@book{zotero:marey1895movement,
  author = {Marey, E.J. and Pritchard, E.},
  title = {Movement},
  publisher = {W. Heinemann},
  year = {1895},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@book{zotero:lamb1965postureandge,
  author = {Lamb, Warren},
  title = {Posture and Gesture},
  publisher = {Duckworth},
  address = {London},
  year = {1965},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@book{zotero:bowers1972encyclopedia,
  author = {Bowers, Q. David},
  title = {Encyclopedia of Automatic Musical Instruments},
  publisher = {Vestal Press},
  address = {Vestal, NY},
  year = {1972},
  isbn = {978-0-911572-08-7},
  abstract = {This book is truly the bible on automatic music machines.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:kaegi1978vosimanewsou,
  author = {Kaegi, W. and Tempelaars, S.},
  title = {Vosim-a new sound synthesis system},
  journal = {Journal of the Audio Engineering Society},
  year = {1978},
  volume = {26},
  number = {6},
  pages = {418--24},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@book{zotero:blacking1979theperformin,
  author = {Blacking, John and Kealiinohomoku, Joann W.},
  title = {The Performing arts: music and dance},
  publisher = {Walter de Gruyter},
  year = {1979},
  volume = {10},
  url = {https://books.google.com/books?hl=en&lr=&id=QKs16WBAaiIC&oi=fnd&pg=PR13&dq=music-dance&ots=3rNmqOLy3j&sig=I26vdD_dSlIoxlHz41OVECNhb18},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@book{zotero:anderton1980electronicpr,
  author = {Anderton, Craig},
  title = {Electronic projects for musicians},
  publisher = {Amsco Publ},
  address = {New York},
  year = {1980},
  isbn = {978-0-8256-9502-5 978-0-8256-2203-8 978-0-7119-0270-1},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@book{zotero:laban1980masteryofmov,
  author = {Laban, Rudolf},
  title = {Mastery of Movement},
  publisher = {Plymouth: MacDonald & Evans Ltd.},
  year = {1980},
  keywords = {dance, Laban},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@article{zotero:mcintyre1981aperiodicity,
  author = {McIntyre, M. E. and Schumacher, R. T. and Woodhouse, J.},
  title = {Aperiodicity in bowed-string motion},
  journal = {Acustica},
  year = {1981},
  volume = {49},
  pages = {13--32},
  keywords = {bowed string, music acoustics},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@book{zotero:applebaum1986theartandsci,
  author = {Applebaum, Samuel and Lindsay, Thomas},
  title = {The Art and Science of String Performance},
  publisher = {Alfred Music},
  address = {Van Nuys, CA},
  year = {1986},
  isbn = {978-1-4574-2168-6},
  keywords = {Music / Instruction & Study / General, Music / Musical Instruments / Strings},
  abstract = {In this handy reference for string teachers, Dr. Samuel Applebaum addresses the most frequently asked questions, ranging from the very basic to the most advanced. From his conversations with the greatest concert artists of our time, he covers topics such as positions, intonation, vibrato, bowings, sight reading, practicing and stage fright in a comprehensive question-and-answer format.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:kronman1987isthemusical,
  author = {Kronman, Ulf and Sundberg, Johan},
  title = {Is the musical ritard an allusion to physical motion},
  journal = {Action and perception in rhythm and music},
  year = {1987},
  volume = {55},
  pages = {57--68},
  url = {http://www.speech.kth.se/prod/publications/files/qpsr/1984/1984_25_2-3_126-141.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@incollection{zotero:sundberg1988computersynt,
  author = {Sundberg, J.},
  editor = {Sloboda, J.},
  title = {Computer synthesis of music performance},
  booktitle = {Generative Processes in Music},
  publisher = {Clarendon Press},
  address = {Oxford},
  year = {1988},
  pages = {52--69},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@inproceedings{zotero:moog1988themusiciana,
  author = {Moog, Robert},
  title = {The Musician: Alive and well in the world of electronics},
  booktitle = {The Biology of music making: proceedings of the 1984 Denver conference},
  publisher = {MMB Music},
  address = {St. Louis, Mo., USA},
  year = {1988},
  pages = {214--220},
  isbn = {978-0-918812-51-3},
  keywords = {Music / Instruction & Study / Theory, Music / Reference, Psychology / Psychotherapy / General, Music, Congresses, Physiological aspects, Music theory, Psychology / Neuropsychology, Instruction and study, Neuropsychology, Theory},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@techreport{zotero:boie1989gesturesensi,
  author = {Boie, R.A. and Ruedisueli, L. W. and Wagner, E.R.},
  title = {Gesture Sensing via Capacitive Moments},
  institution = {AT&T Bell Laboratories},
  year = {1989},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:palmer1989mappingmusic,
  author = {Palmer, Caroline},
  title = {Mapping musical thought to musical performance.},
  journal = {Journal of experimental psychology: human perception and performance},
  year = {1989},
  volume = {15},
  number = {2},
  pages = {331},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@article{zotero:askenfelt1990fromtouchtos,
  author = {Askenfelt, Anders and Jansson, Erik V.},
  title = {From touch to string vibrations. I: Timing in the grand piano action},
  journal = {The Journal of the Acoustical Society of America},
  year = {1990},
  volume = {88},
  number = {1},
  pages = {52--63},
  doi = {10.1121/1.399933},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@book{zotero:teck1990movementtomu,
  author = {Teck, Katherine},
  title = {Movement to Music: Musicians in the Dance Studio},
  publisher = {Greenwood Press},
  address = {Santa Barbara, CA},
  year = {1990},
  abstract = {“This book is a logical companion to Teck's Music for the Dance: Reflections on a Collaborative Art and extends the various investigations begun in that volume. Like the earlier book, this work includes many useful interviews with choreographers, dancers, dance teachers, composers, and musicians for dance. A wide variety of styles and perspectives is presented, making the book useful to those working in either music or dance as well as to a general audience. Teck achieves a balance between practical considerations regarding accompaniment (rhythmic and phrase accuracy, dynamics, sound quality, etc.) and less quantifiable, but equally critical issues such as improvisation techniques and future possibilities for training accompanists. She stresses, through illustration, the importance that mutual investment of collaborators plays in the success of ventures between dance and music in the classroom or on stage. Two appendixes provide insightful questions and information for studio musicians on theory and practice as well as resources for repertoire. Useful notes and a concise, but appropriate bibliography are also included. Recommended for college and university libraries.”–Choice “The book narrative presents a vast panorama of practical suggestions and reminiscences on the principal theme of the dance studio as collaborative art place and on the secondary theme of training for the dance studio musician. Some twenty photographs, two appendices, endnotes, and a selected bibliography round out the book.”–Sonneck Society Bulletin Product Description Long before any dance performance is presented, an artistic collaboration takes place in the studio between dance teachers, musicians, and dancers. This book, a companion to the author's Music for the Dance: Reflections on a Collaborative Art, explores that collaboration, considering every level of training from creative movement for the very young to the daily workouts and rehearsals of professional ballet and modern concert dance companies. Designed to be easily accessible to those without musical literacy or an extensive knowledge of dance technique, the volume is appropriate both for dance teachers, musicians, and students, as well as for the parents and theater-goers who want to know more about what goes on behind the scenes. This book also encompasses styles of jazz dance and some ethnic forms in the African tradition. Based on Katherine Teck's experience as a studio musician and on her interviews with outstanding dance teachers and musicians, the book addresses a wide variety of musical concerns. For dance teachers such topics as finding and training an accompanist, communicating musical needs, working with a live musician in class, and collaborating for original choreography are covered. Subjects of interest to musicians include the existing repertoire for dance, how to analyze movement patterns, techniques of improvisation, how to find formal training, and career possibilities in dance. Finally, for the dancers themselves, the work provides an introduction to ways in which music and movement can relate. Of special interest to dance historians will be the author's interviews with leading artists in the fields of both ballet and modern dance. An appendix provides listings of further resources, as well as a checklist of important reminders for musicians and teachers. This work will be a valuable resource for courses in dance technique, musical collaboration, and dance history, as well as an important addition to both public and college libraries.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@article{zotero:kendall1990thecommunica,
  author = {Kendall, R. A. and Carterette, E. C.},
  title = {The communication of musical expression},
  journal = {Music Perception},
  year = {1990},
  volume = {8},
  number = {1},
  pages = {29--64},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:askenfelt1991fromtouchtos,
  author = {Askenfelt, Anders and Jansson, Erik V.},
  title = {From touch to string vibrations. II: The motion of the key and hammer},
  journal = {The Journal of the Acoustical Society of America},
  year = {1991},
  volume = {90},
  number = {5},
  pages = {2383--2393},
  doi = {10.1121/1.402043},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:winkler1991interactives,
  author = {Winkler, Todd},
  title = {Interactive signal processing for acoustic instruments},
  booktitle = {Proceedings of the International Computer Music Conference},
  publisher = {Citeseer},
  year = {1991},
  pages = {545--545},
  url = {http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.56.1906&rep=rep1&type=pdf#page=46},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@book{zotero:blades1992percussionin,
  author = {Blades, James},
  title = {Percussion Instruments and Their History},
  publisher = {Bold Strummer Ltd},
  year = {1992},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@book{zotero:hodgins1992relationship,
  author = {Hodgins, Paul},
  title = {Relationships between score and choreography in twentieth-century dance: music, movement, and metaphor},
  publisher = {Edwin Mellen Pr},
  year = {1992},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@article{zotero:pope1993machinetongu,
  author = {Pope, S.T.},
  title = {Machine Tongues XV: Three Packages for Software Sound Synthesis},
  journal = {Computer Music Journal},
  year = {1993},
  volume = {17},
  number = {2},
  pages = {23--45},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:hiller1993musicalcompo,
  author = {Hiller, Lejaren and Isaacson, Leonard},
  title = {Musical composition with a high-speed digital computer},
  year = {1993},
  url = {https://direct.mit.edu/books/edited-volume/chapter-pdf/2305870/9780262290982_cab.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:putnam1993realtimecomp,
  author = {Putnam, William and Knapp, R Benjamin},
  title = {Real-time computer control using pattern recognition of the electromyogram},
  booktitle = {Engineering in Medicine and Biology Society, 1993. Proceedings of the 15\textsuperscriptth Annual International Conference of the IEEE},
  publisher = {IEEE},
  year = {1993},
  pages = {1236--1237},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; tagged or filed as NIME there; NIME-topic probability 0.83}
}

@article{zotero:todd1993vestibularfe,
  author = {Todd, Neil P. McAngus},
  title = {Vestibular Feedback in Musical Performance: Response to "Somatosensory Feedback in Musical Performance" (Edited by Sundberg and Verrillo)},
  journal = {Music Perception: An Interdisciplinary Journal},
  year = {1993},
  volume = {10},
  number = {3},
  pages = {379--382},
  doi = {10.2307/40285575},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:davidson1994expressivemo,
  author = {Davidson, Jane},
  title = {Expressive Movements in Musical Performance},
  booktitle = {Proceedings of the Third International Conference on Music Cognition (ESCOM)},
  address = {Liege, Belgium},
  year = {1994},
  pages = {327--329},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:bargar1994modelbasedin,
  author = {Bargar, R. and Choi, I. and Das, S. and Goudeseune, C.},
  title = {Model-based interactive sound for an immersive virtual environment},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {Aarhus, Denmark},
  year = {1994},
  pages = {471--474},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:davies1994musicalmeani,
  author = {Davies, S.},
  title = {Musical Meaning and Expression},
  publisher = {Cornell University Press},
  year = {1994},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:burtner1994themetasaxop,
  author = {Burtner, M.},
  title = {The Metasaxophone: Design of a New Computer Music Controller},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {Göteborg},
  year = {1994},
  pages = {530--533},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@article{zotero:markussen1995etteoribaser,
  author = {Markussen, Tom Hede},
  title = {Et teoribaseret handlingsgrundlag for betjeningsdesign},
  year = {1995},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@book{zotero:anon1995experimental,
  title = {Experimental Musical Instruments},
  publisher = {Experimental Musical Instruments},
  year = {1995},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:todd1995thekinematic,
  author = {Todd, Neil P. McAngus},
  title = {The kinematics of musical expression},
  journal = {The Journal of the Acoustical Society of America},
  year = {1995},
  volume = {97},
  number = {3},
  pages = {1940--1949},
  url = {http://scitation.aip.org/content/asa/journal/jasa/97/3/10.1121/1.412067},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@book{zotero:steiglitz1996adspprimerwi,
  author = {Steiglitz, Kenneth},
  title = {A DSP primer: with applications to digital audio and computer music},
  publisher = {Addison-Wesley Pub},
  address = {Menlo Park, Calif},
  year = {1996},
  isbn = {978-0-8053-1684-1},
  keywords = {composing/producing, Synthesis, Internet, DSP, filter design},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:palmer1996anatomyofape,
  author = {Palmer, Caroline},
  title = {Anatomy of a performance: Sources of musical expression},
  journal = {Music Perception},
  year = {1996},
  volume = {13},
  number = {3},
  pages = {433--453},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:wishart1996onsonicart,
  author = {Wishart, Trevor and Emmerson, Simon},
  title = {On Sonic Art},
  publisher = {Psychology Press},
  year = {1996},
  isbn = {978-3-7186-5847-3},
  keywords = {Music / History & Criticism},
  abstract = {In his ground-breaking book On Sonic Art Trevor Wishart takes a wide-ranging look at the new developments in music-making and musical aesthetics made possible by the advent of the computer and digital information processing. His emphasis is on musical rather than technical matters. Beginning with a critical analysis of the assumptions underlying the Western musical tradition and the traditional acoustic theories of Pythagoras and Helmholtz, he goes on to look in detail at such topics as the musical organization of complex sound-objects, using and manipulating representational sounds in the new music, organizing the spatial motion of sounds and the various dimensions of human and non-human utterance. In so doing, he seeks to learn lessons from areas (poetry and sound-poetry, film sound effects and animal communication) not traditionally associated with the field of music.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:mccartney1996supercollide,
  author = {McCartney, J.},
  title = {SuperCollider: A new real-time synthesis language},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {1996},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:sloboda1996theyoungperf,
  author = {Sloboda, JA and Davidson, J.},
  title = {The young performing musician},
  journal = {Musical beginnings: Origins and development of musical competence},
  year = {1996},
  pages = {171--190},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@article{zotero:engel1997anticipatory,
  author = {Engel, Kevin C. and Flanders, Martha and Soechting, John F.},
  title = {Anticipatory and sequential motor control in piano playing},
  journal = {Experimental brain research},
  year = {1997},
  volume = {113},
  number = {2},
  pages = {189--199},
  url = {http://link.springer.com/article/10.1007/BF02450317},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@book{zotero:dodge1997computermusi,
  author = {Dodge, Charles and Jerse, Thomas A.},
  title = {Computer music: synthesis, composition, and performance},
  publisher = {Schirmer Books [u.a.]},
  address = {New York},
  year = {1997},
  isbn = {978-0-02-864682-4},
  keywords = {MIDI, composing/producing, Performance, Synthesis, Interface Design, control},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:dannenberg1997machinetongu,
  author = {Dannenberg, Roger B.},
  title = {Machine tongues XIX: Nyquist, a language for composition and sound synthesis},
  journal = {Computer Music Journal},
  year = {1997},
  volume = {21},
  number = {3},
  pages = {50--60},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:palmer1997musicperform,
  author = {Palmer, C.},
  title = {Music performance.},
  journal = {Annual Review of Psychology},
  year = {1997},
  volume = {48},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@book{zotero:anon1997musicalsigna,
  editor = {Roads, Curtis},
  title = {Musical signal processing},
  publisher = {Swets & Zeitlinger},
  address = {Lisse [Netherlands] ; Exton, PA},
  year = {1997},
