further expand its capabilities, which allows for the unit to become customizable based on various performance needs. The collected data is then transferred to a computer via Bluetooth connectivity in order to use the data in any number of potential electroacoustic performance settings. Augmented instruments have been around in some form for almost as long as instruments, but have had a relatively recent explosion in presence and capabilities due to the progression of technology through the 20th and 21st centuries. A modern augmented instrument can be defned as any acoustic instrument which has had it functionality increased through additional hardware components. One potential use of augmented instruments is to control audio processing on a computer utilizing Max or other software environments. By being able to control the music natural expressive means, the performer and composer are able to experiment with a variety of ways to make sound. A performer is able to hear their sounds and adjust their playing in order to change them in real time, or the sounds are able to react to a performer’s movements automatically. creation of future music. One new instrument that works to combine these two ideas is the Cyberinet. In addition to the instrument itself, a collection of Max objects are designed to utilize the Cyberinet’s data in various musical contexts. These Max objects were utilized in the performance the first four compositions for the Cyberinet in the Spring of 2023.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.92}
}

@phdthesis{thesis:boettcher2023developingmaturi,
  author = {Boettcher, Brady},
  title = {Developing Maturity in DMIs and Mapping Tools},
  school = {McGill University},
  year = {2023},
  doi = {10.82308/39164},
  abstract = {This thesis explores solutions to smooth the challenging path for digital musical instruments (DMIs) and mapping tools to reach a state of maturity and usability by artists, discussing development and design practices with the goal of producing easy-to-set-up, stable, and well-documented academic projects. The concepts of technical maturity and stability are defined, using the user's perspective to introduce qualities of devices in music technology that support maturity. Barriers to these attributes are reviewed from literature, discussing the lifecycle tendencies of projects developed in research contexts based on design intents. Possible solutions to these barriers are then applied to two main case studies: 1) the development of the Slapbox, a responsive, reliable and replicable percussion DMI designed for intensive musical use, and 2) the expansion of libmapper, a distributed mapping framework created at the Input Devices and Music Interaction Laboratory (IDMIL), to address challenges to its setup, operation and integration with popular artistic tools. Evaluations with artists are then conducted for both projects to determine the effects of the proposed practices on the usability of novel DMIs and mapping tools. Finally, the implementations and results from each project are summarized, proposing paths for future work and describing applications to other projects},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:zeitoun2023esthtiquedugeste,
  author = {Zeitoun, Yohan},
  title = {Esthétique du geste : histoire d’une tentative pour un traité des objets de la danse},
  school = {Université Paris 1 Panthéon-Sorbonne},
  year = {2023},
  doi = {10.70675/17e49031z1b6dz4ee3z89d4z3171db7d81b9},
  abstract = {Mon travail de recherche propose d’interroger notre capacité à réinventer un langage nous permettant de décrire nos expériences de danse. Il prend racine dans l’histoire de l’informatisation de la danse et dans les limites qui s’y sont manifestées eu égard une certaine irréductibilité de la danse à l’information. Partant du préalable selon lequel ce serait l’expérience d’une gestualité qui conférerait à la danse sa singularité esthétique, il s’engage toutefois dans une tentative de phénoménologie du geste inspirée de la phénoménologie du sonore de Pierre Schaeffer afin d’enrichir autant que faire se peut notre capacité à informer nos expériences de danse.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 3 archive entries; NIME-topic probability 0.84}
}

@phdthesis{thesis:renney2023evaluatingthegra,
  author = {Renney, Harri},
  title = {Evaluating the graphics processing unit for digital audio synthesis and the development of HyperModels},
  school = {University of the West of England},
  year = {2023},
  url = {https://uwe-repository.worktribe.com/output/9271061},
  abstract = {The extraordinary growth in computation in single processors for almost half a century is becoming increasingly difficult to maintain. Future computational growth is expected from parallel processors, as seen in the increasing number of tightly coupled processors inside the conventional modern heterogeneous system. The graphics processing unit (GPU) is a massively parallel processing unit that can be used to accelerate particular digital audio processes; However, digital audio developers are cautious of adopting the GPU into their designs to avoid any complications the GPU architecture may have. For example, linear systems simulated using finite-difference-based physical model synthesis is highly suited for the GPU, but developers will be reluctant to use it without a complete evaluation of the GPU for digital audio. Previously limited by computation, the audio landscape could see future advancement by providing a comprehensive evaluation of the GPU in digital audio and developing a framework for accelerating particular audio processes. This thesis is separated into two parts; Part one evaluates the utility of the GPU as a hardware accelerator for digital audio processing using bespoke performance benchmarking suites. The results suggest that the GPU is appropriate under particular conditions; For example, the sample buffer size dispatched to the GPU must be within 32 to 512 to meet real-time digital audio requirements. However, despite some constraints, the GPU could support linear finite-difference-based physical models with 4X higher resolution than the equivalent CPU version. These results suggest that the GPU is superior to the CPU for high-resolution physical models. Therefore, the second part of this thesis presents the design of the novel HyperModels framework to facilitate the development of real-time linear physical models for interaction and performance. HyperModels uses vector graphics to describe a model's geometry and a domain-specific language (DSL) to define the physics equations that operate in the physical model. An implementation of the HyperModels framework is then objectively evaluated by comparing the performance with manually written CPU and GPU equivalent versions. The automatically generated GPU programs from HyperModels were shown to outperform the CPU versions for resolutions 64x64 and above whilst maintaining similar performance to the manually written GPU versions. To conclude part 2, the expressibility and usability of HyperModels is demonstrated by presenting two instruments built using the framework},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.83}
}

@phdthesis{thesis:lanesmith2023hapticinterfaces,
  author = {Lane-Smith, Jonathan},
  title = {Haptic interfaces for musical notation and expression},
  school = {McGill University},
  year = {2023},
  doi = {10.82308/1370},
  abstract = {Haptics is a growing area of technology that has permeated many fields including robotics, health care, and entertainment. One particularly interesting field that it can contribute to is that of music. This thesis explores two main areas in which haptics can assist or enhance musical performance. First, two force-feedback devices were used to create the Hapstrument, an expressive bimanual digital musical instrument. The left-hand device controls pitch selection with force feedback helping to guide the user to the desired note. The right-hand device controls excitation by simulating the bowing or plucking of a string and generating the corresponding haptic feedback. A user study was run to evaluate the effectiveness of the Hapstrument and received a wide range of reviews, some high and some low. For the participants whose musical backgrounds aligned with the Hapstrument's capabilities, it was an effective digital musical instrument that uses force feedback to enhance musical expression. The second part of this thesis investigates how haptics can be used to communicate musical information to blind musicians so that they can "read" music without needing to memorize it. The current methods for learning music with blindness are learning by ear or with Braille music notation, both of which require memorization. By using a haptic vest embedded with vibrotactile motors, musicians feel vibrations which map to specific musical notes, allowing them to "read" and play their instrument in real-time. After developing the mapping technique and running a pilot study on sighted participants, a user study was conducted with ten blind musicians. Over the course of the study, each participant substantially improved their ability to identify vibrations and play the corresponding notes. However, there was still a significant delay, especially when moving between octaves. There are two possible future routes for the haptic vest. First, novice blind musicians could use the vest while initially learning their instrument. Second, the vest could communicate chords instead of individual notes, which musicians could use when playing jazz or contemporary music in an ensemble.Through both the Hapstrument and the haptic vest, this thesis demonstrates two ways in which haptic interfaces can enhance or assist in the making of music. The results of this research will hopefully inspire future exploration into the integration of haptics with music production and education},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:berthaut2023interactionsrvle,
  author = {Berthaut, Florent},
  title = {Interactions Révélées : Expression et Exploration en Réalité Mixte et Virtuelle},
  school = {Institut de Recherche sur les Composants logiciels et matériels pour l'Information et la Communication Avancée},
  year = {2023},
  url = {https://hal.science/tel-04425551},
  abstract = {Artistic and cultural productions have often followed or even inspired the development of immersive technologies. They have for instance greatly benefited from the generalisation of mixed and virtual reality headsets, mobile augmented reality or projection mapping software that happened in the past two decades. By freely integrating virtual elements within the physical space, these technologies allow for enriching the perception and interactions of artists, ensembles and audiences. My research lies at the intersection of 3D Interaction in Mixed and Virtual Reality and of Artistic, in particular Musical, Expression and Cultural Applications. Part of this research uses mixed-reality displays to reveal the mechanisms of complex or unfamiliar expressive interactions to spectators and collaborators of musical performances, with the goal of understanding and augmenting their experience. The other part investigates opportunities that arise for expression and cultural content exploration when virtual elements are revealed in the physical space, with the development of novel display technologies, interaction devices and techniques. Perspectives of this research include an in-depth study of the perception of digital interactions by the audience, the generalisation of levels-of-detail in the design of expressive interfaces, and the shift towards 3D interfaces that are less centered on technology and more on human expression.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:gober2023keymachineintuit,
  author = {Gober, Erik},
  title = {KeyMachine : intuitive interface for music},
  school = {FH JOANNEUM ePUB},
  year = {2023},
  url = {https://resolver.obvsg.at/urn:nbn:at:at-fhj:1-27650},
  abstract = {Keymachine ist ein portabler digital-Synthesizer, der es UserInnen erlaubt innerhalb einer Tonart Akkorde und Tonleitern zu spielen, ohne theoretische Kenntnisse oder physisches Training vorauszusetzen. Das niederkomplexe Interface bietet aufgrund der Multitouch Oberfläche einen niederschwelligen Einstieg trotz vollem Funktionsumfang und lädt durch verschiedene Visualisierungen am Display zum Experimentieren ein. Weiters lassen sich mehrere Geräte kombinieren um ein gemeinsames Musizieren ohne „falsche“ Töne zu ermöglichen. Dabei kommunizieren die Geräte mittels Bluetooth Low Energy (BLE) und dem Industriestandard für den Austausch musikalischer Steuerinformationen: Musical Digital Interface (MIDI), miteinander. Der Klang wird durch seitlich sitzende Hochtöner und einem passiven Bass Radiator an der Unterseite garantiert. Zusätzlich sorgen unter der Multitouch Oberfläche lineare Vibrationsmotoren für haptisches Feedback. Das Gehäuse besteht aus zwei Spritzguss Teilen, die verschraubt werden und einem verklebten Display. Da der Markt an Synthesizern sehr vielseitig ist und Synthesizer immer zugänglicher werden, kann die Keymachine dank des kabelgebundenen MIDI Output auch mit 3rd Party Geräten oder DAWs (Digital Audio Workstations) kommunizieren.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.90}
}

@phdthesis{thesis:reimer2023longitudinaleval,
  author = {Reimer, Phillip},
  title = {Longitudinal Evaluation of User Experience with Digital Musical Instruments: Development and Demonstration of a New Method},
  school = {McGill University},
  year = {2023},
  doi = {10.82308/33747},
  abstract = {This thesis introduces and demonstrates a method for studying the evolution of userexperience (UX) with digital musical instruments (DMIs) over time. This work begins by discussing DMI performance practice, stakeholders in DMI development, elements of music interaction and the user-instrument relationship, and DMI evaluation. Based on limitations of current evaluation strategies, including idiosyncrasy, informality, lack of focus on experiential components, and limited research describing how experience changes over time, a new longitudinal method for studying UX as users learn to play a DMI was developed. Following description of the procedure and data collection strategies, this work presents initial execution of the method. Over twenty days, three participants of diverse musical backgrounds learned to play a DMI, the T-Stick, through a series of musical tasks, and developed an original musical excerpt. At multiple points, experiential data was collected using surveys and interviews. Results illustrated how each individual approached and experienced their interaction with the T-Stick based on their specific background, and highlighted aspects of the instrument and methodology that could be revised prior to conducting a longer, more thorough, replication with more participants. Three contributions are noted. Methodologically, this work describes a demonstration of a new method for studying changes in UX with DMIs over time. Practical contributions include feedback related to the hardware, mapping, and sound synthesis used. Finally, this research contributes theoretically to the understanding of differing DMI stakeholder perspectives, suggesting existing categorical models may not sufficiently characterize the multidisciplinary DMI user},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.85}
}

@phdthesis{thesis:santana2023networkeddigital,
  author = {Santana, Marcos Vinícius},
  title = {Networked digital technologies in musical per-formances: potential of collaborative composition in digital media},
  year = {2023},
  url = {https://repositorio.bc.ufg.br/bitstreams/bbff4aff-ba74-437a-8ef2-023b1b1c21b3/download},
  abstract = {Discusses about collaborative composition practices carried out on platforms / social networks / music creation and production applications. It traces a historical overview of musical development, contextualizing the history of music and discussing about networked digital technologies in musical performances of collaborative composition. To do so, it discusses interactivity in collaborative composition made possible by the digital medium based on studies on mediatization and mediation. It aims to identify experiences of collaborative compositions mediated by networked digital technologies, justifying itself based on the influence of media and networked digital technologies on musical performances, observed by the frequent use of technological applications for composition, production, and musical performance at the end of the twentieth century and the beginning of the twenty-first century. In its problem, it questions the limits and potential of musical performance within a collaborative digital composition environment. When discussing the concept of collaborative composition and its use in musical performances, he explains two types of compositions made in digital media: one made in synchronous format, through the actions of the band Tin Men and the Telephone and the performance Dialtones: A Telesymphony; another, based on the use of platforms / social networks / applications for collaboration in the creation of compositions, such as BandLab. Methodologically, it is configured as a qualitative, descriptive-exploratory research in relation to its objectives, as it presents other platforms / social networks / music creation and production applications, while it inserts the author as a subject of the research, through the accomplishment of a composition in partnership with other members of BandLab. Considers that networked digital technologies can actively affect collaborative compositions, especially when observed from the mediatization theory, concomitantly with the phenomenon of globalization, which increased access to networked digital technologies by the population, influencing the way in which musical performances are seen and performed today.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.89}
}