  isbn = {978-90-265-1482-1 978-90-265-1483-8},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@article{zotero:paradiso1997opticaltrack,
  author = {Paradiso, Joseph and Sparacino, Flavia},
  title = {Optical tracking for music and dance performance},
  journal = {Optical 3-D Measurement Techniques IV},
  year = {1997},
  pages = {11--18},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@book{zotero:mott1997soundmapping,
  author = {Mott, I. and Sosnin, J.},
  title = {Sound Mapping: An Assertion of Place, Interface `97},
  year = {1997},
  url = {http://escuta.org/en/projects/sound-theatrical-installation/2015-09-20-21-38-40/introduction.html},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@techreport{zotero:fritts1997theuniversit,
  author = {Fritts, Lawrence},
  title = {The University of Iowa Musical Instrument Samples},
  institution = {University of Iowa},
  year = {1997},
  url = {http//:theremin.music.uiowa.edu/},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:pavlovic1997visualinterp,
  author = {Pavlovic, Vladimir I. and Sharma, Rajeev and Huang, Thomas S.},
  title = {Visual interpretation of hand gestures for human-computer interaction: A review},
  journal = {Pattern Analysis and Machine Intelligence, IEEE Transactions on},
  year = {1997},
  volume = {19},
  number = {7},
  pages = {677--695},
  url = {http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=598226},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:cook1997picoiforseas,
  author = {Cook, Perry R.},
  title = {“Pico I,” for Seashells and Interactive Electronics},
  booktitle = {International Mathematica Symposium},
  address = {Rovaniemi, Finland},
  year = {1997},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:jorda1998agraphicalan,
  author = {Jordà, S. and Aguilar, T},
  title = {A graphical and net oriented approach to interactive sonic composition and real-time synthesis for low cost computer systems},
  booktitle = {Digital Audio Effects Workshop Proceedings},
  year = {1998},
  pages = {207--210},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@phdthesis{zotero:mulder1998designofgest,
  author = {Mulder, A.},
  title = {Design of Gestural Constraints Using Virtual Musical Instruments},
  school = {School of Kinesiology, Simon Fraser University, Canada},
  year = {1998},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:keller1998ecologically,
  author = {Keller, D. and Truax, B.},
  title = {Ecologically-based granular synthesis},
  booktitle = {Proceedings of the International Computer Music Conference},
  publisher = {ICMA},
  year = {1998},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:burk1998jsynarealtim,
  author = {Burk, P.},
  title = {JSyn–a real-time synthesis API for Java},
  booktitle = {Proceedings of the 1998 International Computer Music Conference},
  publisher = {International Computer Music Association San Francisco, CA},
  year = {1998},
  pages = {252--255},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@incollection{zotero:clarke1998thebodyinper,
  author = {Clarke, Eric F. and Davidson, Jane W.},
  title = {The Body in Performance},
  booktitle = {Composition-performance reception},
  publisher = {Ashgate},
  address = {Aldershot},
  year = {1998},
  pages = {74--92},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:lopez1998vocemanappli,
  author = {Lopez, D. and Marti, F. and Resina, E.},
  title = {Vocem: An Application for Real-Time Granular Synthesis},
  booktitle = {Proceedings of COST G6 Conference on Digital Audio Effects 1998},
  year = {1998},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:essl1999bandedwavegu,
  author = {Essl, Georg and Cook, Perry R.y R},
  title = {Banded waveguides: Towards physical modeling of bowed bar percussion instruments},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {1999},
  pages = {321--324},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@phdthesis{zotero:weinberg1999expressivedi,
  author = {Weinberg, G.},
  title = {Expressive Digital Musical Instruments for Children},
  school = {MIT Media Laboratory},
  address = {Cambridge, MA},
  year = {1999},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:laeng1999handednessef,
  author = {Laeng, B. and Park, A.},
  title = {Handedness effects on playing a reversed or normal keyboard},
  journal = {Laterality: Asymmetries of Body, Brain and Cognition},
  year = {1999},
  volume = {4},
  number = {4},
  pages = {363--377},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@incollection{zotero:gillespie1999hapticmanipu,
  author = {Gillespie, B.},
  editor = {Cook, P.},
  title = {Haptic Manipulation},
  booktitle = {Music Cognition and Computerized Sound: An Introduction to Psychoacoustics},
  publisher = {MIT Press},
  address = {Cambridge, MA},
  year = {1999},
  pages = {247--260},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:camurri1999kanseianalys,
  author = {Camurri, Antonio and Hashimoto, Shuji and Ricchetti, Matteo and Suzuki, Kenji and Trocca, Riccardo and Volpe, Gualtiero},
  title = {KANSEI analysis of movement in dance/music interactive systems},
  booktitle = {Proc. of International Conference of HUmanoid and RObot (HURO99), Tokyo, Japan},
  year = {1999},
  pages = {9--14},
  url = {http://www.researchgate.net/profile/Kenji_Suzuki11/publication/229009728_KANSEI_Analysis_of_Movement_in_DanceMusic_Interactive_Systems/links/0c960531432e943738000000.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@phdthesis{zotero:cox1999themetaphori,
  author = {Cox, Arnie W.},
  title = {The Metaphoric Logic of Musical Motion and Space},
  school = {University of Oregon},
  year = {1999},
  abstract = {Music discourse relies on concepts of musical motion and space despite the fact that tones do not actually move in the ways that we describe. This study employs Lakoff and Johnson's theory of metaphor to analyze the logic behind these basic concepts, and it grounds the musical meanings afforded by these concepts in phenomenology, embodied cognition, and the logic of metaphoric thought. Concepts of motion and space are shown to emerge in the imagination of embodied listeners as we map experience in the domain of actual motion onto the domain of musical experience. Chapter 1 offers an account of verticality in terms of a blend of ten sources, seven of which depend on the conceptual metaphor "More Is Higher." Chapter 2 presents the 'mimetic hypothesis', which argues that we understand music in terms of our own experience of making vocal sounds and via tacit imitation of the sounds and gestures of performers. Chapter 3 examines the role of metaphor in Kaluli and Ancient Greek music theories and finds verticality integral there as well. The analysis of Greek theories also reveals the pervasiveness of the metaphor "More Is Higher" and demonstrates, among other things, that verticality in the West predates its representation in staff notation. Chapter 4 extends Lakoff and Johnson's analysis of our temporal metaphors and shows musical motion and space to be special cases of temporal motion and space. The identical dynamics of anticipation, presence, and memory in the domains of music and actual motion motivate us to map spatial relations onto the relations of tones. By setting out the details of the cross-domain mappings we can account for both the logic and the paradox of musical motion and space. By grounding musical meaning in embodied cognition, this study also establishes the basis of an affective theory of meaning.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:resina1999themusicians,
  author = {Resina, E. and Serra, X.},
  title = {The Musiciansí Software Mall:A Set of Composition and Performance Oriented Applications for Sound Synthesis},
  booktitle = {Proceedings of the International Computer Music Conference 1999},
  year = {1999},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:cook1999thesynthesis,
  author = {Cook, P.R. and Scavone, G.},
  title = {The Synthesis ToolKit (STK)},
  booktitle = {Proceedings of the 1999 International Computer Music Conference},
  publisher = {San Francisco: ICMA},
  address = {Beijing, China},
  year = {1999},
  pages = {164--166},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:mccartney2000anewflexible,
  author = {McCartney, J.},
  title = {A New, Flexible Framework for Audio and Image Synthesis},
  booktitle = {Proceedings of the International Computer Music Conference},
  publisher = {ICMA},
  address = {Berlin},
  year = {2000},
  pages = {258--261},
  url = {http://www.audiosynth.com},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:camurri2000arealtimepla,
  author = {Camurri, A. and Coletta, P. and Peri, M. and Ricchetti, M. and Ricci, A. and Trocca, R. and G.Volpe},
  title = {A Real-time Platform for Interactive Performance},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {San Francisco, CA},
  year = {2000},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:choi2000gesturalprim,
  author = {Choi, Insook},
  title = {Gestural primitives and the context for computational processing in an interactive performance system},
  journal = {Trends in Gestural Control of Music},
  year = {2000},
  pages = {139--172},
  url = {http://www.music.mcgill.ca/~mwanderley/Trends/Trends_in_Gestural_Control_of_Music/DOS/P.CHOgp.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:lin2000jammasteramu,
  author = {Lin, Ernie and Wu, Patrick},
  title = {Jam Master, a Music Composing Interface},
  booktitle = {Proceedings of Human Interface Technologies},
  address = {Vancouver, Canada},
  year = {2000},
  pages = {21--28},
  url = {http://www.ece.ubc.ca/~elec518/previous/hit2000/pdf/04_lin.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@book{zotero:anon2000mappingofcon,
  editor = {Hunt, A. and Wanderley, Marcelo M.},
  title = {Mapping of Control Variables to Musical Variables. Interactive Systems and Instrument Design in Music Working Group},
  year = {2000},
  url = {http://www.notam02.no/icma/interactivesystems/mapping.html},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:camurri2000movementandg,
  author = {Camurri, Antonio and Trocca, Riccardo},
  title = {Movement and gesture in intelligent interactive music systems},
  journal = {Trends in Gestural Control of Music, Ircam Publ},
  year = {2000},
  url = {http://vigliensoni.com/BUP/DropBox_10_12_09/Thesis/PAPERS/camurri00TRENDS.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:avizienis2000scalableconn,
  author = {Avizienis, Rimas and Freed, Adrian and Suzuki, Takahiko and Wessel, David},
  title = {Scalable connectivity processor for computer music performance systems},
  booktitle = {International Computer Music Conference},
  year = {2000},
  pages = {523--526},
  url = {http://cnmat.berkeley.edu/system/files/attachments/Scalable%20Connectivity.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@book{zotero:rossing2000scienceofper,
  author = {Rossing, Thomas D.},
  title = {Science of percussion instruments},
  publisher = {World Scientific},
  address = {Singapore ; Hackensack, N.J},
  year = {2000},
  isbn = {981-02-4158-5},
  keywords = {Acoustics, music, Acoustics and physics, Percussion instruments},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:gallo2000thepowerofam,
  author = {Gallo, D. A. and Finger, S.},
  title = {The power of a musical instrument: Franklin, the Mozarts, Mesmer, and the glass armonica},
  journal = {History of Psychology},
  year = {2000},
  volume = {3},
  number = {4},
  pages = {326--343},
  abstract = {In 1761 Benjamin Franklin invented the armonica (often referred to as the glass harmonica), an instrument designed to simplify the playing of the musical glasses. The instrument immediately became popular and inspired compositions by Wolf- gang Mozart, who had the opportunity to hear and play one at the house of Franz Anton Mesmer. Armonica music was used by Mesmer in his seances, because he felt it could promote healing by propagating a mystical fluid that he called animal magnetism through the body. After Mesmer's theories were debunked by a highly respected panel of scientists, the armonica fell out of vogue. Because Franklin was on the panel that examined and discredited mesmerism, he indirectly contributed to his own invention's demise.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:neda2000thesoundofma,
  author = {Neda, Z. and Ravasz, E. and Brechet, Y. and Vicsek, T. and Barabasi, AL},
  title = {The sound of many hands clapping},
  journal = {Arxiv preprint cond-mat/0003001},
  year = {2000},
  keywords = {Condensed Matter - Disordered Systems and Neural Networks, Condensed Matter - Statistical Mechanics},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:dahlstedt2001amutasynthin,
  author = {Dahlstedt, Palle},
  title = {A MutaSynth in parameter space: interactive composition through evolution},
  journal = {Organised Sound},
  year = {2001},
  volume = {6},
  number = {02},
  pages = {121--124},
  url = {http://journals.cambridge.org/abstract_S1355771801002084},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:moeslund2001asurveyofcom,
  author = {Moeslund, Thomas B. and Granum, Erik},
  title = {A Survey of Computer Vision-Based Human Motion Capture},
  journal = {Computer Vision and Image Understanding},
  year = {2001},
  volume = {81},
  number = {3},
  pages = {231--268},
  doi = {10.1006/cviu.2000.0897},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@techreport{zotero:goudeseune2001aviolincontr,
  author = {Goudeseune, C.},
  title = {A Violin Controller for real-time Audio Synthesis},
  institution = {Integrated Systems Laboratory, University of Illinois at Urbana-Champaign},
  year = {2001},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:poupyrev2001augmentedrea,
  author = {Poupyrev, I. and Berry, R. and Billinghurst, M. and Kato, H. and Nakao, K. and Baldwin, L. and Kurumisawa, J.},
  title = {Augmented Reality Interface for Electronic Music Performance},
  booktitle = {Proceedings of the International Conference on Human-Computer Interaction},
  year = {2001},
  pages = {805--808},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:chaigne2001bookreviewsc,
  author = {Chaigne, Antoine},
  title = {Book review: Science of percussion instruments – Rossing, T. D.},
  journal = {The Journal of the Acoustical Society of America},
  year = {2001},
  volume = {110},
  pages = {15},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@book{zotero:miranda2001composingmus,
  author = {Miranda, Eduardo Reck},
  title = {Composing music with computers},
  publisher = {Focal Press},
  address = {Oxford ; Boston},
  year = {2001},
  isbn = {0-240-51567-6},
  keywords = {Computer composition},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@inproceedings{zotero:dahlstedt2001creatingande,
  author = {Dahlstedt, Palle},
  title = {Creating and exploring huge parameter spaces: Interactive evolution as a tool for sound generation},
  booktitle = {Proceedings of the 2001 International Computer Music Conference},
  year = {2001},
  pages = {235--242},
  url = {http://www.cs.bham.ac.uk/~durranrj/NID/documentCache/tutorial6/DahlstedtICMC2001paper.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:dahlstedt2001creatingandeb,
  author = {Dahlstedt, Palle},
  title = {Creating and exploring the huge space called sound: interactive evolution as a composition tool},
  booktitle = {Proc. of Music without Walls, Music without Instruments Conf},
  year = {2001},
  url = {http://www.dmu.ac.uk/documents/technology-documents/research/mtirc/nowalls/mww-dahlstedt.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:tanaka2001globalstring,
  author = {Tanaka, Atau and Bongers, Bert},
  title = {Global String: A Musical Instrument for Hybrid Space},
  booktitle = {Proceedings: cast01 // Living in Mixed Realities},
  publisher = {FhG—Institut Medienkommunikation},
  year = {2001},
  pages = {177--181},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:brown2001instrument,
  author = {Brown, Howard Mayer},
  title = {Instrument},
  journal = {Grove Music Online},
  year = {2001},
  url = {https://doi.org/10.1093/gmo/9781561592630.article.13814},
  abstract = {Although it now has only the general meaning of ‘musical instrument’, the word ‘Instrument’ in German used to have the more specific meaning of ‘keyboard instrument’. To judge from the title-pages of late 16th-century German keyboard anthologies by Elias Nikolaus Ammerbach (1571, 1575 and 1583), Bernhard Schmid (1577) and others, ‘Instrument’ then meant ‘string keyboard instrument’ in opposition to organ; the volumes are said to be written in a tablature for ‘Orgel und Instrument’. This interpretation was confirmed by Praetorius, who wrote in Syntagma musicum, ii (2/1619), chap.37, that the Symphony – his collective name for harpsichord or clavicymbalum, virginal, spinet and the like – was generally called ‘Instrument’, a usage he criticized for its ambiguity. Like many other musical terms, however, the word meant various things at various times, and it was not always used consistently. In the 17th and 18th centuries, for example, ‘Instrument’ sometimes referred specifically to the clavichord. At least that conclusion seems warranted from the reference to ‘Instrument, Spinet oder Clavicymbel’ on the title-page of Benedict Schultheiss’s Clavier-Lust (Nuremberg, 1679) and other similar examples. Jakob Adlung, in Anleitung zu der musikalischen Gelahrtheit (Erfurt, 1758), p.558, wrote that a large spinet was called ‘Instrument im engern Verstande’, or even ‘Virginal’. And in the early 19th century the word ‘Instrument’ was occasionally used to refer to the piano.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@inproceedings{zotero:dahl2001istheplayerm,
  author = {Dahl, Sofia and Bresin, Roberto},
  title = {Is the player more influenced by the auditory than the tactile feedback from the instrument},
  booktitle = {Proceedings of the COST-G6 workshop on digital audio effects (dafx-01)},
  address = {Limerick},
  year = {2001},
  pages = {194--197},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:canazza2001kinematicsen,
  author = {Canazza, Sergio and De Poli, Giovanni and Rodà, Antonio and Vidolin, Alvise and Zanon, Patrick},
  title = {Kinematics-energy space for expressive interaction in music performance},