@phdthesis{thesis:rivory2023returningtoreali,
  author = {Rivory, Joshua J.},
  title = {Returning to reality: a portfolio and reflective exegesis exploring the creation of interactive musical compositions within physical and virtual immersive environments},
  school = {The University of Queensland},
  year = {2023},
  doi = {10.14264/87f481f},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.88}
}

@phdthesis{thesis:yaarlar2024fewandfarbetween,
  author = {Yaşarlar, Okan},
  title = {"Few and Far Between": Digital Musical Instrument Design based on Machine Vision and Neural Deep Learning Algorithms},
  school = {Université de Toulouse},
  year = {2024},
  doi = {10.12794/metadc2332566},
  abstract = {Few and Far Between is a music composition for violoncello and live electronics. The project consists of software that uses video data from a webcam to control interactive audio in real time to manipulate audio processing and multichannel diffusion.},
  collection = {Theses},
  note = {Found in OpenAlex; cites 4 archive entries; NIME-topic probability 0.92}
}

@phdthesis{thesis:hurban2024aperformativefra,
  author = {Hurban, Hedy},
  title = {A Performative Framework for Exploring Traditional Whirling Dervish Movement and Flamenco Dance through Augmented Digital Media and Wearable Technology},
  school = {University of Plymouth},
  year = {2024},
  doi = {10.24382/5195},
  abstract = {The thesis establishes a comprehensive framework that facilitates an in-depth exploration of the intricate traditional movements of the Whirling Dervishes of Turkey and the passionate expressions of Spanish Flamenco dance. This exploration is facilitated by leveraging augmented digital media and wearable technology. By integrating these modern tools into the realms of these historically rich art forms, the thesis endeavors to uncover new dimensions and possibilities within the dance practices. This convergence transcends the boundaries of conventional performance, offering a heightened sensory experience for both performers and audiences alike. At its core, the performative framework involves a harmonious synergy between the physicality of the dancers, the artistic essence of the movements, and the digital enhancements provided by augmented media. This unique approach allows for the creation of immersive experiences that bridge the gap between tradition and innovation, opening doors to novel avenues of creative expression and enriching the appreciation of these captivating dance forms. The research in this thesis is led by developing a wearable musical body instrument device using existing sensors that can be embedded or attached to clothing or the body via a removable mechanism. This device tracks gestures and movements to which sounds, and haptic vibrations are attributed. The body movement practices of the Mevlevi Dervishes of Turkey and Andalucían Spanish Flamenco have been examined as two case studies in developing this work. The objective is to cultivate a practice that connects Dervish and Flamenco practices using this digital body instrument - the Soundrop - that communicates a language through sound and movement. The contrasts and parallels between the two traditions have been emphasized in a few different theatrical performances that combine the use of the Soundrop with film, music and dance. Soundrop provides an interface for performers to use by enhancing certain aspects of their performance. This amalgamation between science, technology and art combines the fluid, organic and at times abstract characteristics of the performing arts with the physical, tangible circuitry of hardware and computing. A Dervish and a Flamenco dancer use their costumes as extensions of their body in performance. The Soundrop is an added layer that complements this by further augmentation of movement. The contribution to new knowledge examines how two musical/dance forms with cultural and geographical historical links (Ottoman Turkish Dervish and Andalucían Flamenco) can be morphed with wearable technology to create a new and immersive audio-visual experience. The potential implications can lead to the preservation of cultural heritage by digitizing these movements, as well as cultivating new performance works. Along with the development of the Soundrop (which has electronic sound samples programmed into it) a complete musical soundscape has been composed as},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:topley2024craftfocusedelec,
  author = {Topley, Samantha},
  title = {Craft-Focused Electronic Musical Instrument Building: Exploring DIY Textiles and Hybrid Craft Techniques in Sound Arts Practice},
  school = {De Montfort University},
  year = {2024},
  url = {https://hdl.handle.net/2086/24962},
  abstract = {The aim of this practice-led research was to explore the concept of a craft focused electronic musical instrument building practice, prioritising textile handcraft materials, techniques and aesthetics in the process of creating new electronic musical instruments and sound artwork. A range of DIY textile crafts and hybrid craft techniques (such as knitting, embroidery and pompom making, often with electronic textile materials) were used to create novel and alternatively designed ideas, working with other colours, textures, forms, methods of construction and means of performance. Craft led the design, utilising the properties of the materials and craft processes to explore unconventional design concepts, such as round, soft and colourful objects. A portfolio of fourteen projects, including electronic musical instruments, interfaces, installations and sound art objects were made. Crafted forms were made to house the technology, as well as using many different techniques to construct the tactile instruments and interfaces in their entirety. The practice of building electronic musical instruments was reframed with a craft-focused lens, with ideas not usually considered whilst instrument building, broadening the potential toolkit for others in the practice. Each project was unique with regards to material, method of construction or method of performance, offering many novel artistic and technical design concepts. The projects were created with craftivist intent, suggesting craft’s potential to democratise and address current cultural, socio-political, socio-economic and environmental issues in creative music technology practices. The work was presented and shared with different audiences, mostly happening in community and grassroots settings, exposing new audiences to themes related to the sonic arts through craft-focused ideas. The documentation of this practice-led research offers an original contribution to knowledge, adding to the discourse on electronic musical instrument building and hybrid crafting in sonic arts practice.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:paredes2024explorationinmov,
  author = {Paredes, Victor},
  title = {Exploration in Movement-Sound Interactive Systems},
  school = {Sorbonne Université},
  year = {2024},
  doi = {10.70675/67f513aez98d0z418ezac9aze0945d3a7dcd},
  abstract = {Exploration des systèmes interactifs mouvement-son Les systèmes interactifs mouvement-son permettent d'interagir avec des sons générés par ordinateur grâce à des capteurs de mouvement portés à même le corps ou des caméras. De nombreuses recherches ont été menées sur ces systèmes par les communautés autour des Nouvelles interfaces pour les expressions musicales, de l'informatique sonore et musicale, et de l'informatique pour le mouvement. Ces travaux ont diverses applications dans les domaines de la musique, de la danse, du sport et de la rééducation. Bien que ce domaine de recherche ait atteint sa maturité sur plusieurs aspects, les différents processus d'apprentissage impliqués dans la conception et la performance avec de tels systèmes restent difficile à saisir car ils ne peuvent être décrits ou formalisés de manière unique. Cette thèse de doctorat vise à étudier, sous l'angle de l'exploration, l'apprentissage et l'appropriation des systèmes interactifs mouvement-son. Ce travail est un effort interdisciplinaire combinant différentes approches méthodologiques de l'ingénierie, de l'interaction humain-machine et de la recherche-création. Tout d'abord, des entretiens avec des artistes, des compositeurs et des éducateurs utilisant des technologies de mouvement et de son ont été réalisés pour ancrer notre recherche dans des contextes artistiques et pédagogiques. Ensuite, un système interactif appelé mosX a été conçu pour être utilisable et adaptable dans différents contextes artistiques et de recherche à travers divers cycles d'expérimentation et de développements technologiques. mosX permet aux utilisateurs d'explorer des échantillons sonores grâce à des mouvements corporels mesurés par des capteurs sans fil. Il utilise polyspring, un package Python que nous avons développé pour manipuler les représentations bidimensionnelles des bases de données sonores. Polyspring a été motivé par une expérience préliminaire d'exploration mouvement-son. Troisièmement, une expérience contrôlée utilisant mosX a été menée, au cours de laquelle les participants ont exploré un ensemble de sons correspondant à la posture de leur bras dominant. Des mesures quantitatives ont été créées pour analyser l'exploration, complétées par des données qualitatives. L'analyse s'est avérée pertinente pour quantifier l'espace exploré par les participants et pour obtenir leurs expériences et les différents processus mise en place lors de l'apprentissage initial. Quatrièmement, nous présentons, à la première personne, une recherche sur des performances artistiques utilisant mosX ainsi que d'autres stratégies de sonification gestuelle. Ce travail de recherche peut donc être considéré comme une boucle entre la conception centrée sur l'utilisateur et participative, le développement technologique et les pratiques basées sur la performance artistique. Nous avons constaté que les technologies interactives sont rarement le point de départ de la pratique artistique, mais plutôt un outil intégré },
  collection = {Theses},
  note = {Found in OpenAlex; cites 8 archive entries; selected by its English title, the abstract being in another language; NIME-topic probability 0.93}
}

@phdthesis{thesis:orozco2024exploratoryresea,
  author = {Orozco, Diego I Quiroz},
  title = {Exploratory Research on Input Devices and Gestural Control for Immersive Audio Mixing Tasks},
  school = {McGill University},
  year = {2024},
  doi = {10.82308/13234},
  abstract = {Ever since stereophonic recording and playback systems came into existence, methods and input devices designed to “pan” a sound source, which is to move an audio object from one direction to another, have been constantly evolving alongside. State-of-the-art audio systems have now expanded to span the entire 360-degree sound space and interact in a three-dimensional way (left-right, front-back, top-down) with the user and their control interfaces. Input devices that operate in 3 degrees of freedom (DOF) or more have been implemented in digital musical instruments (DMIs) and have been mapped to control sound design and spatialization parameters in live performance scenarios. Implementation of highly sophisticated software with data output from Hi-DOF input devices can enable gesture recognition methods for control. However, research of the interaction between gestural controllers and mixing engineers undertaking 3D audio tasks in a production environment is still in its infancy. The intention of the author with this thesis is to investigate new methods of gestural control for 3D audio, panning and spatialization and analyze the interactions between the user and the interface in order to help advance new design methods and tool implementations},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:helppolainen2024hapsynthutilizin,
  author = {Helppolainen, Ville},
  title = {HapSynth: Utilizing force feedback on digital musical instruments},
  school = {Tampere University},
  year = {2024},
  url = {https://trepo.tuni.fi/handle/10024/158159},
  abstract = {Digital Musical Instruments (DMIs) are instruments that produce sound by generating an electrical signal representing an audio wave, unlike traditional instruments that directly vibrate the air.Thus, they lack the tactile feedback traditional instruments provide by default, and any such feedback must be purposefully built in.Motorized inputs such as knobs and sliders are one way for DMI designers to incorporate force feedback in their products.The object of this study was to research what kind of effect force feedback has to the usability of a DMI.Both users' subjective perception of usefulness and enjoyability and objective measurable benefits were explored.The study consisted of an overview of past research of force feedback in general and in the context of musical equipment and building a prototype of a force feedback enabled DMI based on that.Furthermore, user study with the prototype was conducted, including performing tasks with different force feedback modes, filling NASA Task Load Index (NASA-TLX) questionnaires and having semi-structured interviews, and the results of those were analysed with thematic analysis and statistical tests.The results of the study were inconclusive, interviews giving mixed opinions and few to none statistical test showed significance.However, force feedback wasn't found to hinder the performance either, and the number of participants who found at least some of the force feedback modes useful or enjoyable makes inclusion of force feedback a worthwhile consideration for DMI designers.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:brown2024movementtomusicn,
  author = {Brown, Aimee},
  title = {Movement to Music: Notating Baroque Dance for Musicians},
  school = {The University of Sydney},
  year = {2024},
  url = {https://hdl.handle.net/2123/32468},
  abstract = {The connection between musicians and dancers in eighteenth-century France was strong because of the opportunities they had to play together and their experience with each other’s art. Many musicians today lack the opportunity to develop this same understanding of dance. The experience of performing eighteenth-century French dance music for both dancers and musicians today can be improved by facilitating musicians' understanding of dance. In this thesis, I propose a new dance notation system, Baroque Musical-Dance Notation (BMDN), which indicates to musicians the types, directions, and number of steps in a dance. These elements of a dance assist musicians in understanding how best to support a dancer through their choice of tempo, phrasing, accent, articulation, and ornamentation. In this thesis, I discuss the development of, and experimentation with, the BMDN to explore how musicians’ increased knowledge of dance influences the performance of eighteenth-century French dance music, and aids communication with dancers. Through audio- visual analysis of the recordings made in these experiments, and interviews with the participants, I found that the BMDN changed musicians’ approaches to the music in their choice of tempo, use of tempo changes, placement and type of accent usage, length of articulation, and choices of ornamentation. These changes resulted in better support for the dancers and enhanced the musical performance. The experiments revealed that the BMDN has the potential to greatly enhance the performance of eighteenth-century French repertoire. Further experimentation with the BMDN could result in a reinvigoration of the connection between dancers and musicians and better the experience of performing historical dance and music.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:lima2024musicandtechnolo,
  author = {Lima, Rodolfo das Neves Barbosa de},
  title = {Music and technology: digital resources as auxiliary tools for personal performance and the dynamics of chamber rehearsals - autoethnographic report.},
  year = {2024},
  url = {https://repositorio.ufba.br/handle/ri/39433},
  abstract = {O presente trabalho contém um memorial, um artigo, um produto final e os relatórios das práticas profissionais supervisionadas na área de interpretação e criação musical. No memorial, descrevo minha jornada acadêmico-profissional dentro do mestrado. No artigo intitulado "Música e Tecnologia: recursos digitais como ferramentas auxiliares ao rendimento pessoal e à dinâmica de ensaios camerísticos" - relato autoetnográfico, desenvolvo a argumentação em dois contextos: o virtual, no qual relato minha jornada de adaptação ao período da pandemia, pesquisando formas de continuar exercitando atividades camerísticas por meio de recursos remotos; e o presencial, logo após o processo de flexibilização do isolamento, no qual descrevo os benefícios e aplicabilidades encontrados em cada recurso para as atividades camerísticas realizadas, entre 2021.1 e 2023.2, com o Quinteto da Bahia e o Grupo de Câmara da classe do Prof. Dr. Alexandre Casado. Para além disso, aponto ainda prováveis cenários e perspectivas do uso das técnicas e ferramentas trabalhadas, como eventuais bases para produções futuras de formações camerísticas diversas. No produto final, um breve recital virtual com o Quinteto da Bahia, apresento algumas das partituras e obras desenvolvidas no percorrer da realização deste projeto.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.92}
}

@phdthesis{thesis:rotunni2024noteblocklibalib,
  author = {Rotunni, Kevin},
  title = {NoteBlockLib: A Library for Physics- and Animation-Driven Virtual MIDI Instruments for Use in Video Games},
  year = {2024},
  doi = {10.31979/etd.cgtn-bwr8},
  abstract = {To better capture the relationship between the performer of a piece of music and the music itself in a video game context, I have designed NoteBlockLib, a system by which MIDI instructions are generated and processed in real time based on the motion and collision data of in-game objects. Ultimately, the movement of instruments made using this system would be driven by the animations of a character in the game. This system would thus allow the player character to interact with the performer in the game without sacrificing the relationship between the performer’s actions and the resulting music or to interact directly with the instrument itself. To show that this approach is viable, I have built three demonstrations in the cross-platform game engine Unity. These demonstrations make use of Unity’s built-in physics libraries, its C# scripting API, and a free third-party MIDI engine, and they show that this approach is a viable means of creating and performing music within a scene.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.91}
}

@phdthesis{thesis:carpentier2024orchestratingaso,
  author = {Carpentier, Thibaut},
  title = {Orchestrating a software ecosystem for the creation, manipulation, and distribution of spatial audio},
  school = {Sorbonne Université},
  year = {2024},
  doi = {10.70675/763081e4z94f5z45a7zb1e6z2562921a073b},
  abstract = {Développement d'un écosystème logiciel pour la création, la manipulation et la distribution de l'audio spatialisé Ce mémoire présente une sélection structurée de travaux de recherche et de développements logiciels, réalisés au cours des dix dernières années, sur la spatialisation sonore et la réverbération artificielle, et leurs applications dans le domaine de l’informatique musicale. Les sujets traités couvrent différentes étapes de la chaîne de production pour l’audio spatialisé, en particulier dans le format Ambisonic. Les études sélectionnées abordent un certain nombre de défis scientifiques et technologiques, notamment l’exploitation d’approches holophoniques dans des réseaux de haut-parleurs à haute densité, le développement d’opérateurs de transformations pour des manipulations créatives de scènes sonores, l’analyse en harmoniques sphériques de fonctions de directivité, et la production et la diffusion de contenus audio orientés objets. Cet ensemble de travaux s’articule autour du développement d’un écosystème logiciel complet destiné à la création, la manipulation et la distribution de scènes sonores spatialisées. Ces études illustrent mes contributions personnelles à ce domaine et démontrent des avancées scientifiques, technologiques et expérimentales dans les disciplines du traitement du signal, de l’acoustique physique et de l’ingénierie logicielle. La plupart des travaux qui composent ce manuscrit ont été préalablement publiés sous forme d’articles de revues ou d’actes de conférence.},
  collection = {Theses},
  note = {Found in OpenAlex (citing); cites 7 archive entries; NIME-topic probability 0.84}
}

@phdthesis{thesis:preece2024oscillationsexpl,
  author = {Preece, Patricia},
  title = {Oscillations: Exploring a Performance Ecosystem Through a Sonic Cyberfeminisms Lens},
  school = {CQUniversity},
  year = {2024},
  doi = {10.25946/26953810},
  abstract = {The audiovisual installation Oscillations turns irons and ironing boards into electronic instruments, in an attempt to deconstruct stereotypical ideas of gender and its assigned roles. The creative practice project aims to investigate the relationships we have with domestic objects and ponder their structures and significance through the design and performance of an interactive ecosystem. Oscillations, both the installation and exegesis, use a sonic cyberfeminisms lens to critically explore aesthetic and relational hierarchies at the intersection of sound, gender, and technology. Three irons and ironing boards have been hacked and retrofitted with embedded electronic instruments that together create a complex feedback network. While the audience is invited to physically interact with the iron instruments and manipulate samples, the sonic state of the installation also changes based on the audio information detected in the environment . Sonic cyberfeminisms is used to reframe discursive music technology practices and within the creation of a work that playfully deconstructs and questions dominant narratives. Through the creation of the audiovisual installation Oscillations, I have identified the need for ongoing creative practice research that transforms theoretical perspectives into creative outputs. Creative works have the potential to bridge the gap between academy and industry, and to contribute to social change.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:khazaei2024realtimegestureb,
  author = {Khazaei, Mahya},
  title = {Real-time gesture-based sound control system},
  school = {University of Victoria},
  year = {2024},
  url = {https://hdl.handle.net/1828/20888},
  abstract = {This thesis presents a real-time, human-in-the-loop music control and manipulation system that dynamically adapts audio outputs based on the analysis of human movement captured via live-stream video. This project creates a responsive link between visual and auditory stimuli, fostering an interactive experience where dancers not only respond to music but dynamically influence it through their movements. The system enhances live performances, interactive installations, and personal entertainment, creating an immersive experience where users’ movements directly shape the music in real time. This project demonstrates how machine learning and signal processing techniques can create responsive audio-visual systems that evolve with each movement, bridging human interaction and machine response in a seamless loop. The system leverages computer vision techniques and machine learning tools to track and interpret the motion of individuals dancing or moving, enabling them to participate actively in shaping audio adjustments, such as tempo, pitch, effects, and playback sequence in real time. Constantly improving through ongoing training, the system allows users to generalize models for user-independent use by providing varied samples; around 50–80 samples are typically sufficient to label a simple gesture. Through an integrated pipeline of gesture training, cue mapping, and audio manipulation, this human-centered system continuously adapts to user input. Gestures are trained as signals from human to model, mapped to sound control commands, and then used to naturally manipulate audio elements.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:niyonsenga2024reliabilitycente,
  author = {Niyonsenga, Albert},
  title = {Reliability Centered Approaches for Digital Musical Interface Design},
  school = {McGill University},
  year = {2024},
  doi = {10.82308/20210},
  abstract = {Cette thèse explore les défis de la conception d’instruments de musique numériques (DMI) fiables et robustes pour une utilisation à long terme. Les techniques et les cadres d'autres domaines de l'ingénierie, tels que l'ingénierie des systèmes et de la fiabilité, sont examinés pour déterminer leur adéquation dans un contexte de technologie musicale. Le concept de taux d'interruption de la pratique est discuté comme moyen d'analyser la fiabilité et la disponibilité du DMI. Un cadre d'ingénierie système a été utilisé pour concevoir le T-Stick 5GW, la cinquième génération du T-Stick, un contrôleur gestuel conçu au milieu des années 2000 au laboratoire Input Devices and Music Interaction. Le T-Stick 5GW est évalué par rapport à une série de mesures techniques, montrant qu’il répond avec succès à sept des dix critères proposés. Enfin, des améliorations de conception sont discutées et des applications potentielles à d'autres projets sont résumées},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.95}
}

@phdthesis{thesis:gianniodis2024sculptingonespla,
  author = {Gianniodis, Dimitri},
  title = {Sculpting one's place in the feast. Techniques of the body and intentions in musical and dance practices on Chios island (Greece)},
  school = {Paris 10},
  year = {2024},
  doi = {10.70675/bd3e5732z4482z4985za8c4zf4f4e81d8c38},
  abstract = {This thesis focuses on the musical and dance practices that the inhabitants of village communities on the Greek island of Chios associate with their ''tradition'' (parádosi) and mobilize during specific situations such as weddings, private and public parties, as well as Carnival festivities. The central hypothesis of the thesis is that these musical and dance practices can be conceived as body techniques enabling musickers : 1) to inscribe themselves in the social space-time relevant to them, by ''sculpting'' their position within their social world from both a synchronic and diachronic point of view; 2) to create performative space-time by ''sculpting'' their position on the dance floor through the reconfiguration of space and time; 3) to create fictional space-time and coordinate their imaginations in order to immerse themselves together in parallel worlds and thus to experiment alternative forms of reality.},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.88}
}

@phdthesis{thesis:schneider2024theartofvoltagec,
  author = {Schneider, Verena},
  title = {The art of voltage control : Moog Mavis as an exemplar in modular synthesis techniques},
  school = {FH JOANNEUM ePUB},
  year = {2024},
  url = {https://resolver.obvsg.at/urn:nbn:at:at-fhj:1-37538},
  abstract = {Diese Arbeit erforscht die Kunst und Wissenschaft der analogen Synthese, wobei der halbmodulare Synthesizer Moog Mavis als Schwerpunkt dient, um die Grundprinzipien des Sounddesigns zu untersuchen. Die gesamte Arbeit gliedert sich in zwei Hauptteile: einen theoretischen Teil und einen praktischen Teil. Die Forschung beginnt damit, die historische Entwicklung von Synthesizern nachzuzeichnen und wichtige Entwicklungen sowie die einflussreiche, aber oft unterrepräsentierte Rolle von Frauen in diesem Bereich hervorzuheben. Durch die Behandlung wichtiger Aspekte der Klangtheorie wie Frequenz, Amplitude, Wellenformen und harmonische Struktur schafft diese Studie eine Grundlage, um zu verstehen, wie spannungsgesteuertes Klangdesign und -erzeugung funktioniert. Herzstück der Studie ist eine detaillierte Analyse der wichtigsten Synthesekomponenten, einschließlich spannungsgesteuerter Oszillatoren (VCOs), Filter (VCFs), Verstärker (VCAs) und Hüllkurvengeneratoren (ADSR), die jeweils eine entscheidende Rolle bei der Schaffung einzigartiger Synthesen spielen Klanglandschaften. Dieses Wissen fließt später in die praktische Erstellung meines Ambient-Soundtracks ein. Durch das praktische Experimentieren mit dem Moog Mavis und die Integration digitaler Tools wie Ableton Live verbindet diese Arbeit theoretische Konzepte mit praktischer Arbeit und zeigt, wie analoge Synthesetechniken verwendet werden können, um verschiedene Klangwelten zu erzeugen.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:ebenreuter2024transferenceofda,
  author = {Ebenreuter, Natalie},
  title = {Transference of dance knowledge through interface design},
  school = {Swinburne},
  year = {2024},
  doi = {10.25916/sut.26261831.v1},
  abstract = {This thesis is concerned with the careful arrangement and organization of technical content. I argue that subject matter in the context of observation or ideation acts in concert with the abilities of the designer and available materials to shape the form of a product with its functional purpose and relevance. To assist the inquiry into the treatment of form and matter, a poetic strategy has been adopted which includes elements of dialectic, rhetoric, and grammar to better understand the requirements of design and to formulate a solution. Within this framework, a prototype application, “LabanAssist,” has been designed to provide dancers, choreographers, artistic directors, choreologists, students, and educators with a tool designed to enhance dance literacy through greater provision and accessibility of the dance notation system “Labanotation.” The ephemeral nature of dance and the absence of a widely acknowledged system to provide an objective record of dance movement have contributed to the scarce historical references to dance material (Calvert, Coyle, and Maranan, 2002). An increasing awareness of the drivers surrounding the preservation of movement highlights the necessity to effectively preserve dance works that risk being contaminated or lost (Wang, 2004). The integration of technology into the arts motivated the development of complex computer applications that supply artists with a greater means of creative expression (Assey, 2005). Movement can be effectively documented by the use of dance notation. Languages such as Labanotation provide a precise system of recording movement; analogous to the techniques musicians employ to notate music (Calvert et al., 2002). Current literature emphasises that existing dance notation applications are not equipped to detect or prevent errors made during the composition of Labanotation scores. These dance notation applications require an expert knowledge of Labanotation to operate effectively (T. Calvert, I. Fox, R. Ryman, and L. Wilke, 2005), fuelling the risk of further contamination as dance knowledge is transferred to a digital environment. This research proceeds on the basis that the integration of an operational structure for the documentation of movement within the prototype application LabanAssist can ensure that the correct syntax of dance notation is established. Coupled with the visual interpretation of notated movement in an immediate environment, LabanAssist functions as a diagnostic tool in which novice users of Labanotation may evaluate their notation and more easily interpret errors in their notation. LabanAssist has been tested in the dance community to assess levels of user response, understanding, accessibility, and capability.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:mcmillan2025accessibilityinm,
  author = {McMillan, Andrew Strachan},
  title = {Accessibility in Music-Making},
  school = {University of Auckland},
  year = {2025},
  url = {https://hdl.handle.net/2292/76588},
  abstract = {This doctoral thesis investigates the intersection of accessibility and creativity in music-making, focusing on the design of bespoke instruments for disabled musicians. The research is based within the University of Auckland’s music department. It aims to answer several key questions: Research question one (RQ1): What specific needs must be considered when creating a bespoke instrument for myself as a disabled musician? Question two (RQ2): How do design affordances and creative requirements interact? Question three (RQ3): How can current internet and network technologies help disabled musicians form and sustain creative collaborations and connections? Using a mixed-methods approach, the study combines autoethnographic reflection with a review of relevant literature in accessibility, design, and music technology. The research process involved prototyping and iterative testing of a custom instrument tailored to my unique physical and artistic needs. This process underscored the importance of user-centred design, adaptability, and the integration of assistive technologies. The thesis examines how design affordances - ergonomic features, interface customisation, and responsiveness - must be balanced against creative requirements to enhance expressive potential, versatility, and aesthetic factors. These findings highlight that effective bespoke instruments are developed through a dialogue between the physical realities of disability and the artistic ambitions of the musician. In exploring the role of the internet and network technologies, the PhD thesis identifies a variety of tools and platforms that support remote collaboration and community building amongst disabled musicians. The technologies discussed assist in reducing barriers to participation and foster inclusive creative networks. The research concludes that well-informed instrument design, guided by technological possibilities and creative goals, can enable disabled musicians to fully engage in collaborative music-making. This work provides practical recommendations for instrument designers, artists, educators, and technologists aiming to improve accessibility and innovation in music-making while confronting disability-related barriers.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.77}
}