  booktitle = {Proceedings of MOSART, Workshop on current research directions in Computer Music},
  year = {2001},
  pages = {35--40},
  url = {http://www.researchgate.net/profile/Giovanni_De_Poli/publication/228821978_Kinematics-energy_space_for_expressive_interaction_in_music_performance/links/00463516bb26b55768000000.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@techreport{zotero:jensenius2001laserdancean,
  author = {Jensenius, Alexander Refsum},
  title = {Laser Dance and the Sound of Naked Piano},
  institution = {University of Oslo},
  year = {2001},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:avanzini2001musicalinstr,
  author = {Avanzini, Federico and Bank, Balázs and Borin, Gianpaolo and De Poli, Giovanni and Fontana, Federico and Rocchesso, Davide},
  title = {Musical instrument modeling: the case of the piano},
  journal = {Proc. of the worshop on current research directions in computer music. MOSART Research training network},
  year = {2001},
  url = {http://www.researchgate.net/profile/Davide_Rocchesso/publication/223467436_Musical_Instrument_Modeling_the_Case_of_the_Piano/links/02bfe50f470ac20d49000000.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:madden2001preparationf,
  author = {Madden, Timothy and Smith, Ronald Bruce and Wright, Matthew and Wessel, David},
  title = {Preparation for interactive live computer performance in collaboration with a symphony orchestra},
  booktitle = {International Computer Music Conference,(Habana, Cuba, 2001), ICMA},
  year = {2001},
  url = {http://cnmat.berkeley.edu/system/files/attachments/Preperation%20for%20interactive%20live%20computer.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@book{zotero:anon2001rimmtherealt,
  title = {RIMM The Real-time Interactive MultiMedia project},
  year = {2001},
  url = {http://www.york.ac.uk/res/rimm/},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:garnett2001technologica,
  author = {Garnett, G.E. and Jonnalagadda, M. and Elezovic, I. and Johnson, T. and Small, K},
  title = {Technological Advances for Conducting a Virtual Ensemble},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {Habana, Cuba},
  year = {2001},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:lyons2001themouthesiz,
  author = {Lyons, M. J. and Haehnel, M. and Tetsutani, N.},
  title = {The Mouthesizer: A facial gesture musical interface},
  booktitle = {Conference Abstracts},
  publisher = {SIGGRAPH},
  year = {2001},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:young2001usingthewebf,
  author = {Young, J.P},
  title = {Using the Web for Live Interactive Music},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {Habana, Cuba},
  year = {2001},
  pages = {302--305},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:bevilacqua20023dmotioncapt,
  author = {Bevilacqua, Frédéric and Ridenour, Jeff and Cuccia, David J.},
  title = {3D motion capture data: motion analysis and mapping to music},
  booktitle = {Proceedings of the workshop/symposium on sensing and input for media-centric systems},
  publisher = {Citeseer},
  year = {2002},
  url = {http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.114.8594&rep=rep1&type=pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:serafin2002analysisands,
  author = {Serafin, Stefania and Huang, Patty and Ystad, Solvi and Chafe, Chris and Smith, JO},
  title = {Analysis and synthesis unusual friction-driven musical instruments},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2002},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:friberg2002automaticrea,
  author = {Friberg, Anders and Schoonderwaldt, Erwin and Juslin, Patrik N. and Bresin, Roberto},
  title = {Automatic real-time extraction of musical expression},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2002},
  pages = {365--367},
  url = {http://www.academia.edu/download/30423231/875.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:castagne2002creatingmusi,
  author = {Castagne, Nicolas, Nicolas and Cadoz, Claude},
  title = {Creating Music by Means of Physical Thinking: The Musician Oriented GENESIS Environment},
  booktitle = {Proceedings of the 5th International Conference on Digital Audio Effects (DAFX-02), Hamburg, Germany, September 26-28, 2002},
  year = {2002},
  pages = {169--174},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:opie2002granularsynt,
  author = {Opie, T.},
  title = {Granular Synthesis: Experiments In Live Performance},
  booktitle = {Proceedings of the Australasian Computer Music Conference},
  address = {Fitzroy, Australia},
  year = {2002},
  pages = {97--102},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:puckette2002maxatsevente,
  author = {Puckette, M.},
  title = {Max at seventeen},
  journal = {Computer Music Journal},
  year = {2002},
  volume = {26},
  number = {4},
  pages = {31--43},
  url = {http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320991356},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@article{zotero:music2002meaningmotio,
  url = {http://www.udi.pladott.org/music/Motion_and_Gesture_in_Trance%20Music2005.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90},
  author = {Pladott, Udi},
  title = {Meaning, Motion and Gesture in Psychedelic Trance Music},
  year = {2005}
}

@inproceedings{zotero:gadd2002metamuseanov,
  author = {Gadd, Ashley and Fels, Sidney},
  title = {MetaMuse: a novel control metaphor for granular synthesis},
  booktitle = {CHI'02 Extended Abstracts on Human Factors in Computing Systems},
  publisher = {ACM},
  year = {2002},
  pages = {636--637},
  url = {http://dl.acm.org/citation.cfm?id=506521},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:overholt2002musicalmappi,
  author = {Overholt, Dan},
  title = {Musical Mapping and Synthesis for the MATRIX Interface},
  booktitle = {Symposium on Sensing and Input for Media-Centric Systems (SIMS)},
  address = {Santa Barbara, CA},
  year = {2002},
  pages = {7--10},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@inproceedings{zotero:hermann2002realtimecont,
  author = {Hermann, T. and Krause, J. and Ritter, H.},
  title = {Real-Time Control of Sonification Models with a Haptic Interface},
  booktitle = {Proceedings of the International Conference on Auditory Display},
  address = {Kyoto, Japan},
  year = {2002},
  pages = {82--86},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:jehan2002sparkleranau,
  author = {Jehan, T. and Machover, T. and Fabio, M.},
  title = {Sparkler: An Audio-Driven Interactive Live Computer Performance for Symphony Orchestra},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {Göteborg},
  year = {2002},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:young2002thehyperbowa,
  author = {Young, Diana},
  title = {The Hyperbow: A Precision Violin Interface},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {Gothenburg, Sweden},
  year = {2002},
  pages = {489--492},
  abstract = {This paper addresses the need to utilize precision mea- surement techniques in the the creation of new perfor- mance instruments and interfaces. Discussed within is the design and construction of a new violin interface, the Hyperbow, which serves as a first demonstration of how a violin bow might be made capable of measuring the most intricate aspects of violin technique–the sub- tle elements of physical gesture that immediately and directly impact the sound of the instrument while play- ing. In order to provide this insight into the subtleties of bow articulation, a sensing system has been inte- grated into a commercial carbon bow to measure changes in position, acceleration, and the downward and lateral strains on the bow stick. These sensors were fashioned using an electromagnetic field sensing technique, commercial MEMS accelerometers, and foil strain gauges. The measurement techniques used in this work were found to be quite sensitive and yielded sensors that were easily controllable by a player using traditional right hand bowing technique. For these reasons, the violin is a source of inspiration for new music controllers.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@book{zotero:anon2002thesciencean,
  editor = {Parncutt, Richard and McPherson, G.E.},
  title = {The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning},
  publisher = {New York: Oxford University Press},
  year = {2002},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@phdthesis{zotero:guettler2002thebowedstri,
  author = {Guettler, Knut},
  title = {The bowed string: on the development of Helmholtz motion and on the creation of anomalous low frequencies},
  school = {KTH Royal Institute of Technology},
  address = {Stockholm},
  year = {2002},
  abstract = {Of the many waveforms the bowed string can assume, the so-called "Helmholtz motion" (Helmholtz 1862) gives the fullest sound in terms of power and overtone richness. The development of this steady-state oscillation pattern can take many different paths, most of which would include noise caused by stick-slip irregularities of the bow-string contact. Of the five papers included in the thesis, the first one shows, not surprisingly, that tone onsets are considered superior when the attack noise has a very limited duration. It was found, however, that in this judgment the character of the noise plays an important part, as the listener’s tolerance of noise in terms of duration is almost twice as great for "slipping noise" as for "creaks" or "raucousness" during the tone onsets. The three following papers contain analyses focusing on how irregular slip-stick triggering may be avoided, as is quite often the case in practical playing by professionals. The fifth paper describes the triggering mechanism of a peculiar tone production referred to as "Anomalous Low Frequencies" (ALF). If properly skilled, a player can achieve pitches below the normal range of the instrument. This phenomenon is related to triggering waves taking "an extra turn" on the string before causing the string’s release from the bow-hair grip. Since transverse and torsional propagation speeds are both involved, two different sets of "sub-ranged" notes can be produced this way. In the four last papers wave patterns are analysed and explained through the use of computer simulations.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:dixon2002theperforman,
  author = {Dixon, Simon and Goebl, Werner and Widmer, Gerhard},
  title = {The performance worm: Real time visualisation of expression based on langner’s tempo-loudness animation},
  booktitle = {Proceedings of the international computer music conference (icmc 2002)},
  year = {2002},
  url = {http://www.eecs.qmul.ac.uk/~simond/pub/2002/icmc.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@incollection{zotero:mcelligott2002forsefieldsf,
  author = {McElligott, Lisa and Dillon, Michelle and Leydon, Krispin and Richardson, Bruce and Fernström, Mikael and Paradiso, Joseph A.},
  title = {‘ForSe FIElds’-Force Sensors for Interactive Environments},
  booktitle = {UbiComp 2002: Ubiquitous Computing},
  publisher = {Springer},
  year = {2002},
  pages = {168--175},
  url = {http://link.springer.com/chapter/10.1007/3-540-45809-3_13},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:johnson2003somethingint,
  author = {Johnson, Mark L. and Larson, Steve},
  title = {"Something in the Way She Moves"-Metaphors of Musical Motion},
  journal = {Metaphor and Symbol},
  year = {2003},
  volume = {18},
  number = {2},
  pages = {63--84},
  doi = {10.1207/S15327868MS1802_1},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:serafin2003bowedstringp,
  author = {Serafin, Stefania and Young, Diana},
  title = {Bowed string physical model validation through use of a bow controller and examination of bow strokes},
  booktitle = {Proceedings of the Stockholm Musical Acoustics Meeting},
  year = {2003},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:guedes2003controllingm,
  author = {Guedes, Carlos},
  title = {Controlling Musical Tempo from Dance Movement in Real-Time: A Possible Approach},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2003},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@phdthesis{zotero:opie2003creationofar,
  author = {Opie, T.},
  title = {Creation of a Real-Time Granular Synthesis Instrument for Live Performance},
  school = {QUT, Brisbane, Australia},
  year = {2003},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:ciufo2003designconcep,
  author = {Ciufo, THOMAS},
  title = {Design concepts and control strategies for interactive improvisational music systems},
  booktitle = {Proceedings of the MAXIS International Festival/Symposium of Sound and Experimental Music},
  year = {2003},
  url = {http://173.83.117.10/media/design_concepts.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:juslin2003fivefacetsof,
  author = {Juslin, Patrik N.},
  title = {Five Facets of Musical Expression: A Psychologist's Perspective on Music Performance},
  journal = {Psychology of Music},
  year = {2003},
  volume = {31},
  number = {3},
  pages = {273--302},
  abstract = {A psychological approach to expression in music performance that could help to provide a solid foundation for the teaching of expressive skills in music education is outlined. Drawing on previous research, it is suggested that performance expression is best conceptualized as a multi-dimensional phenomenon consisting of five primary components: (1) generative rules that function to clarify the musical structure; (2) emotional expression that serves to convey intended emotions to listeners; (3) random variations that reflect human limitations with regard to internal time-keeper variance and motor delays; (4) motion principles that prescribe that some aspects of the performance should be shaped in accordance with patterns of biological motion; and (5) stylistic unexpectedness that involves local deviations from performance conventions. An analysis of performance expression in terms of these five components - collectively referred to as the GERMS model - has important implications for research and teaching of music performance. Tables, graphs, notes, and references are included.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@book{zotero:dean2003hyperimprovi,
  author = {Dean, Roger T.},
  title = {Hyperimprovisation: computer-interactive sound improvisation},
  publisher = {A-R Editions},
  address = {Middleton, Wis},
  year = {2003},
  isbn = {978-0-89579-508-3},
  keywords = {Performance, Instrument Design, real-time performance, improvisation, hyperinstruments},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@phdthesis{zotero:lorenzojr2003intelligentm,
  author = {Lorenzo Jr, Levy Marcel Ingles},
  title = {Intelligent MIDI Sequencing with Hamster Control},
  school = {Cornell University},
  year = {2003},
  url = {https://courses.cit.cornell.edu/eceprojectsland/STUDENTPROJ/2002to2003/lil2/hamsterMIDI_done_small.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:jorda2003interactivem,
  author = {Jordà, Sergi},
  title = {Interactive music systems for everyone: exploring visual feedback as a way for creating more intuitive, efficient and learnable instruments},
  booktitle = {Proceedings of SMAC},
  year = {2003},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:overholt2003onmusicalges,
  author = {Overholt, Dan and Roads, Curtis and Thompson, John},
  title = {On Musical Gestures and New Performance Interfaces for Electronic Music},
  booktitle = {International Gesture Workshop},
  year = {2003},
  url = {http://www.researchgate.net/profile/Dan_Overholt/publication/228963413_On_Musical_Gestures_and_New_Performance_Interfaces_for_Electronic_Music/links/004635272128936e9f000000.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:bachyrita2003sensorysubst,
  author = {Bach-y-Rita, Paul and Kercel, Stephen W},
  title = {Sensory substitution and the human–machine interface},
  journal = {Trends in cognitive sciences},
  year = {2003},
  volume = {7},
  number = {12},
  pages = {541--546},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@article{zotero:discipio2003soundisthein,
  author = {Di Scipio, Agostino},
  title = {‘Sound is the interface’: from interactive to ecosystemic signal processing},
  journal = {Organised Sound},
  year = {2003},
  volume = {8},
  number = {03},
  pages = {269--277},
  url = {http://journals.cambridge.org/abstract_S1355771803000244},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@book{zotero:schrader2004asenseofdanc,
  author = {Schrader, Constance A.},
  title = {A Sense of Dance: Exploring Your Movement Potential},
  publisher = {Human Kinetics},
  address = {Champaign, IL},
  year = {2004},
  keywords = {dance},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:wang2004chuckaprogra,
  author = {Wang, Ge and Cook, Perry},
  title = {ChucK: a programming language for on-the-fly, real-time audio synthesis and multimedia},
  booktitle = {Proceedings of the 12th annual ACM international conference on Multimedia},
  publisher = {ACM},
  year = {2004},
  pages = {812--815},
  url = {http://dl.acm.org/citation.cfm?id=1027716},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:miranda2004computersoun,
  author = {Miranda, Eduardo Reck},
  title = {Computer sound design: synthesis techniques and programming},
  publisher = {Focal Press},
  address = {Amsterdam},
  year = {2004},
  isbn = {978-0-240-51693-6},
  keywords = {composing/producing, Performance, Synthesis, sound design, virtual music, AI, evolutionary systems, PSOLA technique},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:arfib2004designanduse,
  author = {Arfib, Daniel and Couturier, Jean-Michel and Kessous, Loïc},
  title = {Design and use of some new digital musical instruments},
  journal = {Gesture-Based Communication in Human-Computer Interaction},
  year = {2004},
  pages = {461--462},
  url = {http://link.springer.com/content/pdf/10.1007/b95740.pdf#page=522},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:paradiso2004electronicco,
  author = {Paradiso, Joseph A.},
  title = {Electronic Controllers for Musical Performance and Interaction},
  journal = {Unpublished book chapter submitted for publication},
  year = {2004},
  url = {http://web.media.mit.edu/~joep/Book_intro_2.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@incollection{zotero:dahl2004expressivene,
  author = {Dahl, Sofia and Friberg, Anders},
  title = {Expressiveness of musician’s body movements in performances on marimba},
  booktitle = {Gesture-based communication in human-computer interaction},
  publisher = {Springer},
  year = {2004},
  pages = {479--486},
  url = {http://link.springer.com/chapter/10.1007/978-3-540-24598-8_44},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:juslin2004fivemythsabo,
  author = {Juslin, Patrik N.},
  title = {Five myths about expressivity in music performance and what to do about them},
  year = {2004},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:fernstrom2004humancompute,
  author = {Fernström, Mikael and Brazil, Eoin},
  title = {Human-computer interaction design based on interactive sonification-hearing actions or instruments/agents},
  booktitle = {Proceedings of the International Workshop on Interactive Sonification},
  year = {2004},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@article{zotero:henry2004physicalmode,
  author = {Henry, Cyrille},
  title = {Physical modeling for pure data (PMPD) and real time interaction with an audio synthesis},
  journal = {Proc. Sound and Music Computing (Paris, France, October 2004)},
  year = {2004},
  url = {http://recherche.ircam.fr/equipes/repmus/SMC04/scm04actes/P47.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:kolesnik2004recognitiona,
  author = {Kolesnik, Paul and Wanderley, Marcelo},
  title = {Recognition, analysis and performance with expressive conducting gestures},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2004},
  pages = {572--575},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@article{zotero:repp2004rhythmicmove,
  author = {Repp, Bruno H. and Penel, Amandine},
  title = {Rhythmic movement is attracted more strongly to auditory than to visual rhythms},
  journal = {Psychological Research},
  year = {2004},
  volume = {68},
  number = {4},
  pages = {252--270},
  doi = {10.1007/s00426-003-0143-8},
  keywords = {Auditory Distractors, Auditory Modality, Auditory Target, Distractor Effect, Visual Distractors},
  abstract = {People often move in synchrony with auditory rhythms (e.g., music), whereas synchronization of movement with purely visual rhythms is rare. In two experiments, this apparent attraction of movement to auditory rhythms was investigated by requiring participants to tap their index finger in synchrony with an isochronous auditory (tone) or visual (flashing light) target sequence while a distractor sequence was presented in the other modality at one of various phase relationships. The obtained asynchronies and their variability showed that auditory distractors strongly attracted participants' taps, whereas visual distractors had much weaker effects, if any. This asymmetry held regardless of the spatial congruence or relative salience of the stimuli in the two modalities. When different irregular timing patterns were imposed on target and distractor sequences, participants' taps tended to track the timing pattern of auditory distractor sequences when they were approximately in phase with visual target sequences, but not the reverse. These results confirm that rhythmic movement is more strongly attracted to auditory than to visual rhythms. To the extent that this is an innate proclivity, it may have been an important factor in the evolution of music.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@inproceedings{zotero:warusfel2004soundsourcer,
  author = {Warusfel, O. and Misdariis, N.},
  title = {Sound Source Radiation Synthesis: from Stage Performance to Domestic Rendering},
  booktitle = {Audio Engineering Society Conventio},
  year = {2004},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:henry2004usingphysica,
  author = {Henry, Cyrille},
  title = {Using Physical Modelling for Pure Data (pmpd) with an audio and video synthesis},
  journal = {URL: http://puredata. info/community/projects/convention04/lectures/tkchenry/pmpd. pdf},
  year = {2004},
  url = {http://www.chnry.net/ch/IMG/pdf/2004_pmpd_pd_convention_graz.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:paradiso2004wearablewire,
  author = {Paradiso, Joe},
  title = {Wearable wireless sensing for interactive media},
  booktitle = {First International Workshop on Wearable and Implantable Body Sensor Networks},
  year = {2004},
  url = {http://www.media.mit.edu/resenv/pubs/papers/2004-04-JoeP-BSN-Abstract.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@incollection{zotero:pottier2004gmuanintegra,
  author = {Pottier, Laurent},
  title = {“GMU”–An Integrated Microsound Synthesis System},
  booktitle = {Computer Music Modeling and Retrieval},
  publisher = {Springer},
  year = {2004},
  pages = {82--88},
  url = {http://link.springer.com/chapter/10.1007/978-3-540-39900-1_9},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:benbasat2005acompactmodu,
  author = {Benbasat, A. Y. and Paradiso, J. A.},
  title = {A Compact Modular Wireless Sensor Platform},
  booktitle = {Proceedings of the Symposium on Information Processing in Sensor Networks},
  address = {Los Angeles, CA},
  year = {2005},
  pages = {410--415},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:bevilacqua2005agesturefoll,
  author = {Bevilacqua, Frédéric and Muller, Remy},
  title = {A gesture follower for performing arts},
  booktitle = {Proceedings of the International Gesture Workshop},
  year = {2005},
  url = {http://www.sdela.dds.nl/cinedebate/gesturalfollower.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:musil2005alibraryforr,
  author = {Musil, Thomas and Noisternig, Markus and Höldrich, Robert},
  title = {A library for realtime 3d binaural sound reproduction in pure data (pd)},
  booktitle = {Proc. Int. Conf. on Digital Audio Effects (DAFX-05), Madrid, Spain},
  year = {2005},
  url = {http://iem.at/~noisternig/publications/Musil_2005.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@phdthesis{zotero:grierson2005audiovisualc,
  author = {Grierson, Mick},
  title = {Audiovisual Composition},
  year = {2005},
  abstract = {This thesis details the technical, theoretical and aesthetic concerns relating to the composition and performance of real-time audiovisual material with particular reference to the connectivity between audio and visual events. It explores the inspirations and various processes that have given rise to the attached composition portfolio. The portfolio includes the pieces Structure Interne, Third World Warhol, Remote Control, Beautiful Human Canon, Light Speak, The Mudlark and the installation piece Aqua.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:freeman2005auracleavoic,
  author = {Freeman, Jason and Varnik, Kristjan and Ramakrishnan, C. and Neuhaus, Max and Burk, Phil and Birchfield, David},
  title = {Auracle: a voice-controlled, networked sound instrument},
  journal = {Organised Sound},
  year = {2005},
  volume = {10},
  number = {03},
  pages = {221},
  doi = {10.1017/S1355771805000968},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@techreport{zotero:marshall2005buildingausb,
  author = {Marshall, Mark T.},
  title = {Building a USB sensor interface using the ATMEL ATmega16 and the Human Interface Device standard},
  institution = {McGill University. http://www.music.mcgill.ca/ marshall/projects/avr-hidhttp://www.music.mcgill.ca/$\sim$marshall/projects/avr-hid},
  year = {2005},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:steiner2005buildingyour,
  author = {Steiner, H. C.},
  title = {Building your own instrument with Pd},
  booktitle = {Proceedings of the 1\textsuperscriptst International Pd Conference, Graz, Austria},
  publisher = {Citeseer},
  year = {2005},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@book{zotero:ghazala2005circuitbendi,
  author = {Ghazala, Reed},
  title = {Circuit-bending: build your own alien instruments},
  publisher = {Wiley Publishing},
  address = {Indianapolis, IN},
  year = {2005},
  isbn = {978-0-7645-8887-7},
  keywords = {composing/producing, Performance, circuit-bending, Instrument Design, sound design},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@phdthesis{zotero:momeni2005composingins,
  author = {Momeni, Ali},
  title = {Composing Instruments: Inventing and Performing with Generative Computer-based Instruments},
  school = {University of California, Berkeley},
  year = {2005},
  abstract = {This dissertation describes music composition as an act of composing instruments. The building blocks of such instruments are discussed: the fundamentally interdisciplinary approach, the role of gesture, the role of real-time generative software, the mappings between gesture and generative processes, and the interaction between performer and instrument. A real-time performance instrument that was composed to accompany the opera Takemitsu: My Way of Life is described. Key constraints imposed by this project are described, namely: the need for the real- time electronic sound to blend and relate musically to the rest of the music, the need to create a stateless and playable instrument, and the need for an instrument that is robust, adaptable, portable. Design and compositional decisions that address these constraints are proposed and the actual implementation is discussed. As a contrasting example of a composed instrument, a second project is presented: an interactive installation named ...in memory of Leah Deni created in memory of Leah Deni. This project serves as an example of the same compositional interest in instrument building and interactivity, but applied to an installation setting where the performer is the audience member. Connections between the conceptual and technological aspects of the installation are drawn. Finally, a set of software modules for real-time creative work named _aLib is presented. The modules in _aLib (a set of abstractions for the Max/MSP environment) were used extensively in the described instruments and will hopefully make a contribution to the real- time computer performance community.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:miranda2005compositiona,
  author = {Miranda, Eduardo Reck and Zhang, Qijun},
  title = {Composition as Game Strategy: Making Music by Playing Board Games Against Evolved Artificial Neural Networks},
  booktitle = {Proc. Int’l Computer Music Conf.(ICMC 2005), Barcelona},
  publisher = {Citeseer},
  year = {2005},
  url = {http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.178.2426&rep=rep1&type=pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:zbyszynski2005controlofvst,
  author = {Zbyszynski, Michael and Freed, Adrian},
  title = {Control of VST Plug-Ins Using OSC},
  booktitle = {Proceedings of the 2005 International Computer Music Conference},
  publisher = {San Francisco: ICMA},
  address = {Barcelona, Spain},
  year = {2005},
  pages = {263--266},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:baader2005coordination,
  author = {Baader, Andreas P. and Kazennikov, Oleg and Wiesendanger, Mario},
  title = {Coordination of bowing and fingering in violin playing},
  journal = {Cognitive Brain Research},
  year = {2005},
  volume = {23},
  number = {2-3},
  pages = {436--443},
  keywords = {bowed string, movement},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:seitz2005dalcrozetheb,
  author = {Seitz, J. A.},
  title = {Dalcroze, the body, movement and musicality},
  journal = {Psychology of Music},
  year = {2005},
  volume = {33},
  number = {4},
  pages = {419--435},
  doi = {10.1177/0305735605056155},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:jensenius2005developingto,
  author = {Jensenius, Alexander Refsum and Godøy, Rolf Inge and Wanderley, Marcelo M.},
  title = {Developing tools for studying musical gestures within the Max/MSP/Jitter environment},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2005},
  pages = {282--285},
  url = {https://www.duo.uio.no/handle/10852/26907},
  abstract = {We present the Musical Gestures Toolbox, a collection of Max/MSP/Jitter modules to help in qualitative and quantitative analysis of musical gestures. Examples are shown of how the toolbox is used for studying musical mimicry, such as ''air piano'' performance, and expressive gestures of musicians.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:brooks2005enhancedgest,
  author = {Brooks, Anthony L.},
  title = {Enhanced gesture capture in virtual interactive space (VIS)},
  journal = {Digital Creativity},
  year = {2005},
  volume = {16},
  number = {1},
  pages = {43--53},
  abstract = {This article reports on the capture of human movement information which is made possible from a commercially affordable and readily available technology complimented by a simple enhancement which results in an extended virtual volume of 3D high resolution activated air being created and available for intervention as a basic computer interface. Through examples presenting the use of the methodology in performance art, education and human performance projects, this article hints at the opportunities from such a methodology so as to inspire others to explore the potential use in human computer interaction (HCI).},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:volpe2005expressivege,
  author = {Volpe, Gualtiero},
  title = {Expressive Gesture in Performing Arts and New Media: The Present and the Future},
  journal = {Journal of New Music Research},
  year = {2005},
  volume = {34},
  number = {1},
  pages = {1--3},
  doi = {10.1080/09298210500123820},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:wei2005gestureandre,
  author = {Wei, Sha Xin and Gill, Satinder},
  title = {Gesture and response in field-based performance},
  booktitle = {Proceedings of the 5th conference on Creativity & cognition - C&C '05},
  publisher = {ACM Press},
  year = {2005},
  pages = {205},
  doi = {10.1145/1056224.1056253},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:friberg2005homeconducti,
  author = {Friberg, Anders},
  title = {Home conducting: Control the overall musical expression with gestures},
  booktitle = {Proceedings of the 2005 international computer music conference},
  publisher = {International Computer Music Association},
  address = {San Francisco},
  year = {2005},
  pages = {479--482},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@phdthesis{zotero:guedes2005mappingmovem,
  author = {Guedes, Carlos},
  title = {Mapping Movement to Musical Rhythm: A Study in Interactive Dance},
  school = {New York University},
  year = {2005},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@article{zotero:dykstraerickson2005michelwaisvi,
  author = {Dykstra-Erickson, Elizabeth and Arnowitz, Jonathan},
  title = {Michel Waisvisz: the man and the hands.},
  journal = {interactions},
  year = {2005},
  volume = {12},
  number = {5},
  pages = {63--67},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@inproceedings{zotero:fenza2005physicalmove,
  author = {Fenza, Diego and Mion, Luca and Canazza, Sergio and Roda, Antonio},
  title = {Physical movement and musical gestures: a multilevel mapping strategy},
  booktitle = {Proceedings of Sound and Music Computing},
  year = {2005},
  volume = {5},
  pages = {24--26},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@phdthesis{zotero:yuille2005sonicinterac,
  author = {Yuille, Jeremy},
  title = {Sonic Interaction Design: frameworks for designing interactive sound environments},
  school = {RMIT},
  year = {2005},
  abstract = {This exegesis investigates two interactive sound design projects, describing each one in terms of techniques, concepts, and processes that went into their realisation. It describes how collaborative processes helped me become better at working on solo projects, how technical skills helped me to apply conceptual knowledge, and how Pierre Schaeffer's theories of the sonic object can be applied to the design of interactive sound environments. In the process I explain some unique aspects of Sonic Interaction Design, suggesting a suite of methodological, technical, and conceptual tools for the Sonic Interaction Designer. I then refl ect on the ways I combined these tools, and propose a methodology of transcoding systems.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:kabisch2005sonicpanoram,
  author = {Kabisch, E. and Kuester, F. and Penny, S.},
  title = {Sonic panoramas: experiments with interactive landscape image sonification},
  booktitle = {Proceedings of the 2005 international conference on Augmented tele-existence},
  publisher = {ACM},
  year = {2005},
  pages = {156--163},
  isbn = {0-473-10657-4},
  abstract = {This paper describes research into the sonification of large-scale landscape imagery. Techniques for image sonification are coupled with users' physical navigation of the image data and a visual representation of the correspondence between the image and sound. One application of this research, an interactive art installation titled Sonic Panoramas, is discussed. Through the use of vision-based motion tracking, immersive projection, image analysis and real-time spatialized sound, a multi- modal representation of landscape image data is deployed.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:livingstone2005tactilecompo,
  author = {Livingstone, Dan and O’Shea, Chris},
  title = {TACTILE COMPOSITION SYSTEMS FOR COLLABORATIVE FREE SOUND},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2005},
  url = {http://cmr.soc.plymouth.ac.uk/publications/livingstone_shea_icmc05.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:knapp2005theintegralm,
  author = {Knapp, R. Benjamin and Cook, Perry R.},
  title = {The integral Music controller: Introducing a Direct Emotional Interface to gestural control of sound synthesis.},
  booktitle = {ICMC},
  year = {2005},
  url = {https://pdfs.semanticscholar.org/acf4/0390a975b9614fcd28ff03dbc9f0053dc1ae.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@inproceedings{zotero:overholt2005theovertonev,
  author = {Overholt, Dan},
  title = {The overtone violin: A new computer music instrument},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {Barcelona},
  year = {2005},
  pages = {604--607},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:luciani2006abasicgestur,