@phdthesis{thesis:daigle2025augmenteddrumkit,
  author = {Daigle, Martin},
  title = {Augmented drum kit: Technological expansion of musical performance},
  school = {McGill University},
  year = {2025},
  url = {https://hdl.handle.net/20.500.14905/72506},
  abstract = {"Since the mid-20th century, performers and composers have increasingly integrated electronics into their creative practices—a trend that continues to flourish in the 21st century. Advances in music technology, sound recording, and media arts have continually shaped contemporary music, creating a growing need for performers and composers to engage with these tools. Many artists are now exploring the augmentation of traditional instruments as a way to expand performance practice beyond its conventional roots. A central challenge in this domain is the rapid pace at which new technologies enter artistic practice. While tools such as microphones have become standard, emerging technologies— including gestural controllers and video processing—are becoming increasingly significant to contemporary performance practice. These rapid developments make it difficult to establish stable frameworks without engaging in extensive experimentation. In response, I have led a series of artistic commissions, improvisations, and research projects employing a wide array of tools. This research-creation project both demonstrates current practices in instrument augmentation and generates practical applications of these technologies. The resulting repertoire serves as a corpus for comparative analysis, supported by visualization tools such as multi-axis dimension space charts created to address the inherent ambiguity of this practice. By investigating and analyzing a broad spectrum of tools and processes, this research proposes strategies for navigating the complexity of instrument augmentation and offers a comprehensive foundation for ongoing artistic and pedagogical exploration as the field continues to evolve. III Abrégé Depuis le milieu du XXe siècle, les interprètes et les compositeurs intègrent de plus en plus des outils technologiques dans leurs pratiques créatives, une tendance qui ne cesse de s’accentuer au XXIe siècle. Les avancées en technologie musicale, en enregistrement sonore et en arts médiatiques ont profondément façonné la musique contemporaine, créant un besoin croissant pour les musiciens de se familiariser avec ces outils. De nombreux artistes explorent aujourd’hui l’augmentation des instruments traditionnels afin d’élargir la pratique musicale au-delà de ses racines conventionnelles. L’un des principaux défis réside dans la rapidité avec laquelle de nouvelles technologies s’intègrent au répertoire. Si des outils tels que les microphones sont désormais courants, d’autres technologies émergentes — comme les contrôleurs gestuels et le traitement vidéo — occupent une place de plus en plus importante dans la pratique musicale contemporaine. Cette évolution rapide rend difficile la mise en place de cadres stables sans recourir à une expérimentation approfondie. En réponse, j’ai dirigé une série de créations artistiques, d’improvisations et de projets de recherche mobilisant un large éventail d’outils. Ce projet de recherche-création met en lumière les prati},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.94}
}

@phdthesis{thesis:flty2025contributionsofe,
  author = {Fléty, Emmanuel},
  title = {Contributions of Electronics to Gesture-Based Interaction : Application to Live Performances and the Design of Digital Musical Instruments},
  school = {Centre d'études et de recherche en informatique et communications},
  year = {2025},
  url = {http://www.theses.fr/2025CNAM0025/document},
  abstract = {Ce mémoire présente la synthèse d’études et de travaux de recherche s’étalant sur 25 ans et s’articulant autour de trois thématiques principales : l’électronique embarquée, la captation et l’interaction gestuelle ainsi que la lutherie numérique. Il décrit en particulier leurs applications spécifiques au spectacle vivant avec une orientation plutôt musicale mais également élargie à la danse ou le théâtre dans lesquels la musique est souvent présente. Après une introduction relatant le contexte de ces travaux et la méthodologie employée, un premier chapitre « Interaction et Captation » présente des éléments théoriques et historiques de l’état de l’Art relatifs à l’informatique musicale, au geste musical et aux interfaces pour la musique. Puis, le second chapitre « Numérisation & Protocoles » présente de manière détaillée les principaux outils de l’électronique utilisés pour la réalisation de ces interfaces ainsi que les travaux personnels proposant les bonnes pratiques de mise en œuvre destinées à améliorer leurs performances en y rattachant, le cas échéant, une publication. Le troisième chapitre « Modules pour les contrôleurs musicaux » décrit et évalue les différents dispositifs génériques et originaux conçus dans le cadre de cette recherche. Enfin, le quatrième et dernier chapitre « Lutherie numérique » offre une série de contributions applicatives avec une sélection d’instruments conçus spécifiquement pour des projets artistiques se mêlant parfois avec d’autres thématiques comme la santé ou le sport et offrant un cadre de recherche riche et transdisciplinaire.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.97}
}

@phdthesis{thesis:chau2025dancevideography,
  author = {Chau, Clover},
  title = {Dance Videography Grammar: A Shape Grammar for the Description, Analysis and Generation of Dance Performance Videos},
  school = {Carnegie Mellon University},
  year = {2025},
  doi = {10.1184/r1/29237630.v1},
  abstract = {Before video recording became the most prevalent method of reproducing dance, written systems like Labanotation, Benesh Movement Notation and Eshkol-Wachman Movement Notation used symbols to record dance. These systems tackle the greater theme of movement literacy as posited by Brenda Farnell, and articulate medium-specific concepts for new paradigms of human movement. The proliferation of mobile phone cameras has allowed anyone regardless of skill level to make videos. Thus, videography has emerged as an experimental field with no centralised pedagogy or institutions, where the tacit technical knowledge is obtained through experience and the paradigms are difficult to communicate and teach. As a sub-genre of videography, dance videography encompasses the creation of 'dance films' or 'dance performance videos' through the recording of dance and corporeal movement using a video camera. It draws heavy influence from commercial music video techniques (Pajala-Assefa) as well as traditional film principles to highlight the choreography. This thesis aims to develop a notation that describes how a dance video can be filmed. By breaking down and analysing a corpus of [Performance37] dance videos, this work aims to develop a grammar that can extend applications of existing videographic styles and develop new ones. To demonstrate the efficacy and generative capabilities of the proposed workflow, a dance video was produced and evaluated following the derived rules.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.74}
}

@phdthesis{thesis:jullin2025explorationinter,
  author = {Jullin, Jean-Philippe},
  title = {Exploration interactive d’espaces latents pour la performance audiovisuelle : une démarche artistique informée par l’apprentissage machine},
  school = {Université de Montréal},
  year = {2025},
  doi = {10.71781/4400},
  abstract = {This thesis presents the artistic and technical approaches used to create a series of interactive audiovisual works based on machine learning. These creations explore how body movement allows for intuitive interaction with latent sound spaces. These spaces correspond to multidimensional representations automatically generated from sound banks. The presented works rely on gestural control and concatenative synthesis to sensitively explore complex sonic relationships, such as timbral proximity or morphological continuity. The creative process is illustrated by three studies, Hypnagogia, Synapses, and Qualia, as-well as a large-scale work, Spectra, which explores gesture and movement within latent sonic spaces. These works establish different forms of relationship between sound and image, articulated by the moving body and real-time interaction. Inspired by systems theory and artificial intelligence, this research-creation project uses various algorithms to analyze, organize, and explore sound banks using gestural interfaces. In this experimental artistic framework, the computer is considered a co-creation partner: agency is distributed between humans and machines, and the form of the works emerges directly from this interaction. This systemic approach opens new perspectives for interactive audiovisual performances through the integration of machine learning algorithms.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:magalhes2025implementationof,
  author = {Magalhães, Gabriel Warken},
  title = {Implementation of an overdrive pedal with gestural control for electric guitar applications},
  school = {Federal University of Technology – Paraná},
  year = {2025},
  url = {http://repositorio.utfpr.edu.br/jspui/handle/1/40537},
  abstract = {There is variety of effect pedals for electric guitar applications, on the other hand, the interactivity features for musicians are limited, i.e., it is normally restricted to mechanical actuation via switches or fixed expression pedals. This work aims to develop an analog overdrive pedal prototype based on the topology of the classic commercial model Tube Screamer TS808. This circuit: i) distorts the electric signal from an electric guitar; ii) operates ideally in the frequency range from 200 Hz to 2 kHz; and iii) adjusts tone and gain (drive) parameters. The proposed innovation of this work consists of a dynamic control system that enhances musical expressiveness, using the instrument’s inclination (monitored by an Inertial Measurement Unit- IMU) to modulate the gain in real-time. The system employs an ESP32 microcontroller (to be attached to the guitar) that transmits the instantaneous angle to a receiver (located in the pedal), which adjusts the analog circuit through a resistive optocoupler (LED-LDR), preserving the signal integrity. The main findings demonstrate a proportional variation of the sound effect in response to the sensor movement, equivalent to a resistive variation of 13 kΩ to 500 kΩ in the drive control. It is possible to conclude that the hybrid approach (analog-digital) may enrich the musical performance and has successfully integrated the domains of embedded electronics and analog audio processing, proving to be a functional and feseable alternative for electric guitar players.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:uro2025interactionespac,
  author = {Uro, Pierrick},
  title = {Interaction, Espace, et Coprésence en Réalité Mixte Colocalisée},
  school = {Centre National de la Recherche Scientifique},
  year = {2025},
  url = {https://hal.science/tel-05575195v1},
  abstract = {Mixed Reality offers new ways to blend physical and virtual environments, but its use in performance raises unique challenges around shared environments. This thesis focuses on co-located Mixed Reality, where participants share both a physical and a virtual space, and examines how design choices shape collaboration and presence.The research is structured along three axes. First, grounded in my participation in the Mixed Reality theater performance Animate, a reflexive thematic analysis was conducted across several productions to identify recurring challenges and strategies employed by creators.Second, the design and evaluation of gRAinyCloud, a collaborative Mixed Reality musical instrument, investigated the consequences of decoupling physical and virtual spaces on collaborative interaction.Third, a study of copresence in co-located Mixed Reality proposed a protocol that combines self-report and behavioral measures, offering a more nuanced way to assess copresence.This work combines performance-led research, interviews, reflexive thematic analysis, prototyping, self-study, and controlled experiments, illustrating the value of methodological diversity in Mixed Reality research.Its contributions include a vocabulary of design strategies, a demonstration of spatial decoupling as a design principle, and new tools for evaluating copresence. Together, they extend the design space of Mixed Reality and provide resources for creating more interactive, creative, and inspiring experiences.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:west2025makingdigitalmus,
  author = {West, Travis},
  title = {Making Digital Musical Instruments},
  school = {McGill University},
  year = {2025},
  doi = {10.82308/573},
  abstract = {Digital musical instruments are a family of instruments whose sound medium is digital audio. Their design and development has been the subject of research for over 30 years, and certain tools, techniques, and materials have begun to emerge as standard components for making digital musical instruments. In order to support the long-term maintenance and replication of these instruments, so as to enable long-term research and creative practice and foster the development of our collective digital musical instrument design savvy, we propose to develop a library of reusable digital musical instrument components. Existing libraries are unable to cover the wide range of components, hardware platforms, and software environments used in the making of digital musical instruments, due to issues of glue code, limited software interface, and runtime performance. Leveraging modern C++ design patterns based on compile-time reflection and metaprogramming, we address these issues. Our library, Sygaldry, provides immediate benefit to the replication, porting, and validation of digital musical instruments},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:henry2025novelinterfacesf,
  author = {Henry, Max},
  title = {Novel interfaces for audio manipulation},
  school = {McGill University},
  year = {2025},
  doi = {10.82308/32797},
  abstract = {In this work we investigate two novel methods for multi-parametric control of audio in the context of sound design and music creation.Both systems aim to improve user experience by leveraging mapping strategies from control input to synthesis parameters, extracting additional value from conventional and ubiquitous tools.A first engine uses landmark mapping of facial features and manipulation of basic, built-in plugins to effectively emulate spatial audio mapping using only hardware built into a standard laptop.A pilot experiment (N=4) shows that the system improves source location identification in users by 15% over baseline.We also propose an assistive engine for sound design, which leverages a simple statistical model based on expert domain presets to guide users in controlling a subtractive synthesizer.In a user study (N=11) the engine is shown to significantly improve user performance in a sound matching task (t(10) = 3.38, p = 0.01), boosting user performance by 0.89 standard deviations within-participant.We explain its effectiveness in terms of cognitive apprenticeship theory, where the engine, in offering suggestions in reaction to user movement in a tight feedback loop, acts as a mentor that exposes sound Abstract ii design thinking, and keeps the user in the zone of proximal development by making the task not too difficult nor too obvious.Taken together, these experiments prove that mapping alone can meaningfully augment the affordances of existing control and synthesis paradigms.iii Abrégé Dans ce mémoire, nous étudions deux nouvelles méthodes de contrôle multi-paramétrique de l'audio dans le contexte du design sonore et de la création musicale.Les deux systèmes visent à améliorer l'expérience utilisateur en exploitant des stratégies de mappage entre les entrées de contrôle et les paramètres de synthèse, extrayant ainsi une valeur ajoutée d'outils conventionnels et omniprésents.Un premier moteur utilise le mappage de points de repère des caractéristiques faciales et la manipulation de plugins intégrés de base pour émuler efficacement le mappage audio spatial en utilisant uniquement le matériel intégré dans un ordinateur portable standard.Une expérience pilote (N = 4) montre que le système améliore l'identification de la localisation des sources chez les utilisateurs de 15% par rapport à la référence.Nous proposons également un moteur d'assistance pour le design sonore, qui exploite un modèle statistique simple basé sur des presets d'experts du domaine pour guider les utilisateurs dans le contrôle d'un synthétiseur soustractif.Dans une étude utilisateur (N = 11), il est démontré que le moteur améliore significativement les performances des utilisateurs dans une tâche de correspondance sonore (t(10) = 3.38, Abrégé iv p = 0.01), augmentant les performances des utilisateurs de 0.89 écarts-types au sein des participants.Nous expliquons son efficacité en termes de théorie de l'apprentissage cognitif, où le moteur, en offrant des suggestions e},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.86}
}

@phdthesis{thesis:ardila2025prototypeexperie,
  author = {Ardila, Nicolas Carvajal},
  title = {Prototype Experience of a Modular Synthesizer in Unreal Engine 5: Interactive Sound Exploration in VR},
  school = {Pontificia Universidad Javeriana},
  year = {2025},
  url = {http://hdl.handle.net/10554/72929},
  abstract = {Este trabajo presenta el diseño e implementación de un sintetizador modular interactivo en realidad virtual, desarrollado en Unreal Engine 5 utilizando MetaSounds como núcleo de procesamiento de audio procedimental. El proyecto explora la integración de prácticas de síntesis modular (osciladores, ADSR, filtros, saturación, modulación, delay, reverb, drum machine y arpegiador) con una interfaz VR y control físico vía MIDI, implementando la lógica mediante Blueprints, Submixes, audio buses y Blueprint Interfaces para permitir ruteo y procesamiento dinámico en tiempo real. El prototipo incluye mecanismos de interacción (detección de colisiones en dedos, Widget Interaction y gestos/inputs) y un sistema visual de cableado que permite al usuario crear rutas de señal entre módulos. Metodológicamente combina revisión teórica, diseño técnico y pruebas de prototipo para validar la factibilidad sonora e interactiva. El resultado es un prototipo funcional que demuestra la versatilidad de MetaSounds para generar y procesar audio en entornos 3D interactivos; se documentan además limitaciones y fallas detectadas (pequeña latencia en tracking de manos y un bug en la creación visual de cables) y propuestas de desarrollo futuro para optimización e interacción extendida.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.99}
}

@phdthesis{thesis:leitman2025resonantobjectin,
  author = {Leitman, Sasha},
  title = {Resonant Object Interface: An Acoustic Input Device for Nuanced, Embodied Interaction with Music Software},
  year = {2025},
  doi = {10.26686/wgtn.29434430},
  abstract = {The Resonant Object Interface is a novel sensing system that combines vibration exciters, contact microphones and resonant objects to create a unique, nuanced music controller based on an acoustic system. The initial idea for the work in this thesis emerged from observing users interacting with a sound art piece composed of large vibrating metal barrels and noticing their ability to control and repeat resonances. In developing this initial inspiration into a functioning musical interface, this thesis pursues an engineering approach to the design, development, and testing of the Resonant Object Interface. The research begins by identifying discrepancies between traditional acoustic instruments and the digital tools more commonly used for computer music. A skilled musician can play a single note a hundred different ways. This variation is intentional and controlled, forming the basis of their expressive control over their instrument. Meanwhile, computers and electronics have made it possible to generate musical material separate from the constraints of acoustic resonances. While this separation has led to an expansive field of musical possibility, some practitioners consider that the tools for physically controlling these sounds do not provide sufficiently nuanced control. This work builds on conceptual and technical trends within the fields of sonic arts and new interfaces for music (NIMEs). An examination of key literature and technical developments over the past twenty years shows a strong interest in concepts such as liveness, embodiment, embodied cognition and materiality. The increasing adoption of technical trends, such as MIDI Polyphonic Expression-enabled hardware and software, haptics, and tactile multimodality, as well as Feedback Musicianship and an enhanced interaction design literacy, suggests that computer music practitioners are eager for more advanced physical interaction modalities in their musical toolchains. This thesis investigates whether sound-based sensors facilitate greater embodiment and physical variation in playing technique. To explore this, this thesis describes the only known user study on and analysis of the affordances of using sound-based sensors (air and contact microphones) in musical controllers. The work builds on this finding by combining contact microphones with vibration exciters and resonant objects to create the Resonant Object Interface. This thesis examines the complexity of introducing a new interaction modality to users and highlights the need to guide them through presets and tutorials, while considering the role that tacit knowledge and tacit interaction play in our understanding of new musical instruments. The more controlled training and guidance that implementing these presets facilitates enable new users to quickly become capable of nuanced, repeatable, and embodied control over the Resonant Object Interface. The thesis concludes by reflecting on the transformation of the Resonant Object Interfac},
  collection = {Theses},
  note = {Found in OpenAlex; cites 10 archive entries; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:branch2025teleimmersionfor,
  author = {Branch, Boyd Mathoni},
  title = {Tele-immersion for the training and performance of live theatre},
  school = {University of Kent},
  year = {2025},
  doi = {10.22024/unikent/01.02.108753},
  abstract = {This thesis presents the findings of a practice-based research project investigating how virtually co-locating remote users inside shared virtual environments affects creativity, collaboration, and social attunement. The main contributions of this thesis are novel findings on the impact of tele-immersion on the rehearsal and performance of improvisational theatre, and the development of Virtual Director, a digital platform for co-locating remote performers into shared virtual three-dimensional environments that can be accessed simply with a consumer level laptop. A case study of Virtual Director in professional use is first presented, followed by two qualitative and mixed method studies are presented that are the first of their kind for evaluating the impact of tele-immersion on the rehearsal and performance of remote improvisational and scripted theatre on performers, as well as the design, development, and employment of the Virtual Director platform. First, I present a background establishing the unique demands of live performance, improvisation, and collaborative storytelling and how they are affected by traditional video conferencing tools. Then I review existing telepresence and tele-immersive technologies that have been used for remote performances. This introductory chapter draws from recent studies in psychology, social science, neural biology and creative performance to support a theory for how a mirror-based tele-immersive virtual performance space can foster a unique sense of presence that supports entering into optimal flow states and positively impact an improvisor's ability to spontaneously generate cohesive and highly context-specific narratives with other performers. I then present Virtual Director, an original digital performance platform designed to facilitate an immediate sense of presence between performers by visually immersing them in a shared mirror-based tele-immersive virtual environment. I further explicate a theory for how tele-immersion can exploit the phenomenon of top-down neural processing of visual fields that makes it easier for collaborators to ignore distractions from their physical environments. A case study, published with the International Conference on Creative Computing, is presented that examines the use of Virtual Director for a series of performances with the improv theatre troupe Improbotics. The case study provides reports on audience and performer perspectives on the use of tele-immersion for entertainment, and examines in depth many of the considerations that must be accounted for when performing with a new technology and medium. Two qualitative studies are then presented that were designed to examine the impact of tele-immersion specifically on improvisational performance with domain experts. Review of survey data, interviews, and qualitative and quantitative analysis of audio-visual recordings of participants engaging tele-immersively are examined to demonstrate how the sense of presence, flow, cre},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.87}
}

@phdthesis{thesis:young2025theslidepianoexp,
  author = {Young, Alex},
  title = {The Slide Piano: Exploring the creative application of electric slide guitar techniques to the strings of an acoustic piano through hybridised musical instrument design approaches},
  school = {University of Wollongong},
  year = {2025},
  doi = {10.71747/uow-r3gk326m.28604702.v1},
  abstract = {This research explores the question of how the techniques of electric slide guitar playing can be applied to an acoustic piano to arrive at new performative and compositional outcomes. Situated within the field of hybridised musical instrument design, this practice-based project centres on the creation of a new instrument, the Slide Piano, where the cast iron frame and strings of a piano are adapted to allow for the exploration of electric slide guitar approaches, such as open tunings and continuous pitch control, whilst maintaining timbres and textures traditionally associated with the piano.Through a practice-based methodology, the adaptation of the instrument involved a process of trial and error, contextualised by research into alternative piano designs and informed by the Slide Piano’s response to the application of electric slide guitar conventions. The process involved experiments in improvised performance using techniques such as portamento, vibrato and string damping. It also led to the development of new approaches that include alternative striking methods and the augmentation of the piano’s natural acoustic response with electronic guitar-oriented sound production. Advancements in the Slide Piano’s design crystallised these performative improvisations into complete compositions which reflect the hybridised nature of the instrument.Three new creative works are presented as live audiovisual recordings. The first work <i>Sculptures in the Garden</i> explores the conversion of electric slide guitar techniques to the Slide Piano through the use of live looping and phrase sampling. The second work <i>In Cage/In Flight</i> interrogates the percussive and timbral potential of the Slide Piano, while the final composition <i>Lux Nocturna </i>is the culmination of the Slide Piano’s idiosyncratic development, presented in the context of a sound/light art installation. The application of electric slide guitar techniques to the Slide Piano has enabled new possibilities for composition and performance within the field of hybrid instrument design.},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 1.00}
}

@phdthesis{thesis:otoole2025thecolourofsound,
  author = {O'Toole, Patrick},
  title = {The colour of sound: enhancing pitch-colour cross-modal associations in virtual reality},
  school = {University College Cork, Ireland},
  year = {2025},
  url = {https://hdl.handle.net/10468/18824},
  abstract = {This thesis investigates how Virtual Reality (VR) can enhance cross-modal associations between pitch and colour. While previous research has shown that people often associate higher pitches with brighter colours and lower pitches with darker ones, it remains unclear whether immersive VR environments can provide a more meaningful experience that could support, personalise, or strengthen these associations. The potential of VR is how key immersive features, such as multisensory integration, embodied interaction, spatial audio, and affective environments, may influence the formation of pitch-colour associations in a more engaging and meaningful way. To address this, three mixed-methods studies were conducted, each progressing the understanding of pitch-colour cross-modality in VR. Study One tested whether cross-modal consistency scores differ between desktop and VR conditions. Study Two explored the role of immersive VR features, such as environment design, interaction, and spatial audio, in shaping users' engagement and experience of pitch-colour associations. Study Three evaluated whether personalised pitch-colour cross-modal mappings, created by participants, offered any potential learning benefits over pre-defined mappings in a music theory task. Findings from across the studies indicate that VR is a viable platform for investigating pitch-colour associations, and that design elements such as multisensory integration, interactions, embodiment, and affective environment cues can support user engagement and perceptual clarity. While consistency scores did not differ significantly between environments in Study One, participants expressed a strong preference for VR, citing greater immersion and focus. Studies Two and Three highlighted the use of minimalistic and affective environments aided task engagement, and that participants benefited from interactive tasks that supported embodied cognition. Taken together, the studies suggest that immersive VR environments, when designed with attention to cross-modal coherence, interactivity, and affect, can support a deeper understanding of pitch-colour associations. This has potential for application in learning contexts, such as the music theory training explored in Study Three. The findings have implications for the design of future VR tools in music education, multisensory learning, and accessible interface design, and also point towards further research into adaptive personalisation in virtual learning environments.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.72}
}