  author = {Luciani, Annie and Evrard, Matthieu and Castagné, Nicolas and Couroussé, Damien and Florens, Jean-Loup and Cadoz, Claude},
  title = {A Basic Gesture and Motion Format for Virtual Reality Multisensory Applications},
  booktitle = {Proceedings of the 1st international Conference on Computer Graphics Theory and Applications, Setubal, Portugal, March 2006},
  address = {Setubal, Portugal},
  year = {2006},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:couturier2006amodelforgra,
  author = {Couturier, Jean-Michel},
  title = {A model for graphical interaction applied to gestural control of sound},
  booktitle = {Proceedings of Sound and Music Computing, 18-20 May 2006, Marseille, France},
  year = {2006},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@incollection{zotero:hermann2006acoumotionan,
  author = {Hermann, Thomas and Höner, Oliver and Ritter, Helge},
  editor = {Gibet, Sylvie and Courty, Nicolas and Kamp, Jean-François},
  title = {AcouMotion – An Interactive Sonification System for Acoustic Motion Control},
  booktitle = {Gesture in Human-Computer Interaction and Simulation, 6th International Gesture Workshop},
  publisher = {Springer},
  address = {Berlin Heidelberg},
  year = {2006},
  volume = {3881},
  pages = {312--323},
  url = {http://www.springerlink.com/content/w67h353315qt1152/},
  keywords = {Gestures, Musical},
  abstract = {Both musicians and non-musicians can often be seen making sound-producing gestures in the air without touching any real instruments. Such ”air playing” can be regarded as an expression of how people perceive and imagine music, and studying the relationships between these gestures and sound might contribute to our knowledge of how gestures help structure our experience of music.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@article{zotero:wessel2006anenactiveap,
  author = {Wessel, David},
  title = {An enactive approach to computer music performance},
  journal = {Le Feedback dans la Creation Musical, Lyon, France},
  year = {2006},
  pages = {93--98},
  url = {http://archive.grame.fr/Recherche/Rencontres/Ressources/RMPD/RMPD2006/pdf2006/wessel-1.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:malloch2006examiningdes,
  author = {Malloch, Joseph and Birnbaum, David and Sinyor, Elliot and Wanderley, Marcelo M.},
  title = {Examining Design Goals of Digital Musical Instruments},
  booktitle = {Proceedings of the International Conference on Digital Audio Effects (DAFx-06)},
  address = {Montreal, Canada},
  year = {2006},
  pages = {49--52},
  url = {http://www.dafx.ca/proceedings/papers/p_049.pdf},
  abstract = {This paper describes the adaptation of an existing model of hu- man information processing for the categorization of digital musi- cal instruments in terms of performance context and behavior. It further presents a visualization intended to aid the analysis of ex- isting DMIs and the design of new devices. Three new interfaces constructed by the authors are examined within this framework to illustrate its utility.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@book{zotero:lepecki2006exhaustingda,
  author = {Lepecki, Andre},
  title = {Exhausting Dance: Performance and the Politics of Movement},
  publisher = {Routledge},
  address = {London},
  year = {2006},
  isbn = {978-0-203-01287-1},
  doi = {10.4324/9780203012871},
  abstract = {The only scholarly book in English dedicated to recent European contemporary dance, Exhausting Dance: Performance and the Politics of Movement examines the work of key contemporary choreographers who have transformed the dance scene since the early 1990s in Europe and the US. Through their vivid and explicit dialogue with performance art, visual arts and critical theory from the past thirty years, this new generation of choreographers challenge our understanding of dance by exhausting the concept of movement. Their work demands to be read as performed extensions of the radical politics implied in performance art, in post-structuralist and critical theory, in post-colonial theory, and in critical race studies. In this far-ranging and exceptional study, Andre Lepecki brilliantly analyzes the work of the choreographers: * Jerome Bel (France)* Juan Dominguez (Spain)* Trisha Brown (US)* La Ribot (Spain)* Xavier Le Roy (France-Germany)* Vera Mantero (Portugal) and visual and performance artists: * Bruce Nauman (US) * William Pope.L (US). This book offers a significant and radical revision of the way we think about dance, arguing for the necessity of a renewed engagement between dance studies and experimental artistic and philosophical practices.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:vannort2006exploringthe,
  author = {van Nort, Doug and Wanderley, Marcelo M.},
  title = {Exploring the effect of mapping trajectories on musical performance},
  booktitle = {Proceedings of Sound and Music Computing},
  address = {Marseille, France},
  year = {2006},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@incollection{zotero:wiesendanger2006fingeringand,
  author = {Wiesendanger, M. and Baader, A. and Kazennikov, O.},
  editor = {Altenmüller, Eckart and Wiesendanger, Mario and Kesselring, Jürg},
  title = {Fingering and Bowing in Violinists: A Motor Control Approach},
  booktitle = {Music, Motor Control and the Brain},
  publisher = {Oxford University Press},
  address = {Oxford},
  year = {2006},
  pages = {109--123},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@phdthesis{zotero:graugaard2006gestureandem,
  author = {Graugaard, Lars},
  title = {Gesture and Emotion in Interactive Music: Artistic and Technological Challenges},
  school = {Oxford Brookes University},
  year = {2006},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@incollection{zotero:jerde2006handmovement,
  author = {Jerde, T. E. and Santello, M. and Flanders, M. and Soechting, J. F.},
  editor = {Altenmüller, Eckart and Wiesendanger, Mario and Kesselring, Jürg},
  title = {Hand Movements and Musical Performance},
  booktitle = {Music, Motor Control and the Brain},
  publisher = {Oxford University Press},
  address = {Oxford},
  year = {2006},
  pages = {79--90},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@book{zotero:jackson2006harmonioustr,
  author = {Jackson, Myles W.},
  title = {Harmonious triads: physicists, musicians, and instrument makers in nineteenth-century Germany},
  publisher = {MIT Press},
  address = {Cambridge, Mass},
  year = {2006},
  isbn = {978-0-262-10116-5},
  keywords = {Performance, Instrument Design, historical, sociocultural, innovation, mu, reed pipes, standardization},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@book{zotero:abrashev2006illustratede,
  author = {Abrashev, Bozhidar and Gadjev, Vladimir},
  title = {Illustrated encyclopedia of musical instruments: From all eras and regions of the world},
  publisher = {Tandem Verlag GmbH},
  year = {2006},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@mastersthesis{zotero:eikenes2006interfacefor,
  author = {Eikenes, Jon Olav},
  title = {Interface for arranging sound in space},
  year = {2006},
  abstract = {Sound in 3D is far from a new invention, but due to technological development and more sophisticated equipment in private homes, there is going to be a much greater use of 3D sound in the future. There is a need for an interface for arranging sound in space that is more intuitive and easy to use than those available today. In my diploma project I have developed an interface for arranging sound in space. Throughout this project one of my goals has been to explore new ways of interacting with a system for making sound compositions. Several alternative solutions were considered and eval- uated, and eventually a final concept was chosen and developed. This was evaluated with potential users and received good response. I propose a solution inspired by a magic wand and the conductor's baton; a physical tool for placing sound in space. Furthermore, I show how a graphical user inter- face for this solution can be shaped. The project has achieved the majority of its objectives, although further work is needed in the area of detailing, prototyping and testing the solution.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:place2006jamomaamodul,
  author = {Place, Tim and Lossius, Trond},
  title = {Jamoma - A modular standard for structuring patches in Max},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2006},
  pages = {143--146},
  url = {http://www.jamoma.org/publications/attachments/jamoma-icmc2006.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@phdthesis{zotero:moen2006kinaesthetic,
  author = {Moen, Jin},
  title = {KinAesthetic Movement Interaction: Designing for the Pleasure of Motion},
  school = {KTH},
  address = {Stockholm},
  year = {2006},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@techreport{zotero:dahl2006lookingatmov,
  author = {Dahl, Sofia},
  title = {Looking at movement gesture: Examples from drumming and percussion},
  institution = {Ohio State University},
  year = {2006},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@incollection{zotero:blom2006makingthemus,
  author = {Blom, Jan Petter},
  title = {Making the music dance: dance connotations in Norwegian fiddling},
  year = {2006},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:james2006movementbase,
  author = {James, Jodi and Ingalls, Todd and Qian, Gang and Olsen, Loren and Whiteley, Daniel and Wong, Siew and Rikakis, Thanassis},
  title = {Movement-based interactive dance performance},
  booktitle = {Proceedings of the 14th annual ACM international conference on Multimedia},
  publisher = {ACM},
  year = {2006},
  pages = {470--480},
  url = {http://dl.acm.org/citation.cfm?id=1180733},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@incollection{zotero:london2006musicalrhyth,
  author = {London, Justin},
  editor = {King, Elaine and Gritten, Anthony},
  title = {Musical Rhythm: Motion, Pace and Gesture},
  booktitle = {Music and Gesture},
  publisher = {Ashgate},
  address = {Aldershot, Hampshire, England ; Burlington, VT},
  year = {2006},
  pages = {126--41},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:marshall2006onthedevelop,
  author = {Marshall, Mark and Peters, Nils and Jensenius, Alexander Refsum and Boissinot, Julien and Wanderley, Marcelo M. and Braasch, Jonas},
  title = {On the development of a system for gesture control of spatialization},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2006},
  pages = {360--366},
  url = {https://www.duo.uio.no/handle/10852/26924},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:lossius2006soundinstall,
  author = {Lossius, Trond},
  title = {Sound Installations and Other Cross-Diciplinary Projects Project Summary-Research Fellowship in the Arts},
  year = {2006},
  url = {http://www1.khib.no/khib/content/download/12249/107670/file/Project_summary_2006.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:yeo2006thebluetooth,
  author = {Yeo, W.S.},
  title = {The bluetooth radio ball interface (BRBI): a wireless interface for music/sound control and motion sonification},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {New Orleans, LA},
  year = {2006},
  pages = {270--273},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:levin2006thetableisth,
  author = {Levin, Golan},
  title = {The table is the score: An augmented-reality interface for real-time, tangible, spectrographic performance},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {New Orleans, LA},
  year = {2006},
  pages = {151--154},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@phdthesis{zotero:collins2006towardsauton,
  author = {Collins, Nick},
  title = {Towards Autonomous Agents for Live Computer Music: Realtime Machine Listening and Interactive Music Systems},
  school = {University of Cambridge},
  year = {2006},
  abstract = {Musical agents which can interact with human musicians in concert situations are a reality, though the extent to which they themselves embody human-like capabilities can be called into question. They are perhaps most correctly viewed, given their level of artificial intelligence technology, as `projected intelligences', a composer's anticipation of the dynamics of a concert setting made manifest in programming code. This thesis will describe a set of interactive systems developed for a range of musical styles and instruments, all of which attempt to participate in a concert by means of audio signal analysis alone. Machine listening, being the simulation of human peripheral auditory abilities, and the hypothetical modelling of central auditory and cognitive processes, is utilised in these systems to track musical activity. Whereas much of this modelling is inspired by a bid to emulate human abilities, strategies diverging from plausible human physiological mechanisms are often employed, leading to machine capabilities which exceed or differ from the human counterparts. Technology is described which detects events from an audio stream, further analysing the discovered events (typically notes) for perceptual features of loudness, pitch, attack time and timbre. In order to exploit processes that underlie common musical practice, beat tracking is investigated, allowing the inference of metrical structure which can act as a co-ordinative framework for interaction. Psychological experiments into human judgement of perceptual attack time and beat tracking to ecologically valid stimuli clarify the parameters and constructs that should most appropriately be instantiated in the computational systems. All the technology produced is intended for the demanding environment of realtime concert use. In particular, an algorithmic audio splicing and analysis library called BBCut2 is described, designed with appropriate processing and scheduling faculties for realtime operation. Proceeding to outlines of compositional applications, novel interactive music systems are introduced which have been tested in real concerts. These are evaluated by interviews with the musicians who performed with them, and an assessment of their claims to agency in the sense of `autonomous agents'. The thesis closes by considering all that has been built, and the possibilities for future advances allied to artificial intelligence and signal processing technology.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@phdthesis{zotero:gomez2006towardsaquan,
  author = {Gómez, Esteban Maestre},
  title = {Towards a quantitative description of instrumental gestures in excitation-continuous musical instruments},
  school = {Citeseer},
  year = {2006},
  url = {http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.62.5918&rep=rep1&type=pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:ng20073daugmentedm,
  author = {Ng, Kia C. and Weyde, Tillman and Larkin, Oliver and Neubarth, Kerstin and Koerselman, Thijs and Ong, Bee},
  title = {3d augmented mirror: a multimodal interface for string instrument learning and teaching with gesture support},
  booktitle = {Proceedings of the 9th international conference on Multimodal interfaces},
  publisher = {ACM},
  year = {2007},
  pages = {339--345},
  url = {http://dl.acm.org/citation.cfm?id=1322252},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@book{zotero:toplap2007aprehistoryo,
  author = {TOPLAP},
  title = {A Prehistory of Live Coding},
  year = {2007},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@incollection{zotero:burger2007displayingex,
  author = {Burger, Birgitta and Bresin, Roberto},
  title = {Displaying expression in musical performance by means of a mobile robot},
  booktitle = {Affective Computing and Intelligent Interaction},
  publisher = {Springer},
  year = {2007},
  pages = {753--754},
  url = {http://link.springer.com/chapter/10.1007/978-3-540-74889-2_83},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@inproceedings{zotero:martins2007emergentrhyt,
  author = {Martins, J. and Miranda, Eduardo R.},
  title = {Emergent rhythmic phrases in an A-Life environment},
  booktitle = {Proceedings of ECAL 2007 Workshop on Music and Artificial Life (MusicAL 2007)},
  year = {2007},
  pages = {10--14},
  url = {http://cmr.soc.plymouth.ac.uk/publications/MusicAL_Martins.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@book{zotero:anon2007evolutionary,
  editor = {Miranda, Eduardo Reck and Biles, Al},
  title = {Evolutionary computer music},
  publisher = {Springer},
  address = {London},
  year = {2007},
  isbn = {978-1-84628-599-8},
  keywords = {Computer composition, Evolutionary computation, Genetic algorithms},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:zhang2007evolvingexpr,
  author = {Zhang, Qijun and Miranda, Eduardo R.},
  title = {Evolving expressive music performance through interaction of artificial agent performers},
  booktitle = {Proceedings of ECAL 2007 Workshop on Music and Artificial Life},
  year = {2007},
  url = {http://cmr.soc.plymouth.ac.uk/Musical2007/papers/Zhang.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@phdthesis{zotero:thompson2007expressivege,
  author = {Thompson, Marc R.},
  title = {Expressive Gestures in Piano Performance},
  school = {University of Jyv\askyl\a},
  year = {2007},
  abstract = {This Graduate Thesis focuses on expressive body movement in piano performance. The first portion discusses topics related to musical gestures, including musical semiotics and music movement perception, culminating in a case study on the performance gestures of a famous pianist (Glenn Gould). After detailing how musical gesture research can affiliate with other research disciplines (music education, musical interface technology and music cognition), an empirical study is outlined and presented. This study reports on the playing of three pianists and their performances of a sixteen-measure excerpt from the Brahms Intermezzo Op.118 # 2. Each pianist participated in three or four sessions where they were asked to play the excerpt in different levels of expression: minimum, normal, maximum. Recorded using the Qualisys Motion Capture System, the data was analyzed in MATLAB using the Qualisys Toolbox. The analysis focused on the length of the performances between expressive manner and pianists, range of movement in accordance to expressive manner, correlating expressive gestures with musical structure such as phrasing and melodic direction and development of movement through multiple sessions. Interviews conducted during and after the data collecting process provided insight concerning the implicit and explicit knowledge musicians have of expressive gestures and possibly how the level of expressiveness used in a performance can predict personality. The main findings include that among the three pianists: there was a linear relationship between a performer's expressive intentions and the amount of expressive body movement during a performance, acceleration in head movement was observed between the start and end of adjacent musical phrases and head gestures correlated with the melodic structure with both complementing and reinforcing expressive movements. Although not conclusive, this thesis asserts that it has successfully established a framework for the commencement of future comprehensive and elaborate empirical study.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@article{zotero:maestre2007extendinggdi,
  author = {Maestre, Esteban and Janer, Jordi and Jensenius, Alexander R and Malloch, Joseph},
  title = {Extending GDIF for instrumental gestures: the case of violin performance},
  year = {2007},
  pages = {6},
  abstract = {The Gesture Description Interchange Format (GDIF) is currently being developed as a way to standardise the communication and storage of music-related body movement data. This paper presents an extension of GDIF to include instrumental gestures in violin performance. First, the measurement setup and the parameters we want to extract from the violin performance (e.g. bow velocity) is presented. Next we propose three levels of representation: acquisition (raw data), gestural and analytical. The gestural level is based on processed raw data, and focuses on instrumental gestures in a performance context. The analytical level stores mid- and higher-level quantitative and qualitative analyses of the data. Finally, we discuss how the information can be structured for streaming and storage respectively.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:vannort2007extractionof,
  author = {Van Nort, Doug and Gauthier, David and Wei, Sha Xin and Wanderley, Marcelo M.},
  title = {Extraction of Gestural Meaning from a Fabric-Based Instrument},
  booktitle = {Proceedings of the 2007 International Computer Music Conference (ICMC2007)},
  year = {2007},
  url = {http://topologicalmedialab.net/xinwei/papers/texts/vannort_etal_icmc07_final.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:marshall2007gesturecontr,
  author = {Marshall, Mark T. and Malloch, Joseph and Wanderley, Marcelo M.},
  title = {Gesture Control of Spatialization},
  booktitle = {7th International Workshop on Gesture in Human-Computer Interaction and Simulation},
  address = {Lisbon, Portugal},
  year = {2007},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@phdthesis{zotero:marschall2007machinecompo,
  author = {Marschall, Olav-Andreas},
  title = {Machine Composition - Between Lisp and Max},
  school = {University of Oslo},
  year = {2007},
  abstract = {This paper consists of three complementary parts. First, there are the fundamental problems and challenges about the foundations [1,2,9] of Machine Composition (MC), especially in relation to human composition. Second, there is the background of existing theory and experimental results from main areas of Machine Compositional Research and their constructions of prototypes [4,5,7]. And finally, the most practical part introduces two important environments or tools [3,6,8] for the construction of machine compositional systems. In the first chapter, a Sudoku algorithm is proposed and put into perspective with regard to musical and computational domains as a model for algorithmic as well as compositional activities. Many similarities are found to exist between the creative activities of computational problem solving and com-”positioning” in music. In the discussion of Bach, Bruckner and Debussy, interpretations of rule system design and expansion, instead of the conventional idea of the artist's “rule-breaking” are proposed as a better model for creativity. Recent computational trends attempt to “soften” programming cultures. A distinction between hard and soft algorithmic activities is proposed that accounts for both the similarities and differences between both activities. In chapter two, the origin of music is placed in the continuum of natural evolution, and this underlines the vital importance of musical learning and social culture. A musical learning cycle is employed to account for both prehistoric music learning and machine learning, and opens up a unified frame for man and machine. The objects that represent the parts of reality in computational as well as musicological domains are discussed and problematized. The many machine/AI paradigms and music systems choose radically different approaches to represent information and sound. The chapter concludes with the proposal of a procedural epistemology, based on pragmatic and empiricist epistemologies, both naturalizing and naturalized themselves, as exemplified in the ontic engineering and design for Machine Composition. In chapter four, five and seven, the various paradigms of Machine Composition and their AI techniques are exhibited and discussed. The improvisational system of Cypher (Rowe) is a typical MC system where many levels and modules of knowledge interrelate to produce a responsive and flexible player paradigm. Cypher is informed by theory and knowledge from the musical domain. In contrast, EMI (Cope), staged in chapter 5, is a typical inductive learning system that extracts style features (signatures) from a sample collection of known composer styles. EMI's Turing-test-like “Game”, where many people are failing to distinguish between machine and man creation, is discussed. In chapter 7, many of the more recent trends of MC are investigated. Especially mathematical and biologically oriented research is given attention. Music generated from fractals or chaos and music derived from evolutionary principles and adapted to synthetic environments are some of the newest methodologies. Todd and Werner's Frankensteinian methods for evolutionary composition are concluding the theoretical part of this paper. In chapter three and six, MAX and Lisp/CommonMusic are introduced and discussed. MAX's graphical and eclectic user interface is contrasted with the very 'general purpose' programming language of CommonLisp. Both approaches have significant relative advantages and disadvantages and seem to work even better in integration. In chapter eight, maxlisp, the embedded version of CLisp for Max/MSP is examined. Using maxlisp, a user may choose to build MAX-patches in various styles of MAX, supported by lisp-objects (maxlisp-objects) doing the rigorous computational tasks. Arguments in favor of integration and hybrid methodologies are endorsed. Finally, chapter nine, sums up some of the encountered notorious problems in and around MC. Questions concerning the classification of MC, questions of sceptical nature in general, interpretations about creativity and originality, as well as philosophical theories about music contribute to the proposal of a tentative framework of a machine compositional aesthetics, compatible with the evolutionary and Darwinistic theories about nature and culture alike. Last ned bibliografiske opplysninger til bruk for referanseverktøy ISI Direct Export Tool En av ISI ResearchSoft's' programmer (EndNote, Procite, Reference Manager) m a v ere installert for a bruke denne lenken. Redaksjon: duo-hjelp@ub.uio.no DUO Søk 2.1.1 (build 21.01.2010 17:07)},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:carot2007networkedmus,
  author = {Carôt, Alexander and Rebelo, Pedro and Renaud, Alain},
  title = {Networked music performance: State of the art},
  booktitle = {Audio Engineering Society Conference: 30th International Conference: Intelligent Audio Environments},
  publisher = {Audio Engineering Society},
  year = {2007},
  url = {http://www.aes.org/e-lib/browse.cfm?elib=13914},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@article{zotero:waters2007performancee,
  author = {Waters, Simon},
  title = {Performance Ecosystems: Ecological approaches to musical interaction},
  journal = {EMS: Electroacoustic Music Studies Network},
  year = {2007},
  pages = {1--20},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:steiner2007progressrepo,
  author = {Steiner, Hans-Christoph and Henry, Cyrille},
  title = {Progress report on the Mapping Library for Pd},
  booktitle = {Proceedings of PD Convention, Montreal},
  year = {2007},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:tsuruta2007realtimereco,
  author = {Tsuruta, S. and Kawauchi, Y. and Choi, W. and Hachimura, K.},
  title = {Real-Time Recognition of Body Motion for Virtual Dance Collaboration System},
  booktitle = {Artificial Reality and Telexistence, 17th International Conference on},
  year = {2007},
  pages = {23--30},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:hermann2007relevancebas,
  author = {Hermann, Thomas and Bunte, Kerstin and Ritter, Helge},
  title = {Relevance-based interactive optimization of sonification},
  publisher = {Georgia Institute of Technology},
  year = {2007},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@phdthesis{zotero:lossius2007soundspacebo,
  author = {Lossius, Trond},
  title = {Sound - Space - Body : Reflections on Artistic Practice},
  school = {Bergen National Academy of the Arts},
  address = {Bergen, Norway},
  year = {2007},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@article{zotero:pulkki2007spatialsound,
  author = {Pulkki, V.},
  title = {Spatial sound reproduction with directional audio coding},
  journal = {JOURNAL-AUDIO ENGINEERING SOCIETY},
  year = {2007},
  volume = {55},
  number = {6},
  pages = {503},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:rasamimanana2007stringbowing,
  author = {Rasamimanana, Nicolas and Bernardin, Delphine and Wanderley, Marcelo and Bevilacqua, Frédéric},
  title = {String bowing gestures at varying bow stroke frequencies: A case study},
  booktitle = {International Gesture Workshop},
  publisher = {Springer},
  year = {2007},
  pages = {216--226},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@inproceedings{zotero:essl2007thedesignspa,
  author = {Essl, Georg and Rohs, Michael},
  title = {The Design Space of Sensing-Based Interaction for Mobile Music Performance},
  booktitle = {Proceedings of the 3rd International Workshop on Pervasive Mobile Interaction},
  publisher = {Citeseer},
  year = {2007},
  url = {http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.105.9021&rep=rep1&type=pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@phdthesis{zotero:nymoen2007thenymophone,
  author = {Nymoen, Kristian},
  title = {The Nymophone2 – a study of a new multidimensionally controllable musical instrument},
  school = {University of Oslo},
  address = {Oslo},
  year = {2007},
  url = {http://urn.nb.no/URN:NBN:no-23430},
  keywords = {Acoustics, Instruments, GDIF, Nymophone, Playing Technique, Sound Taxonomies},
  abstract = {This thesis presents documentation, theory and evaluation of the musical instrument "Nymophone2". The Nymophone2 was made as the practical part of this two-part master's project. The main goal of the thesis is to investigate complexity in instrument control for a multidimensionally controllable musical instrument. To investigate this I refer to Pierre Schaeffer's theory of the Sonic object, Curt Sachs and Erich M. von Hornbostel's as well as Herbert Heyde's systems for instrument description and classification, Tellef Kvifte's system for description of playing technique, and current research on music-related movement. I present acoustic and some psycho-acoustic features of the Nymophone2, and present playing technique of the instrument in light of the above mentioned theory and GDIF development.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:dannenberg2007thecarnegiem,
  author = {Dannenberg, Roger B. and Cavaco, Sofia and Ang, Eugene and Avramovic, Igor and Aygun, Barkin and Baek, Jinwook and Barndollar, Erik and Duterte, Daniel and Grafton, Jeffrey and Hunter, Robert},
  title = {The carnegie mellon laptop orchestra},
  year = {2007},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@inproceedings{zotero:jorda2007thereactable,
  author = {Jordà, Sergi and Geiger, Günter and Alonso, Marcos and Kaltenbrunner, Martin},
  title = {The reacTable: Exploring the Synergy Between Live Music Performance and Tabletop Tangible Interfaces},
  booktitle = {Proceedings of the 1st International Conference on Tangible and Embedded Interaction},
  publisher = {ACM},
  address = {New York, NY, USA},
  year = {2007},
  pages = {139--146},
  isbn = {978-1-59593-619-6},
  doi = {10.1145/1226969.1226998},
  keywords = {Design, musical instrument, tangible interfaces, interaction techniques, musical performance, tabletop interfaces},
  abstract = {In recent years we have seen a proliferation of musical tables. Believing that this is not just the result of a tabletop trend, in this paper we first discuss several of the reasons for which live music performance and HCI in general, and musical instruments and tabletop interfaces in particular, can lead to a fertile two-way cross-pollination that can equally benefit both fields. After that, we present the reac Table, a musical instrument based on a tabletop interface that exemplifies several of these potential achievements.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:peters2007trakhueintui,
  author = {Peters, Nils and Evans, Megan and Britton, Eliot},
  title = {Trakhue - Intuitive Gestural Control of Live Electronics},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {Copenhagen},
  year = {2007},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:castellano2007usercentered,
  author = {Castellano, Ginevra and Bresin, Roberto and Camurri, Antonio and Volpe, Gualtiero},
  title = {User-centered control of audio and visual expressive feedback by full-body movements},
  booktitle = {Affective computing and intelligent interaction},
  publisher = {Springer Berlin Heidelberg},
  address = {Berlin, Heidelberg},
  year = {2007},
  pages = {501--510},
  isbn = {978-3-540-74889-2},
  abstract = {In this paper we describe a system allowing users to express themselves through their full-body movement and gesture and to control in real-time the generation of an audio-visual feedback. The systems analyses in real-time the user's full-body movement and gesture, extracts expressive motion features and maps the values of the expressive motion features onto real-time control of acoustic parameters for rendering a music performance. At the same time, a visual feedback generated in real-time is projected on a screen in front of the users with their coloured silhouette, depending on the emotion their movement communicates. Human movement analysis and visual feedback generation were done with the EyesWeb software platform and the music performance rendering with pDM. Evaluation tests were done with human participants to test the usability of the interface and the effectiveness of the design.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:brown2007aacellinprac,
  author = {Brown, Andrew R. and Sorensen, Andrew C.},
  title = {aa-cell in practice: An approach to musical live coding},
  booktitle = {Proceedings of the International Computer Music Conference},
  publisher = {International Computer Music Association},
  year = {2007},
  pages = {292--299},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:bukvic2007munger1towar,
  author = {Bukvic, Ivica Ico and Kim, J. and Trueman, D. and Grill, T.},
  title = {munger1: Towards a cross-platform swiss-army knife of real-time granular synthesis},
  booktitle = {Proc. ICMC},
  year = {2007},
  url = {http://grrrr.org/pub/bukvic-2007-ICMC-munger.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@phdthesis{zotero:diazmarino2008avisualprogr,
  author = {Diaz-Marino, Roberto Arturo},
  title = {A visual programming language for live video sonification},
  school = {University of Calgary},
  year = {2008},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@article{zotero:costalonga2008agentbasedgu,
  author = {Costalonga, Leandro L. and Vicari, Rosa M. and Miletto, Evandro M.},
  title = {Agent-based guitar performance simulation},
  journal = {Journal of the Brazilian Computer Society},
  year = {2008},
  volume = {14},
  number = {3},
  pages = {19--29},
  url = {http://www.scielo.br/scielo.php?pid=S0104-65002008000300003&script=sci_arttext},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@book{zotero:mitchell2008basicsynthcr,
  author = {Mitchell, Daniel R.},
  title = {BasicSynth: creating a music synthesizer in software},
  publisher = {Daniel R. Mitchell},
  address = {United States},
  year = {2008},
  isbn = {978-0-557-02212-0},
  keywords = {composing/producing, Performance, Synthesis, C++, DIY},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:lossius2008controllings,
  author = {Lossius, Trond},
  title = {Controlling Spatial Sound Within an Installation Art Context},
  booktitle = {Proceedings of the 2008 International Computer Music Conference},
  address = {Belfast},
  year = {2008},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:kirisits2008creativeinte,
  author = {Kirisits, N. and Behrendt, F. and Gaye, L. and Tanaka, A},
  title = {Creative Interactions—The Mobile Music Workshops 2004–2008},
  publisher = {University of Applied Arts},
  address = {Vienna},
  year = {2008},
  url = {http://eprints.bright on.ac.uk/12482/},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@phdthesis{zotero:hollinger2008designoffmri,
  author = {Hollinger, Avrum},
  title = {Design of fMRI-compatible electronic musical interfaces},
  school = {McGill University},
  year = {2008},