@phdthesis{thesis:mercier2025thespaceasparame,
  author = {Mercier, Maxence},
  title = {The space as parameter of writing through the devices of sound spatialization},
  school = {Centre Transdisciplinaire d'Épistémologie de la Littérature et des Arts vivants},
  year = {2025},
  url = {http://www.theses.fr/2025COAZ2045/document},
  abstract = {Depuis les années 1950, l'espace s'impose comme un paramètre central de la composition musicale, incarné dans des dispositifs d'écriture, de diffusion et d'interprétation. Il se déploie à la fois comme dimension perceptive, organisant la distribution et la circulation du son, et comme dimension opératoire, inscrite dans les environnements techniques qui conditionnent l'écriture. Un premier axe propose une relecture critique de son histoire en mettant en évidence les tensions esthétiques, institutionnelles et idéologiques qui ont structuré un champ trop souvent réduit à des « chapelles », alors qu'il s'agissait de configurations poreuses où circulaient modèles, discours et rapports de pouvoir. L'étude des dispositifs de l'IMEB, tels que le Gmebaphone ou le Cybernéphone, montre comment ces instruments s'inscrivaient dans une chaîne reliant studio, pédagogie, édition et diffusion, révélant une histoire façonnée autant par la structuration institutionnelle que par les conceptualisations esthétiques. Un deuxième axe développe une méthodologie d'archéologie logicielle, où les environnements numériques obsolètes sont considérés comme des archives réactivables de la pensée compositionnelle. L'analyse du code Lisp de Fausto Romitelli met en évidence un moteur de fusion spectrale ; celle des patchs Max de Jean-Claude Risset pour Disklavier a permis de découvrir des œuvres inédites révélant une poétique de sobriété computationnelle encore pertinente aujourd'hui. Un troisième axe présente deux outils originaux : « Sound Trajectory », destiné à la composition spatiale, et « inPlace », conçu pour l'analyse des scènes sonores immersives. Ils permettent de formaliser des méta-partitions, d'explorer des cinétiques sonores et de documenter les gestes de composition spatiale, prolongeant la logique des archives actives dans le registre de la lutherie numérique. Un quatrième axe rassemble un portfolio de créations. Out of Sight explore la spatialisation en temps réel comme extension du geste pianistique. Umwelt, pour piano, violoncelle et sons bioacoustiques, propose une « synthèse sonore symbiotique » articulant pratique instrumentale et pensée écologique. Voices of Fragments, installation interactive, interroge une mémoire patrimoniale difficile à partir des témoignages d'archivistes du procès « pour l'histoire » V13, en déployant une dramaturgie non linéaire où le visiteur active une partition interactive. Enfin, Beyond Sea Skin condense la recherche dans un projet en cours, combinant dispositif orchestral, installation immersive, et réalité virtuelle. Ces œuvres mettent en évidence trois résultats principaux : l'espace comme paramètre d'écriture perceptif et opératoire ; la temporalité non linéaire comme principe dramaturgique ; et les archives, institutionnelles ou logicielles, comme ressources actives de création. Elles constituent un champ épistémologique spécifique, où l'œuvre se déploie comme expérience esthétique, archive vivante, et vecteur de connaissanc},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.91}
}

@phdthesis{thesis:gomez2025betaaseriesofges,
  author = {Gomez, Juan Pulido},
  title = {β [beta], a series of gestural pieces for performer plus live electronics, based on motion capture and mobile phones.},
  school = {Pontificia Universidad Javeriana},
  year = {2025},
  url = {http://hdl.handle.net/10554/74759},
  abstract = {β [Beta] es una serie de piezas musicales para formatos electroacústicos mixtos que reflexiona en torno al gesto físico, su relación con la generación del sonido y con la percepción humana del movimiento. La serie consiste en dos piezas solistas mixtas —una para violonchelo y otra para timbal sinfónico— y una obra para trío de intérpretes, cada uno con un teléfono celular. Cada pieza consiste en el intérprete o intérpretes, dispositivos de captura de movimiento, audios pregrabados del gesto sonoro, un software para la manipulación del audio y procesos electrónicos, y una partitura que busca ser una representación gráfica de las manipulaciones del gesto. Los movimientos del intérprete son capturados utilizando teléfonos celulares, colocados en las regiones del cuerpo que realizan el movimiento. Cada celular utiliza la aplicación TouchOSC como herramienta para recopilar los datos de movimiento del dispositivo, que son transmitidos por Wi-Fi a un computador utilizando el protocolo Open Sound Control, también llamado OSC. Los datos de OSC son recibidos en Pure Data y asignados al control de varias acciones, como por ejemplo manipular parámetros de efectos como delay y flanger, los cuales procesan un audio pregrabado; o la reproducción de varios audios pregrabados en distintos momentos de la pieza. El resultado es un nuevo material sonoro que reacciona a los movimientos del instrumentista, transformando su timbre según los gestos e interactuando de esta manera con su interpretación.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.92}
}

@phdthesis{thesis:mills2026accessiblevirtua,
  author = {Mills, Damian},
  title = {Accessible virtual reality musical instruments: facilitating inclusion and accessibility in design},
  year = {2026},
  doi = {10.17034/32639472},
  abstract = {The growing diversity of digital technologies adapted and adopted for disabled musicians reflects an evolving social ecosystem of inclusive music making with an expanding toolset of accessible musical instruments utilised by a group of disability allies. This thesis is an ethnographic study, qualitative in construct and embedded in third wave Human Computer Interaction research practice. It examines how immersive technology, and its ecosystem of artefacts and toolsets, can be utilised as a bedrock for inclusive research practice with accessibility, for both disabled musicians and Access Music Tutors as its core value. It is also artistic practice as research, situating the author within two facilitated community music programmes hosted by charity and research partner Drake Music Northern Ireland. The author introduces prototype accessible virtual reality musical instruments, and methods for controlling the virtual musical environment to an experienced group of physically disabled musicians of The Wired Ensemble, and to a community music outreach programme with novice musicians attending the charity Brain Injury Matters. <br>This thesis documents how Accessible Virtual Reality Musical Instruments were prototyped, trialled, and evaluated using an inclusive methodology of two technology probes and followed by a participatory design study. Knowledge sharing is key to understanding usable affordances of the embodied musician embedded within a unique, complex, and versatile system adopting the Oculus Quest 2 as an accessible digital musical instrument. Independency of virtual environment control is guided by the principle of Centred Control enabling three disabled participant musicians to select, manipulate and perform virtual musical instruments using ability-based design. Participant musicians organise their own performance space using hand recognition and head orientated selection techniques for accurate and meaningful musical instrument actioning. Co-location of physical surfaces and assistive technologies are used as aids to virtual artefact control and performance.<br>Designing within the context of interdependent music making within facilitated accessible music workshops proved a stable and nurturing platform for participants, enabling confidence, trust, and meaningful music making towards goals of wellbeing, musicality, and public performance.<br>},
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.92}
}

@phdthesis{thesis:hunter2026anecologicalpers,
  author = {Hunter, Trevor},
  title = {An ecological perspective to the interface design of new digital musical instruments: a case study of the development and design of Soundscape},
  year = {2026},
  doi = {10.14264/154eafa},
  abstract = {This research investigates how musicians, composers, and audiences interact in digital musical performance, focusing on the design of Digital Musical Instruments (DMIs) that enhance expression, embodiment, and engagement. The study responds to a longstanding concern within digital performance practice: the perceived lack of liveness and authenticity when compared with traditional acoustic instruments. Drawing on Third-Wave Human-Computer Interaction (HCI), which foregrounds experience, context, and cultural meaning, the research examines how musical expression emerges through the ecological relationships between performers, composers, instruments, audiences, and the performance environment. The practical investigation centres on the creation of Soundscape, an interactive, fabric-based DMI that translates bodily movement and touch into sound through embedded flex sensors and projected visual feedback. Soundscape was developed using a Research through Design (RtD) methodology, involving composers, performers, and designers in iterative cycles of prototyping, performance, and reflection. This collaborative process enabled the instrument to evolve in response to artistic intention, embodied interaction, and situated performance conditions. Findings demonstrate that when composers and performers experience a tangible, perceptible relationship between gesture and sound, their sense of musical agency and expressive control is significantly strengthened. Audience engagement likewise increases when physical effort and gesture-sound causality are visually legible within the performance environment. Comparative analysis of related DMI projects further identified shared design principles that extend beyond individual instruments toward an ecological understanding of digital performance. The thesis contributes an Embodied–Ecological Framework for DMI Design, which foregrounds embodied interaction, distributed authorship, environmental mediation, and communicative relationships between performers, technologies, and audiences. It concludes by framing digital musical performance not as a purely technical activity, but as a collective, situated, and human-centred practice emerging through the interaction of bodies, materials, technologies, and environments.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}

@phdthesis{thesis:ronen2026analyzingvibrota,
  author = {Ronen, Oren},
  title = {Analyzing Vibrotactile Feedback Strategies Across Diverse Digital Musical Instruments},
  year = {2026},
  doi = {10.82308/1625},
  abstract = {Les instruments de musique numériques (IMN) sont souvent dépourvus de la riche rétroaction haptique qui caractérise l’expérience de jeu des instruments acoustiques, créant ainsi un écart expérientiel pour les interprètes. Cette thèse examine comment la rétroaction vibrotactile peut être conçue de manière stratégique pour combler cet écart, en explorant l’influence des caractéris- tiques fondamentales d’un IMN sur la conceptualisation et la mise en œuvre de la rétroaction haptique. Pour répondre à cette question, la trousse d’outils Sonic Touch a été développée comme une plateforme flexible pour le prototypage rapide vibrotactile dans l’environnement Max/MSP. Une série d’ateliers exploratoires ont été menés, au cours desquels des musiciens et des concep- teurs ont utilisé cette trousse pour ajouter de la rétroaction haptique à trois IMN structurellement différents: l’AKAI MPK Mini (contrôles discrets de type clavier), le Linnstrument (un contrôleur polyphonique multidimensionnel à grille) et le T-Stick (un contrôleur gestuel riche en capteurs). Ces ateliers ont révélé un patron de conception commun : pour les IMN caractérisés par des con- trôles discrets et des dynamiques d’interaction séparables, comme le clavier AKAI, les participants ont majoritairement conçu une rétroaction inhérente pour améliorer la sensation physique du geste et créer une connexion plus incarnée. En revanche, pour les IMN dotés de contrôles multidimen- sionnels et intégrés comme le Linnstrument et le T-Stick, les participants ont nettement privilégié la rétroaction augmentée, utilisant des indices informationnels pour faciliter la navigation entre les capteurs, améliorer la précision gestuelle et informer sur l’état interne du système. Cette recherche apporte un cadre qui établit un lien entre les paradigmes d’interaction des IMN et des stratégies de conception vibrotactile spécifiques, offrant ainsi des pistes pour la conception future d’instruments de musique numériques plus expressifs et engageants},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:arbiza2026beyondbrassperfo,
  author = {Arbiza, Ricardo},
  title = {Beyond Brass Performance: Exploring the Integration of Non-Intrusive Human-Computer Interfaces in Trombone},
  school = {New York University Florence},
  year = {2026},
  url = {http://archive.nyu.edu/handle/2451/75740},
  abstract = {Beyond Brass Performance: Exploring the Integration of Non-Intrusive Human-Computer Interfaces (NIHCI) in Trombone addresses the challenge of integrating attachable tangible user interfaces (TUIs) into brass performance without hindering conventional playability. While advances in instrument augmentation have expanded the expressive boundaries of acoustic instruments, many existing implementations remain bespoke or artist-specific, limiting their generalizability across performers and contexts. This dissertation asks how attachable interfaces can bridge embodied trombone performance practice with digital and cyber-physical environments. In its broader scope, this study establishes a performer-centered methodology for the design and evaluation of NIHCI. Non-intrusiveness is conceptualized not as a purely mechanical constraint, but as a multidimensional design condition encompassing physical ergonomics, cognitive load, perceptual thresholds, and affective response. From this perspective, technological augmentation is understood not merely as a tool for experimentation, but as a means of extending the instrument itself in an ecologically valid way. The study therefore proposes a structured NIHCI framework to guide performers, interface designers, and composers in the creation of TUIs that extend musical performance beyond acoustic sound while remaining integrated with established trombone practice. The methodology comprises a sequential, three-phase explanatory mixed-methods design guided by ISO 9241-210 principles for human-centered design. Synthesizing these findings, the dissertation introduces a three-layer NIHCI design framework comprising (1) a Perceived Intrusiveness Index (PII) defining empirically bounded upper limits, (2) an affective interaction model addressing experiential qualities of interaction, including tactile feel, size, and visual integration, and (3) physical-cognitive viability constraints in relation to placement, control density, and mass thresholds. For the evaluation stage, the study developed an NIHCI-based prototype to evaluate the proposed framework, yielding consistently low intrusiveness ratings. The dissertation concludes with At Your Fingertips, a multimodal composition that operationalizes the NIHCI framework within a co-creative cyber-physical environment. Functioning as an artistic evaluation, the work demonstrates how NIHCI telemetry supports gesture classification, corpus-based audio interaction, and score-level control. Together, the framework, prototype evaluation, and artistic validation provide transferable guidelines for designing non-intrusive interfaces that invite performers and composers to reimagine brass performance between acoustic places and cyber-physical spaces.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.93}
}