  abstract = {The designs of two functional magnetic resonance imaging-compatible electronic interfaces for use in neuropsychological studies involving musical tasks are presented. The devices, a two-button response box in the form of a computer mouse and a piano keyboard, were designed for rhythmic tapping and piano performance tasks, respectively. In order to corre- late changes in neural activation acquired through magnetic resonance imaging (MRI) with task performance, the electronic collection of behavioural data, such as the timing of button or key presses was required. These behavioural measures were captured electronically and communicated to a host computer for synchronization with feedback, stimuli, and the MRI scanner itself. As well, data was logged for offline analysis. Due to the intense and volatile electromagnetic fields, most commercially-available electronic interfaces do not function properly and can even pose a serious safety hazard within the MRI scanner environment. Therefore these custom-designed interfaces were free of ferromagnetic parts and all elec- tronic components were relegated to the control room outside of the scanner environment. Acquisition of button and key presses was accomplished using fibre optic sensors, which are immune to electromagnetic interference. The devices performed successfully within the scanner, and MRI scans showed no image artifacts caused by the prototypes. Sens- ing of key and button transition velocity was sufficient after extensive calibration. Next generation prototypes are planned and will implement more robust and tighter tolerance manufacturing, improved sensing techniques, the acquisition of isometric forces, and an auto-calibration scheme.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:miranda2008digitalsound,
  author = {Miranda, Eduardo R.},
  title = {Digital Sound Synthesis for Multimedia Audio},
  journal = {Wiley Encyclopedia of Computer Science and Engineering},
  year = {2008},
  url = {http://onlinelibrary.wiley.com/doi/10.1002/9780470050118.ecse075/full},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:varni2008emotionalent,
  author = {Varni, Giovanna and Camurri, Antonio and Coletta, Paolo and Volpe, Gualtiero},
  title = {Emotional entrainment in music performance},
  booktitle = {Automatic Face & Gesture Recognition, 2008. FG'08. 8th IEEE International Conference on},
  publisher = {IEEE},
  year = {2008},
  pages = {1--5},
  url = {http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=4813433},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:place2008flexiblecont,
  author = {Place, Timothy and Lossius, Trond and Jensenius, Alexander Refsum and Peters, Nils},
  title = {Flexible Control of Composite Parameters in Max/Msp},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {Belfast},
  year = {2008},
  pages = {233--236},
  url = {http://urn.nb.no/URN:NBN:no-20631},
  abstract = {Fundamental to the development of musical or artistic creative work is the ability to transform raw materials. This ability implies the facility to master many facets of the material, and to shape it with plasticity. Computer music environments typically provide points of control to manipulate material by supplying parameters with controllable values. This capability to control the values of parameters is inadequate for many artistic endeavors, and does not reflect the analogous tools and methods of artists working with physical materials. Rather than viewing parameters in computer-based systems as single points of control, the authors posit that parameters must become more multifaceted and dynamic in order to serve the needs of artists. The authors propose an expanded notion of how to work with parameters in computer-centric environments for time-based art. A proposed partial solution to this problem is to give parameters additional properties that define their behavior. An example implementation of these ideas is presented in Jamoma.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@incollection{zotero:dahlstedt2008freeflightin,
  author = {Dahlstedt, Palle and Nilsson, Per Anders},
  title = {Free flight in parameter space: A dynamic mapping strategy for expressive free impro},
  booktitle = {Applications of Evolutionary Computing},
  publisher = {Springer},
  year = {2008},
  pages = {479--484},
  url = {http://link.springer.com/chapter/10.1007/978-3-540-78761-7_51},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:peters2008hapticillusi,
  author = {Peters, Deniz and Eckel, Gerhard},
  title = {Haptic Illusions in Sonic Interaction},
  booktitle = {Submitted to SID CHI},
  year = {2008},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@inproceedings{zotero:schmeder2008implementati,
  author = {Schmeder, A. and Freed, A.},
  title = {Implementation and applications of open sound control timestamps},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2008},
  pages = {655--658},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@phdthesis{zotero:frisk2008improvisatio,
  author = {Frisk, Henrik},
  title = {Improvisation, Computers and Interaction Rethinking Human-Computer Interaction Through Music},
  school = {Malmö Academy of Music},
  year = {2008},
  abstract = {Interaction is an integral part of all music. Interaction is part of listening, of playing, of composing and even of thinking about music. In this thesis the multiplicity of modes in which one may engage interactively in, through and with music is the starting point for rethinking Human-Computer Interaction in general and Interactive Music in particular. I propose that in Human-Computer interaction the methodology of control, interaction-as-control, in certain cases should be given up in favor for a more dynamic and reciprocal mode of interaction, interaction-as-difference: Interaction as an activity concerned with inducing differences that make a difference. Interaction-as-difference suggests a kind of parallelity rather than click-and-response. In essence, the movement from control to difference was a result of rediscovering the power of improvisation as a method for organizing and constructing musical content and is not to be understood as an opposition: It is rather a broadening of the more common paradigm of direct manipulation in Human-Computer Interaction. Improvisation is at the heart of all the sub-projects included in this thesis, also, in fact, in those that are not immediately related to music but more geared towards computation. Trusting the self-organizing aspect of musical improvisation, and allowing it to diffuse into other areas of my practice, constitutes the pivotal change that has radically influenced my artistic practice. Furthermore, is the work-in-movement (re-)introduced as a work kind that encompasses radically open works. The work-in-movement, presented and exemplified by a piece for guitar and computer, requires different modes of representation as the traditional musical score is too restrictive and is not able to communicate that which is the most central aspect: the collaboration, negotiation and interaction. The Integra framework and the relational database model with its corresponding XML representation is proposed as a means to produce annotated scores that carry past performances and version with it. The common nominator, the prerequisite, for interaction-as-difference and a improvisatory and self-organizing attitude towards musical practice it the notion of giving up of the Self. Only if the Self is able and willing to accept the loss the priority of interpretation (as for the composer) or the faithfulness to ideology or idiomatics (performer). Only is one is willing to forget is interaction-as-difference made possible. Among the artistic works that have been produced as part of this inquiry are some experimental tools in the form of computer software to support the proposed concepts of interactivity. These, along with the more traditional musical work make up both the object and the method in this PhD project. These sub-projects contained within the frame of the thesis, some (most) of which are still works-in-progress, are used to make inquiries into the larger question of the significance of interaction in the context of artistic practice involving computers.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:dahl2008motorcontrol,
  author = {Dahl, Sofia and Altenmüller, Eckart},
  title = {Motor control in drumming: Influence of movement pattern on contact force and sound characteristics},
  booktitle = {Acoustics},
  address = {Paris},
  year = {2008},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@phdthesis{zotero:overholt2008musicalinter,
  author = {Overholt, Dan},
  title = {Musical Interface Technology: Multimodal Control of Multidimensional Parameter Spaces for Electroacoustic Music Performance},
  school = {University of California, Santa Barbara},
  year = {2008},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@techreport{zotero:nymoen2008smatechnical,
  author = {Nymoen, Kristian},
  title = {SMA Technical Report The Nymophone2 - a study of a new multidimensionally controllable musical instrument},
  institution = {Universitetet i Oslo},
  year = {2008},
  abstract = {Technical report from pilot studies in the Sensing Music-related Actions group. The report presents simple motion sensor technology and issues regarding pre-processing of music-related motion data. This thesis presents documentation, theory and evaluation of the musical instrument "Nymophone2". The Nymophone2 was made as the practical part of this two-part master's project. The main goal of the thesis is to investigate complexity in instrument control for a multidimensionally controllable musical instrument. To investigate this I refer to Pierre Schaeffer's theory of the Sonic object, Curt Sachs and Erich M. von Hornbostel's as well as Herbert Heyde's systems for instrument description and classification, Tellef Kvifte's system for description of playing technique, and current research on music-related movement. I present acoustic and some psycho-acoustic features of the Nymophone2, and present playing technique of the instrument in light of the above mentioned theory and GDIF development.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:peters2008spatialsound,
  author = {Peters, N. and Matthews, T. and Braasch, J. and McAdams, S.},
  title = {Spatial sound rendering in Max/MSP with ViMiC},
  booktitle = {Proceedings of the 2008 International Computer Music Conference},
  year = {2008},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:brown2008theneuroscie,
  author = {Brown, Steven and Parsons, Lawrence M.},
  title = {The Neuroscience of Dance},
  journal = {Scientific American},
  year = {2008},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:wilmers2009bowsenseanop,
  author = {Wilmers, Hans},
  title = {Bowsense – an Open Wireless Motion Sensing Platform},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {Montreal, Canada},
  year = {2009},
  pages = {287--290},
  url = {http://hdl.handle.net/2027/spo.bbp2372.2009.064},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@book{zotero:cottle2009computermusi,
  author = {Cottle, David Michael},
  title = {Computer Music with examples in SuperCollider 3},
  year = {2009},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:miranda2009computermusi,
  author = {Miranda, Eduardo R. and Bull, Larry and Gueguen, François and Uroukov, Ivan S.},
  title = {Computer music meets unconventional computing: towards sound synthesis with in vitro neuronal networks},
  journal = {Computer Music Journal},
  year = {2009},
  volume = {33},
  number = {1},
  pages = {9--18},
  url = {http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2009.33.1.9},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@article{zotero:rocchesso2009designingcon,
  author = {Rocchesso, Davide and Polotti, Pietro and Delle Monache, Stefano},
  title = {Designing continuous sonic interaction},
  journal = {International Journal of Design},
  year = {2009},
  volume = {3},
  number = {3},
  pages = {13--25},
  url = {http://rice.iuav.it/138/},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@book{zotero:saffer2009designingges,
  author = {Saffer, Dan},
  title = {Designing gestural interfaces},
  publisher = {O'Reilly},
  address = {Beijing ; Cambridge},
  year = {2009},
  isbn = {978-0-596-51839-4},
  keywords = {User interfaces (Computer systems), Geste, Human-computer interaction, Interaction homme-machine (Informatique), Interfaces utilisateurs (Informatique), Mensch-Maschine-Schnittstelle, Touchscreen},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@book{zotero:robertson2009eisensteinon,
  author = {Robertson, Robert},
  title = {Eisenstein on the Audiovisual: The Montage of Music, Image and Sound in Cinema},
  publisher = {I. B. Tauris},
  year = {2009},
  isbn = {978-1-84511-839-6},
  keywords = {Philosophy / Aesthetics, Performing Arts / Film & Video / General, Performing Arts / Film & Video / History & Criticism},
  abstract = {The pioneering film director and theorist Sergei Eisenstein is known for the unequalled impact his handful of films have had on the development of cinema. Less is known about his remarkable and extensive writings, which present a continent of ideas about film. Here Robert Robertson explores a significant area of Eisenstein’s thought: his ideas about the audiovisual in cinema, which are more pertinent today than ever before with the advent of digital technology--music and sound now act as independent variables combined with the visual medium to produce a truly audiovisual result. Eisenstein explored in his writings this complex exciting subject with more depth and originality than any other practitioner. Eisenstein on the Audiovisual is essential reading for anyone who deals with the audiovisual in cinema and related audiovisual forms, including theatre, opera, dance and multimedia.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@incollection{zotero:gody2009geometryande,
  author = {Godøy, Rolf Inge},
  editor = {al, M. Sales Dias et},
  title = {Geometry and Effort in Gestural Renderings of Musical Sound},
  booktitle = {GW 2007},
  publisher = {Springer-Verlag Berlin Heidelberg},
  year = {2009},
  volume = {LNAI 5085},
  pages = {205--215},
  abstract = {As may be seen at concerts and in various everyday listening situations, people often make spontaneous gestures when listening to music. We believe these gestures are interesting to study because they may reveal important features of musical experience. In particular, hand movements may give us information on what features are perceived as salient by listeners. Based on various current ideas on embodied cognition, the aim of this paper is to argue that gestures are integral to music perception, and to present research in support of this. A conceptual model of separating geometry and effort is presented in order to better understand the variety of music-related gestures we may observe, leading up to some ideas on how to apply this conceptual model in present and future research.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:pauletto2009interactives,
  author = {Pauletto, Sandra and Hunt, Andy},
  title = {Interactive sonification of complex data},
  journal = {International Journal of Human-Computer Studies},
  year = {2009},
  volume = {67},
  number = {11},
  pages = {923--933},
  url = {https://www.sciencedirect.com/science/article/pii/S1071581909000706},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@article{zotero:kotz2009maxneuhausso,
  author = {Kotz, Liz},
  title = {Max Neuhaus: Sound into Space},
  journal = {Max Neuhaus: Times Square, Time Piece Beacon},
  year = {2009},
  pages = {92--111},
  url = {http://faculty.ucr.edu/~ewkotz/texts/Kotz-2009-Dia-Neuhaus-proof.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:knapp2009measuremento,
  author = {Knapp, R.B. and Jaimovich, J. and Coghlan, N.},
  title = {Measurement of Motion and Emotion during Musical Performance},
  booktitle = {Proceedings of the IEEE International Conferece on Affective Computing and Intelligent Interaction},
  year = {2009},
  volume = {1735–739},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:demoucron2009measuringbow,
  author = {Demoucron, M. and Askenfelt, A. and Caussé, R.},
  title = {Measuring bow force in bowed string performance: Theory and implementation of a bow force sensor},
  journal = {Acta Acustica united with Acustica},
  year = {2009},
  volume = {95},
  number = {4},
  pages = {718--732},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@techreport{zotero:jensenius2009motioncaptur,
  author = {Jensenius, Alexander Refsum},
  title = {Motion capture studies of action-sound couplings in sonic interaction},
  institution = {Short Term Scientific Mission Report, EU COST Action Sonic Interaction Design (SID)},
  year = {2009},
  url = {http://hdl.handle.net/10852/26888},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:freed2009musicalappli,
  author = {Freed, Adrian and McCutchen, Devin and Schmeder, Andy and Skriver, Anne-Marie and Hansen, Dan Overholt and Burleson, Winslow and Nørgaard, Camilla and Mesker, Alex},
  title = {Musical applications and design techniques for the gametrak tethered spatial position controller},
  booktitle = {Proceedings of the 6th Sound and Music Computing Conference},
  year = {2009},
  pages = {23--25},
  url = {http://smc2009.smcnetwork.org/programme/pdfs/243.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@phdthesis{zotero:dalessandro2009realtimeanda,
  author = {d'Alessandro, Nicolas},
  title = {Realtime and Accurate Musical Control of Expression in Voice Synthesis},
  school = {University of Mons},
  year = {2009},
  url = {http://www.nicolasdalessandro.net/phd/phd-print.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:jensenius2009reduceddispl,
  author = {Jensenius, Alexander Refsum and Skogstad, Ståle and Nymoen, Kristian and Torresen, Jim and Høvin, Mats Erling},
  title = {Reduced displays of multidimensional motion capture data sets of musical performance},
  booktitle = {Proceedings of the Conference of the European Society for the Cognitive Sciences of Music},
  address = {Jyväskylä, Finland},
  year = {2009},