@phdthesis{thesis:wang2026beyondmappingexp,
  author = {Wang, Yichen},
  title = {Beyond Mapping: Exploring Spatial Musical Interface Design with Augmented Reality},
  year = {2026},
  doi = {10.25911/g8th-6v80},
  abstract = {This thesis investigates the design of spatial interfaces for musical expression in head-mounted augmented reality (AR) systems, focusing on how such interfaces can support real-time performance, collaboration between musicians, and co-creation with artificial intelligence (AI). In recent years, AR has evolved into a spatial computing medium that enables embodied, multisensory interaction, opening new possibilities for creative expression. In digital musical instrument (DMI) design, integrating AR expands the traditional input-output mapping paradigm by enabling more fluid and collaborative forms of musical interaction. In this research, spatial musical interfaces in head-mounted AR systems are designed through three key dynamics: emergent through freehand interaction, situated through collaborative performance, and mediated through human-AI co-creation. These systems were evaluated through formal studies with musicians to validate design principles and deepen the understanding of how AR reshapes musical experience. A mixed-methods approach, combining the first-person design through performance and formal user evaluations, guides the step-by-step progression from exploration to validation. Throughout this thesis, three spatial musical systems are introduced and studied: (1) a freehand-enabled spatial interface for individual expression, developed iteratively through creative practice; (2) a collaborative system designed to support mutual awareness and engagement, evaluated through a factorial design varying real-time visualisation conditions; (3) an extension of the collaborative system for human-AI co-creation, developed through auto-ethnographic exploration of system configuration and performance topologies. The first study, involving twenty musicians, evaluated the freehand interface's usability, playability, and musical experiences. The results revealed how AR's spatial mobility, interaction and sonic integration enabled new expressive possibilities. The second study with four pairs of musicians examined usability, workload, situational awareness and mutual engagement on the collaborative system. The findings revealed that visualising bodily and instrument actions improved mutual awareness and fostered cohesive musical interaction. The final study with sixteen musicians introduced an AI collaborator. By varying the number of human musicians in group improvisations, the findings demonstrated that transparent visualisation improved musicians' understanding of the AI collaborator's contribution, while the presence of a second human performer reshaped co-creative dynamics and meaning-making. Overall, this research presents a series of spatial musical interface designs for head-mounted AR systems, advancing novel musical experiences in individual, collaborative, and co-creative contexts. It demonstrates that the design of novel musical expression in AR emerges not from fixed mappings, but from dynamic, situated, and mediated relationships shaped b},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.99}
}

@phdthesis{thesis:fiorini2026cocreativeinstru,
  author = {Fiorini, Marco},
  title = {Co-creative instruments for improvised musical interaction},
  school = {Sorbonne Université},
  year = {2026},
  doi = {10.70675/564d6c14z92e9z4cabz9819z9b49a06eeae7},
  abstract = {Instruments co-créatifs pour l'interaction musicale improvisée L'objet principal de cette thèse est la conception et l'implémentation d'instruments co-créatifs pour l'interaction musicale improvisée. Cette thèse se concentre sur l'introduction d'une agentivité partagée et de comportements autonomes dans l'improvisation musicale humain-machine, faisant passer la conception de la technologie numérique d'un outil passif et réactif à un système musical interactif complet. Opérant dans le cadre théorique du projet ERC REACH (reach.ircam.fr), cette recherche étudie la manière dont les agents artificiels, tels que les agents REACH Somax2, peuvent être dotés de capacités cognitives et perceptuelles suffisantes pour soutenir des dialogues musicaux convaincants, spontanés et symbiotiques avec des interprètes humains. Pour y parvenir, cette thèse aborde trois lacunes critiques des systèmes musicaux interactifs actuels. Premièrement, sur le plan technique, nous contribuons à combler le « fossé perceptif » en développant un flux de travail d'écoute artificielle en temps réel dédié aux modes de jeu instrumentaux (IPTs). Implémenté via l'externe Max/MSP ipt~ et entraîné sur le jeu de données open-source EG-IPT grâce à un pipeline de bout en bout, cela confère aux agents artificiels une conscience gestuelle plus profonde de leurs partenaires humains, allant au-delà du suivi traditionnel de la hauteur et de l'amplitude. Deuxièmement, nous abordons le « fossé d'autonomie » en introduisant SoVo, un nouvel agencement machinique hybride qui navigue de manière fluide dans la dialectique entre un instrument artificiel purement réactif et un musicien artificiel indépendant. Troisièmement, nous nous attaquons au « fossé d'imagination » en étendant l'environnement basé sur des corpus Somax2 avec des modèles prédictifs d'apprentissage profond, fournissant un premier prototype basé sur le mécanisme de l'Anticipatory Music Transformer pour augmenter en temps réel le corpus d'un agent artificiel. Ce couplage architectural introduit des mécanismes d'anticipation dans le processus de génération, permettant au système de projeter des futurs musicaux stylistiquement cohérents qui s'étendent au-delà des limites fixes de son corpus préexistant. Notre travail emploie une approche interdisciplinaire de conception basée sur la pratique (recherche-création) pour étudier les potentiels et les affordances offerts par de tels systèmes dans l'écosystème de la performance musicale en conditions réelles et des pratiques créatives. Plutôt que d'évaluer ces modèles de manière isolée, nous avons examiné l'utilisation de ces systèmes co-créatifs par des utilisateurs experts, tels que des improvisateurs et compositeurs professionnels. Enfin, ce travail a pleinement intégré les résultats d'interactions fréquentes avec des musiciens experts dans la conception itérative des modèles et des architectures. À travers de nombreuses répétitions, des ateliers et des performances sur scène dans des conditio},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:manesh2026designinginterac,
  author = {Manesh, Daniel},
  title = {Designing Interactive Systems to Facilitate Exploration and Participation in Live Coding},
  school = {Virginia Tech},
  year = {2026},
  url = {https://hdl.handle.net/10919/143668},
  abstract = {In computing education, live coding refers to a lecture technique in which an instructor writes code in front of students as a part of the lecture, speaking aloud throughout to provide commentary and explain their thought process. In the performing arts, live coding is a practice in which a performer continuously writes, edits, and runs code live in front of an audience to create an audiovisual performance. In this dissertation, I explore how we can design systems to support and augment the practice of live coding in both domains by addressing two key challenges: exploration and participation. In the performing arts domain, I present SHARP, a lightweight, block-level version control system designed for the live coding music language Tidal Cycles. A user study revealed that SHARP's version trees made it easier to understand the progression of code and enabled live coding musicians to explore new combinations of sounds and to execute musical forms on the fly. In the computing education domain, I conducted 22 interviews with CS instructors who use live coding and discovered that (1) instructors had conflicting opinions on whether students should type along with them during live coding; and (2) instructors valued that live coding offered many touchpoints for student participation, but wished that students participated more. Regarding (1), I designed and developed NOTES, a note-taking system for live coding that allows students to take snapshots of the instructor's code, enabling students to focus on writing their own notes rather than just copying the instructor's code. Regarding (2), I designed and developed AD LIB, a system that enables instructors to quickly create class exercises on the fly while live coding, encouraging student participation and enabling controlled student exploration through coding activities. Finally, I discuss how each system is united by a common theme of version control, and I explore avenues for future work designing interactive systems for understanding how code evolves over time.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.95}
}

@phdthesis{thesis:hummel2026dialogiccodingap,
  author = {Hummel, Jonas Frederick},
  title = {Dialogic coding: a performance practice for co-creative computer improvisation},
  school = {Manchester Metropolitan University},
  year = {2026},
  doi = {10.83056/mmu.32478723},
  abstract = {This research project explores Dialogic Coding – a performance practice situated within the field of live computer music which works towards a dialogic relationship with the computer as a programmable musical instrument. The writing articulates a Practice-as-Research (PaR) inquiry that places my practice within specific contextual, analytical and philosophical frameworks. The point of departure is the assumption that following the concept of dialogue a more reflexive way of performing music with a computer becomes possible. This approach may produce innovative results through transformations of musical ideas, embodied interactions as well as the performer's self-concept within a situation of improvised group performance. Dialogic Coding employs the concept of nontriviality to create an independent but at the same time programmable musical agent – the apparatus – which so becomes a co-creator of the improvised music. As a context for Dialogic Coding practice serve other dialogic forms of music making such as free improvised music as well as dynamic performances of programming found in live coding practice. A dialogic approach in music performance is based on listening and the ability to speak one's voice in response to the situation. Here, listening is understood beyond the auditory domain on the level of abstract thinking and physical interaction (interface affordance). This research presents a first-hand account of a computer performance praxis and thus makes a contribution to academic knowledge. For this it makes some implicit or tacit 'knowings' contained in the practice accessible for an outside community through this writing. Dialogic Coding practice was developed through participating in free improvised music 'sessions' with other musicians as well as composing pieces in program code with which I then performed live (solo and group). This writing contextualizes the developed practice in a historic lineage, discusses it within the conceptual framework of dialogism and delineated how a dialogic approach fosters creativity, learning, surprise and flow. As a conclusion I summarise the ethical dimension of Dialogic Coding as a form of human-computer interaction (HCI).},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.92}
}

@phdthesis{thesis:dcroz2026eegdrivenbrainco,
  author = {D'Croz, Pablo Andrés Monroy},
  title = {EEG-Driven Brain–Computer Musical Interfaces for Emotion Self-Induction},
  school = {Consorci de Serveis Universitaris de Catalunya},
  year = {2026},
  url = {https://hdl.handle.net/10803/698411},
  abstract = {Aquesta tesi investiga si la generació de música adaptativa en temps real impulsada per senyals neuronals pot facilitar l’autoinducció voluntària d’estats emocionals. Per abordar aquesta qüestió, es va dissenyar una interfície musical cervell–ordinador afectiva (BCMI) minimalista que estima els estats emocionals a partir d’un EEG prefrontal de dos canals (AF7–AF8) i genera música algorítmica dins d’una arquitectura de retroalimentació en bucle tancat. El sistema integra adquisició d’EEG en temps real, estimació de l’afecte i síntesi musical generativa utilitzant maquinari accessible i programari de codi obert. Es van implementar i comparar quatre paradigmes de detecció emocional dins d’un marc experimental unificat: la Hipòtesi d’Activitat Frontal Asimètrica (AFAH), un Perceptró Multicapa (MLP), un model d’aprenentatge profund que combina EEGNet i LSTM, i l’Anàlisi Discriminant Lineal (LDA). Mitjançant quatre experiments amb 82 participants, el sistema es va avaluar per determinar la seva capacitat per facilitar l’autoinducció emocional. La tesi aporta un sistema BCMI modular, un marc de programari de codi obert, conjunts de dades EEG multimodals públics i la primera comparació sistemàtica entre enfocaments deterministes i d’aprenentatge automàtic per a la generació musical guiada per emocions en una interfície musical cervell–ordinador en bucle tancat.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:trba2026experimentalsoft,
  author = {Štrba, Tomáš},
  title = {Experimental software musical instrument for the Android operating system with an unusual graphical interface},
  school = {Brno University of Technology},
  year = {2026},
  url = {https://hdl.handle.net/11012/258615},
  abstract = {Cieľom tejto práce je vytvorenie experimentálneho softvérového hudobného nástroja pre mobilnú platformu Android. Nezvyčajnosť tejto aplikácie spočíva v spojení jednej z najsúčasnejších metód tvorby zvuku, granulárnej syntézy, s interaktívnym používateľským rozhraním umožňujúcim modifikovať parametre granulárnej syntézy v reálnom čase na~úrovni pripomínajúcej hru. Aplikácia využíva pre tvorbu a úpravu zvuku vizuálny programovací jazyk Pure Data pomocou platformy Plugdata a pre tvorbu interaktívneho užívateľského prostredia spolu s vizuálnou odozvou v reálnom čase herný engine Unity. Prvé kapitoly slúžia na stručné objasnenie operačného systému Android, programovacieho jazyka Pure Data, platformy Plugdata, Heavy Compliler Collection (hvcc) a herného enginu Unity. Ďalej je predstavený samotný návrh aplikácie a kompletná realizácia aplikácie.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.96}
}

@phdthesis{thesis:privitera2026exploringhumante,
  author = {Privitera, Alessandro Giuseppe},
  title = {Exploring Human-Technology Interactions in Audio Mixed Realities},
  school = {University of Udine},
  year = {2026},
  url = {https://hdl.handle.net/11390/1335705},
  abstract = {The rapid advancement of artificial intelligence and immersive technologies has intensified interest in understanding how virtual and augmented environments influence human perception, cognition, and behavior. This thesis investigates the bidirectional dynamics between users and technology, with a specific focus on audio-based Mixed Reality experiences. Audio MR offers a powerful pathway to immersion, capable of reducing visual overload while introducing distinct challenges related to spatial presence and cognitive load. Within this context, personalization emerges as a central but ambivalent mechanism: while adaptive experiences may enhance engagement, excessive or opaque adaptation risks diminishing users’ sense of agency and autonomy. To address this complexity, the research adopts a novel analytical approach that is examined through three core dimensions —immersion, coherence, and entanglement— providing conceptual and methodological tools to analyse how human and adaptive systems mutually influence one another. The proposed approach is validated through an ecological, real-world experiment in which users interact with a virtual agent, driven by a machine learning algorithm, in an Audio Augmented Reality environment. To ground the research in a concrete social domain, the thesis applies these concepts to immersive storytelling for Cultural Heritage, exploring how audio-centric Mixed Reality experiences can enhance engagement, understanding, and accessibility for diverse audiences.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.82}
}

@phdthesis{thesis:anon2026exploringwassily,
  author = {(24207218), Matthew Madigan},
  title = {Exploring Wassily Kandinsky’s Colour-Sound Associations Through An Interactive Music Installation},
  year = {2026},
  url = {https://figshare.com/articles/thesis/Exploring_Wassily_Kandinsky_s_Colour-Sound_Associations_Through_An_Interactive_Music_Installation/32676585},
  abstract = {Wassily Kandinsky is widely regarded for his pioneering work in abstract art and also for his synaesthetic colour-sound associations. This project explored Kandinsky’s colour-sound associations through an interactive music installation and addressed a gap in the audiovisual industry, this gap being the use of still artwork in interactive systems. To achieve this, Kandinsky’s ‘Composition VIII’ was chosen as the visual foundation, and through the use of Max and Ableton, motion detection and audience-driven interactivity became the primary creative input and were used to turn this painting into a playable instrument. This installation was showcased to 19 participants who were invited to interact with it and then answer a survey which included questions about immersion, geometric mapping and colour-sound associations. The survey findings presented the installation in a positive light, with 100% of users finding themselves immersed and 89.4% of users experiencing colour-sound connections. The findings suggest that the installation effectively communicated Kandinsky’s colour-sound associations, while providing experiential learning opportunities for a largely uninformed audience.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.97}
}

@phdthesis{thesis:morales2026freiratheinstrum,
  author = {Morales, Maria Paula Castiblanco},
  title = {Freira: The instrument garments},
  school = {Repositorio Institucional Universidad El Bosque},
  year = {2026},
  url = {https://hdl.handle.net/20.500.12495/20108},
  abstract = {Este proyecto explora la resignificación del capo de guitarra como un objeto de expresión identitaria, cuestionando la neutralidad estética con la que tradicionalmente se ha diseñado este accesorio. A partir del análisis del mercado actual, se identificó que la innovación en los capos se concentra principalmente en aspectos mecánicos, mientras que su exploración formal y simbólica permanece limitada. Como respuesta, se propone una colección de capos inspirada en un sistema de arquetipos basado en el pensamiento arquetípico de Carl Jung y su aplicación en áreas como el diseño emocional y el branding. Mediante encuestas realizadas a guitarristas de comunidades latinoamericanas y estadounidenses, se definieron cuatro arquetipos principales: el rebelde, el narrador, el mago y el maestro, cada uno asociado a distintas estéticas, géneros musicales y motivaciones. El desarrollo del proyecto integró investigación conceptual, exploración formal, modelado digital y prototipado funcional mediante impresión 3D, permitiendo evaluar aspectos ergonómicos, mecánicos y expresivos del producto. Como resultado, se plantea una colección de capos funcionales que transforma este accesorio en una extensión estética del músico, utilizando la forma y la silueta como herramientas de comunicación identitaria.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 1.00}
}

@phdthesis{thesis:anon2026howdoesmusiccomp,
  author = {(24154380), Ciara June Baui},
  title = {How does music composed by a musician compare to music composed by a dancer using motion capture, in terms of expressing a prompt?},
  year = {2026},
  url = {https://figshare.com/articles/thesis/How_does_music_composed_by_a_musician_compare_to_music_composed_by_a_dancer_using_motion_capture_in_terms_of_expressing_a_prompt_/32614422},
  abstract = {This professional project explores the expressive nature of dance and music, comparing the two through interactive music systems. The project involved the construction of a motion capture system to convert dance movements into music and sound. This system was built using MediaPipe’s motion tracking application in Max and was then, linked to Ableton. The experiment included the comparison between music composed by a musician, and music composed by a dancer through the motion capture system. The measure of the experiment was the perception of a thematic prompt. Qualitative and quantitative data was collected through a showcase and survey for an audience, an interview with the dancer, and a reflective journal from the researcher/musician. The results of all data points were analysed and a conclusion was made; a dancer relies on music heavily to convey both their intentions, as well as the musician’s intentions through music.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.91}
}

@phdthesis{thesis:lavastre2026instrumentalinte,
  author = {Lavastre, Benjamin},
  title = {Instrumental Interaction V pour 3 Karlax, ensemble et électronique},
  school = {McGill University},
  year = {2026},
  doi = {10.82308/49294},
  abstract = {This thesis presents the creative process of Instrumental Interaction V for 3 Karlax, ensemble, and electronics. This piece was premiered on February 21, 2025, at the Multi-Media Room (MMR) by ensemble Éclat and Karlax players D. Andrew Stewart, Tom Mays, and Huizi Wang as part of the Montreal Nouvelles Musiques 2025 festival. The Karlax is a clarinet-shaped digital musical instrument (DMI) whose main sensors are ten continuous keys, eight velocity pistons, a rotary axis, and an inertial unit with three axes of accelerometers and gyroscopes. After over fifty years of creations with DMIs and the first conclusive interfaces such as Michel Waisvisz's The Hands conceived in the 1980s, digital musical instruments remain little integrated into contemporary musical practices (Ferguson &amp; Wanderley 2010). This thesis first addresses the main issues of using DMIs in a mixed context with acoustic instruments. A DMI consists of three parts: an interface, a sound-generating system, and mapping strategies that associate interface data with sound synthesis parameters (Miranda &amp; Wanderley 2006). One of the main differences between an acoustic instrument and a DMI lies in the sound-gesture relationship. For an acoustic instrument, this relationship is determined by the physical behaviors of vibrating structures (e.g. strings, membranes, air columns, etc.), whereas for a DMI, this relationship is to be constructed by composers and performers. This particularity implies elements of language specific to DMIs, such as an emphasis on gesture, both physical (instrumental or choreographed) and metaphorical (Smalley 1997), an intermodal perception that is both acoustic and visual, a parametric writing, specific instrumental interactions described by metaphors drawn from computer music and human-computer interaction field, and an original conception of musical time. In addition, the use of DMIs involves a range of techniques of its own, such as data conditioning to expand the gestural vocabulary, techniques linked to the mapping phase (scaling, smoothing, adding functions, morphing, etc.), sound synthesis, real-time sound processing, spatialization techniques, and notation. Depending on the project, notation techniques can be either prescriptive, describing the performer's actions, or descriptive, commenting on the sound phenomenon. Finally, this first part presents in detail the Karlax interface, its main composition and interpretation strategies, and its originality to other interfaces.The second part focuses on the creative process behind Instrumental Interaction V. It goes back over the main compositional strategies and offers an analysis of the formal structure organized around the superimposition of layers of writing levels. Indeed, the piece is built around several 'gestures' and situations that encourage interaction between the Karlax and acoustic instruments. The analysis also looks at the instrumental techniques, sound synthesis strategies, mapping, and },
  collection = {Theses},
  note = {Found in DataCite; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:turza2026modificationofan,
  author = {Turza, Šimon},
  title = {Modification of an existing Fatar TP9S musical keyboard to sense key position with linear Hall sensors},
  school = {Brno University of Technology},
  year = {2026},
  url = {https://hdl.handle.net/11012/259853},
  abstract = {This master’s thesis deals with the modification of an existing Fatar TP9S musical keyboard to replace the original contact system with contactless key position sensing using linear Hall sensors. The work includes the design and optimization of a magnetic circuit, which was verified using magnetostatic simulations in the FEMM 4.2 software. Furthermore, it describes the development of data acquisition hardware and the programming of a control unit with a Raspberry Pi Pico 2 microcontroller for communication via the USB-MIDI interface. The modification also includes the design and realization of mechanical flexible elements for the aftertouch function made of TPU material. The result of the thesis is a fully functional MIDI controller that supports various operating modes, including MIDI Polyphonic Expression, with low average latency.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.96}
}

@phdthesis{thesis:passa2026selfoscillatingm,
  author = {Passa, Thomas},
  title = {Self-oscillating musical instruments : basins of attraction and transient dynamics},
  school = {theses.fr (ABES)},
  year = {2026},
  url = {https://theses.fr/2026LEMA1012/document},
  abstract = {Ce travail porte sur l’étude de la dynamique non linéaire des instruments de musique auto-oscillants, et notamment d’un modèle simplifié d’instrument à anche simple (saxophone), non linéaire et de dimension quatre. Une caractéristique commune de ce modèle avec un instrument réel est sa capacité à être multistable, c’est-à-dire que plusieurs régimes de jeu sont accessibles au musicien pour un même ensemble de paramètres. La construction et l’analyse du diagramme de bifurcation mettent en évidence plusieurs régimes : un régime d’équilibre, pour lequel aucun son n’est produit malgré l’action du musicien, et deux régimes périodiques caractérisés chacun par une fréquence de jeu donnée. Des zones de multistabilité sont mises en évidence, en particulier une plage de pression dans la bouche du musicien pour laquelle le système est bistable : les deux régimes périodiques (correspondants à deux notes musicales différentes) coexistent. Dans ce contexte, l’objectif est de comprendre la facilité d’accès à ces différents régimes, en s’appuyant sur l’étude des bassins d’attraction associés aux solutions périodiques. Une méthode originale de visualisation adaptée à un système de dimension quatre, est développée à partir du calcul des bassins dans une collection de sections de Poincaré réparties le long du cycle limite correspondant à chaque solution. Ce calcul est optimisé à l’aide de techniques de machine learning afin d’estimer plus efficacement la frontière entre les bassins. La visualisation de cette frontière est ensuite exploitée pour définir la perturbation minimale nécessaire à un changement de régime et pour analyser son évolution en fonction de la phase à laquelle cette perturbation est appliquée. On étudie également comment ces perturbations minimales évoluent en fonction de la pression dans la bouche, tout en restant dans la zone de bistabilité entre les régimes périodiques. Enfin, ce travail s’intéresse à la nature même de la frontière entre bassins. Celle-ci est interprétée à partir des variétés stables associées à des solutions périodiques instables, identifiées dans le diagramme de bifurcation, et susceptibles de constituer les séparatrices entre les bassins. Les résultats obtenus par simulation et par calcul de variétés peuvent ainsi être comparés.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by its English title, the abstract being in another language; NIME-topic probability 0.98}
}

@phdthesis{thesis:florio2026thejointdidactic,
  author = {Florio, Paola},
  title = {The Joint Didactic Action to build the art of dance : Study of the Rite of Spring of Pina Bausch},
  school = {Université de Brest (2025-....)},
  year = {2026},
  doi = {10.70675/0d985449zd261z4edczbcb8zc2d996d98509},
  abstract = {The thesis « Joint Didactic Action to build the art of dance. Study of the Rite of Spring of Pina Bausch » is based on the JATD (CDpE, 2019, 2024) which is a theoretical framework for didactic analysis, in continuity with other works conducted in the field of dance (e.g., Messina, 2017, 2019). We used the notions of imitation game and self-milieu to understand the context of dance study. The aim of the research is to help dancers who are looking for aprofessional training in dance, and to preserve the transmission of choreographies with an exploration of dance movement written coding. The research field involves two institutions of different sizes: ECD, School and Conservatory of Dance in Aosta, ltaly, and TMA, Torino Musical Academy in Turin, ltaly; in both of them we wanted to study what is transmitted and how what is transmitted is taught. The results were presented with several didactic devices, among others the PFRD, Photographic and Filmic Representations in Dance, which helps keep the material trace of a learning situation. We studied in particular the collective construction of interpretation, breathing, dance gestures and the position in space of a synthesis of choreography. This work has the ambition to create a cooperation between the scientific community of researchers and dance practitioners, to leam to work together in a participatory way.},
  collection = {Theses},
  note = {Found in theses.fr; selected by similarity to the archives; NIME-topic probability 0.72}
}

@phdthesis{thesis:richthoff2026warpingsoundwith,
  author = {Richthoff, Lukas},
  title = {Warping sound with gesturing : sensor-based tracking for expressive control of guitar effects in live performance},
  school = {KTH Royal Institute of Technology},
  year = {2026},
  url = {http://urn.kb.se/resolve?urn=urn:nbn:se:bth-30077},
  abstract = {Guitar pedals are used conventionally in a live performance, but restricts where and how these effects are controlled. Additionally, most effect-controlling devices lack the expressive, visual and communicative aspect, or more specifically, emphasizing the representation of the effects and giving them a greater purpose, as opposed to practical and efficient use. Which suggests the use of gesture control in a guitar performance and seeing it as an added tool for expression beyond conventional guitar practice. Previous works have researched gesture control technology for guitar use, but the research for this paper focuses on expression and movement, pointing towards increased freedom of movement in order to allow sound-producing gestures that excludes the guitar itself and never practiced normally. Furthermore, the design makes use of hand and wrist movement that are tracked by a glove with a mounted inertial measurement unit, which in turn control effect parameters based on the rotations. It also deactivates when picking, meaning that traditional playing is possible and gesture control can be used when notes ring out or when playing legato. This resulted in a variety of different manoeuvres alongside the guitar performance, including short fast swinging motions between picking and gesturing and slow careful movements while playing legato simultaneously. These interactions suggested a design that introduced complexity, emphasized dance-like motion, and promoted congruent gesturing.},
  collection = {Theses},
  note = {Found in OpenAlex; selected by similarity to the archives; NIME-topic probability 0.98}
}