  abstract = {1. Background: Carrying out research on music-related body movements involves working with different types of data (e.g. motion capture and sensor data) and media (i.e. audio, video), each having its own size, dimensions, speed etc. While each of the data types and media have their own analytical tools and representation techniques, we see the need for developing more tools that allow for studying all the data and media together in a synchronised manner. We have previously developed solutions for studying musical sound and movement using synchronised spectrograms of audio and motiongrams of video. Now as we have started using an infrared motion capture system in our research, we see the need for better techniques for visualising the multidimensional data sets (e.g. 50 markers x 3 dimensions x 100 Hz). While there are several techniques for doing this independently of audio and video, we are working on tools that integrate well with our displays of spectrograms and motiongrams. 2. Aims: Creating reduced representations of multidimensional motion capture data of complex music-related body movement that can be used together with spectrograms and motiongrams. 3. Method (if applicable) 4. Results/Main Contribution: We present some of the visualisation techniques we have been developing to display multidimensional data sets: 1) reduction based on collapsing dimensions, 2) reduction based on frame differencing, 3) colour coding of movement features. Examples are given of how these techniques allow for displaying reduced displays of multidimensional motion capture data sets synchronised with spectrograms and motiongrams. 5. Conclusions/Implications: The techniques presented allows for studying relationships between movement and sound in music performance, and make it possible to create visual displays of movement and sound that can be used on screen and in printed documents.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:miller2009schizophonic,
  author = {Miller, K.},
  title = {Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity},
  journal = {Journal of the Society for American Music},
  year = {2009},
  volume = {3},
  number = {04},
  pages = {395--429},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:leman2009sharingmusic,
  author = {Leman, Marc and Desmet, Frank and Styns, Frederik and Van Noorden, Leon and Moelants, Dirk},
  title = {Sharing Musical Expression Through Embodied Listening: A Case Study Based on Chinese Guqin Music},
  journal = {Music Perception: An Interdisciplinary Journal},
  year = {2009},
  volume = {26},
  number = {3},
  pages = {263--278},
  doi = {10.1525/mp.2009.26.3.263},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@inproceedings{zotero:schoon2009sonification,
  author = {Schoon, Andi and Dombois, Florian},
  title = {Sonification in Music},
  booktitle = {Proceedings of the International Conference on Auditory Display},
  address = {Denmark},
  year = {2009},
  abstract = {Seen from the vantage point of cultural history, contemporary sonification is essentially characterised by two aspects that to date have seldom been considered in combination: the first aspect is sonification as the transformation of the inaudible into the sphere of the audible, and the second its use as an instrument for gaining knowledge via the concrete listening experience. One of the aims of the research project “Denkgeräusche” ("Sounds of Thought"), conducted at Bern University of the Arts, was to make a contribution to a (yet unwritten) cultural history of sonification. With this target in mind, a database was compiled of historical and contemporary musical compositions in which procedures associated with sonification were employed.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:palmer2009synchronizat,
  author = {Palmer, Caroline and Koopmans, Erik and Carter, Christine and Loehr, Janeen D. and Wanderley, Marcelo},
  title = {Synchronization of motion and timing in clarinet performance},
  booktitle = {International symposium on performance science},
  publisher = {Citeseer},
  year = {2009},
  pages = {1--6},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:goebl2009synchronizat,
  author = {Goebl, Werner and Palmer, Caroline},
  title = {Synchronization of timing and motion among performing musicians},
  journal = {Music Perception},
  year = {2009},
  volume = {26},
  number = {5},
  pages = {427--438},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@book{zotero:watson2009thebiologyof,
  author = {Watson, Alan H. D.},
  title = {The Biology of Musical Performance and Performance-Related Injury},
  publisher = {Scarecrow press},
  address = {Plymouth},
  year = {2009},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@mastersthesis{zotero:riisjr2009theeboyinstr,
  author = {Riis jr., Boye},
  title = {The eBoy instrument},
  year = {2009},
  url = {http://urn.nb.no/URN:NBN:no-23983},
  abstract = {In the context of controllers for sound synthesis, the keyboard and the mouse are limited as controllers. This has motivated me to develop two hand-held controllers. In this two-part Master's pro ject, the first part is the practical development of a digital musical instrument for real-time processing I have named the eBoy Instrument. The second part is this thesis, in which I document and present a theoretical evaluation of the eBoy Instrument. An iterative methodology was used as a framework for the design process, in which two final control concepts were developed. The first concept is easy to use, while the second concept is harder to use. Analysis of sensor data and sound output has shown that concept number two has a better coupling between action and sound. Qualitative and quantitative evaluations have shown that 11 participants with a high degree of musical training selected concept number two as the best solution to control sound synthesis. A theoretical evaluation, supported by observations of 11 participants, indicates that the eBoy Instrument functions well as a controller of sound synthesis.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@article{zotero:schoonderwaldt2009theplayerand,
  author = {Schoonderwaldt, Erwin},
  title = {The player and the bowed string: Coordination and control of bowing parameters in violin and viola performance},
  journal = {J. Acoust. Soc. Am.},
  year = {2009},
  volume = {126},
  number = {5},
  pages = {2709--2720},
  doi = {10.1121/1.3203209},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:tremblay2009thinkinginsi,
  author = {Tremblay, Pierre Alexandre and McLaughlin, Scott},
  title = {Thinking Inside the Box: A New Integrated Approach to Mixed Music Composition and Performance},
  booktitle = {Proceedings of the International Computer Music Conference (ICMC 2009), Montréal, Canada, August 16–21, 2009},
  publisher = {International Computer Music Association},
  year = {2009},
  pages = {379--386},
  url = {http://eprints.hud.ac.uk/4081/},
  abstract = {The Thinking Inside the Box project (TItB) seeks to address pragmatic concerns inherent to mixed music performance, and proposes ways to better consider the sound of the acoustic reality of the concert space at studio composition time. This is achieved through empirical investigation into subversive use of recent developments in hardware and software technologies. The primary concerns are (1) optimising the integration of live instruments and electroacoustic sound in the concert hall environment for both the performers and the public, by carefully choosing loudspeaker types and placement at commission time, and by avoiding sound reinforcement; (2) minimizing for studio composers the insitu trauma of the first live rendition of the piece, by bringing the concert hall acoustic environment into the studio composition process, using convolution reverb to reproduce in the studio the given loudspeaker setup through its impulse responses. This paper presents the conclusions of the project's early experiments in the form of three case study sets, and describes how this approach will be of use for any composer of mixed music.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@book{zotero:peters2009vimicvirtual,
  author = {Peters, Nils},
  title = {ViMiC - Virtual Microphone Control for Max/MSP},
  year = {2009},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:leslie2009wavefieldsyn,
  author = {Leslie, Grace and Schwarz, Diemo and Warusfel, Olivier and Bevilacqua, Frederic and Jodlowski, Pierre},
  title = {Wavefield synthesis for interactive sound installations},
  year = {2009},
  pages = {4},
  abstract = {Wavefield synthesis (WFS), the spatialization of audio through the recreation of a virtual source’s wavefront, is uniquely suited to interactive applications where listeners move throughout the rendering space and more than one listener is involved. This paper describes the features of WFS that make it useful for interactive applications, and takes a recent project at Ircam as a case study which demonstrates these advantages.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@phdthesis{zotero:savard2009whengestures,
  author = {Savard, Alexandre},
  title = {When gestures are perceived through sounds: A framework for sonification of musicians’ ancillary gestures},
  school = {Citeseer},
  year = {2009},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:jensenius2010avideobaseda,
  author = {Jensenius, Alexander Refsum and Johnson, Victoria},
  title = {A video based analysis system for realtime control of concatenative sound synthesis and spatialisation},
  booktitle = {Proceedings of Norwegian Artificial Intelligence Symposium},
  publisher = {Tapir Akademisk Forlag},
  address = {Trondheim},
  year = {2010},
  pages = {85--88},
  url = {http://urn.nb.no/URN:NBN:no-28129},
  abstract = {We report on the development of a video based analysis system that controls concatenative sound synthesis and sound spatialisation in realtime in concert performances. The system has been used in several pieces, most recently Transformation for electric violin and live electronics, where the performer controls sound playback through motion on stage.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:dannenberg2010aurafxasimpl,
  author = {Dannenberg, Roger and Kotcher, Robert},
  title = {AuraFX: a Simple and Flexible Approach to Interactive Audio Effect-Based Composition and Performance},
  booktitle = {Proceedings of the 2010 International Computer Music Conference},
  address = {New York, NY},
  year = {2010},
  pages = {147--152},
  abstract = {An interactive sound processor is an important tool for just about any modern composer. Performers and composers use interactive computer systems to process sound from live instruments. In many cases, audio processing could be handled using off-the-shelf signal processors. However, most composers favor a system that is more open-ended and extensible. Programmable systems are open-ended, but they leave many details to the composer, including graphical control interfaces, mixing and cross-fade automation, saving and restoring parameter settings, and sequencing through configurations of effects. Our work attempts to establish an architecture that provides these facilities without programming. It factors the problem into a framework, providing common elements for all compositions, and custom modules, extending the framework with unique effects and signal processing capabilities. Although we believe the architecture could be supported by many audio programming systems, we have created a particular instantiation (AuraFX) of the architecture using the Aura system.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:bresin2010expressiveso,
  author = {Bresin, Roberto and de Witt, Anna and Papetti, Stefano and Civolani, Marco and Fontana, Federico},
  title = {Expressive Sonification of Footstep Sounds},
  booktitle = {Proceedings of ISon 2010, 3rd Interactive Sonification Workshop, KTH, Stockholm, Sweden, April 7, 2010},
  year = {2010},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@incollection{zotero:gody2010gestureaffor,
  author = {Godøy, Rolf Inge},
  editor = {Godøy, Rolf Inge and Leman, Marc},
  title = {Gesture Affordances of Musical Sound},
  booktitle = {Musical Gestures - Sound, Movement, and Meaning},
  publisher = {Routledge},
  address = {New York},
  year = {2010},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:bouenard2010gesturecontr,
  author = {Bouënard, Alexandre and Wanderley, Marcelo M. M. and Gibet, Sylvie},
  title = {Gesture Control of Sound Synthesis: Analysis and Classification of Percussion Gestures},
  journal = {Acta Acustica united with Acustica},
  year = {2010},
  volume = {96},
  number = {4},
  pages = {668--677},
  doi = {10.3813/AAA.918321},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@incollection{zotero:dahl2010gesturesinpe,
  author = {Dahl, S. and Bevilacqua, F. and Bresin, R. and Clayton, M. and Leante, L. and Poggi, I. and Rasamimanana, N.},
  editor = {Godøy, Rolf Inge and Leman, Marc},
  title = {Gestures in Performance},
  booktitle = {Musical Gestures: Sound, Movement and Meaning},
  publisher = {Routledge},
  address = {New York, NY},
  year = {2010},
  pages = {36--68},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:leslie2010grainstickac,
  author = {Leslie, Grace and Zamborlin, Bruno and Jodlowski, Pierre and Schnell, Norbert},
  title = {Grainstick: A collaborative, interactive sound installation},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {New York},
  year = {2010},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:yang2010lightupcreat,
  author = {Yang, Yu-Chen and Wang, Sheng-Tien and Tseng, Yi-Jen and Lin, Hao-Chiang Koong},
  title = {Light up! Creating an interactive digital artwork based on Arduino and Max/MSP design},
  booktitle = {Computer Symposium (ICS), 2010 International},
  publisher = {IEEE},
  year = {2010},
  pages = {258--263},
  url = {http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=5685506},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:anon2010musicalgestu,
  editor = {Godøy, Rolf Inge and Leman, Marc},
  title = {Musical Gestures: Sound, Movement, and Meaning},
  publisher = {Routledge},
  address = {New York},
  year = {2010},
  url = {https://books.google.no/books/about/Musical_Gestures.html?id=lHaMAgAAQBAJ&redir_esc=y},
  abstract = {We experience and understand the world, including music, through body movement–when we hear something, we are able to make sense of it by relating it to our body movements, or form an image in our minds of body movements. Musical Gestures is a collection of essays that explore the relationship between sound and movement. It takes an interdisciplinary approach to the fundamental issues of this subject, drawing on ideas, theories and methods from disciplines such as musicology, music perception, human movement science, cognitive psychology, and computer science.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:jacucci2010participarte,
  author = {Jacucci, Giulio and Wagner, Mira and Wagner, Ina and Giaccardi, Elisa and Annunziato, Mauro and Breyer, Nell and Hansen, Jonas and Jo, Kazuhiro and Ossevoort, Stijn and Perini, Alessandro and Roussel, Natacha and Schuricht, Susanne},
  title = {ParticipArt: Exploring participation in interactive art installations},
  booktitle = {2010 IEEE International Symposium on Mixed and Augmented Reality - Arts, Media, and Humanities},
  year = {2010},
  pages = {3--10},
  doi = {10.1109/ISMAR-AMH.2010.5643313},
  keywords = {Legged locomotion, Art, Rhythm, Context, Media, Human computer interaction, interactive art, Participation, performative interaction, TV},
  abstract = {ParticipART is an initiative aimed at exploring participation in interactive works using ubiquitous computing and mixed reality. It supports and analyses work of artists and creative practitioners incorporating or reflecting on participatory processes to support new roles and forms of engagement for art participants. We aim at proposing a space for discussion that can enliven and enrich the dialogue between human-computer interaction and the creative practices. We present several works that have been exhibited and experienced. The works are used to reflect on the different participative strategies and the role of interaction technologies: enabling authorship, affording connectivity, interacting with artificial beings, reinterpreting the visitor world, and engaging in performative acts.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:smithiii2010physicalaudi,
  author = {Smith III, Julius O.},
  title = {Physical audio signal processing: For virtual musical instruments and audio effects},
  publisher = {W3K Publishing},
  year = {2010},
  url = {https://ccrma.stanford.edu/~jos/pasp/},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:rothenberg2010playingintot,
  author = {Rothenberg, David and Neill, Ben},
  title = {Playing into the Machine: Improvising across the Electronic Abyss},
  journal = {Leonardo Music Journal},
  year = {2010},
  volume = {20},
  pages = {19--20},
  url = {http://www.mitpressjournals.org/doi/abs/10.1162/LMJ_a_00006},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@article{zotero:welch2010programmingm,
  author = {Welch, Chapman},
  title = {Programming Machines and People: Techniques for Live Improvisation with Electronics},
  journal = {Leonardo Music Journal},
  year = {2010},
  volume = {20},
  pages = {25--28},
  url = {http://www.mitpressjournals.org/doi/abs/10.1162/LMJ_a_00008},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@article{zotero:nicolls2010seekingoutth,
  author = {Nicolls, Sarah},
  title = {Seeking out the spaces between: Using improvisation in collaborative composition with interactive technology},
  journal = {Leonardo Music Journal},
  year = {2010},
  volume = {20},
  pages = {47--55},
  url = {http://www.mitpressjournals.org/doi/abs/10.1162/LMJ_a_00012},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:ferguson2010themcgilldig,
  author = {Ferguson, Sean and Wanderley, Marcelo M.},
  title = {The McGill Digital Orchestra: An interdisciplinary project on digital musical instruments},
  journal = {Journal of Interdisciplinary Music Studies},
  year = {2010},
  volume = {4},
  number = {2},
  pages = {17--35},
  url = {http://www.musicstudies.org/jims201041/Ferguson_JIMS_10040202.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:vandyck2010theimpactoft,
  author = {Van Dyck, Edith and Moelants, Dirk and Demey, Michiel and Coussement, Pieter and Deweppe, Alexander and Leman, Marc},
  title = {The impact of the bass drum on body movement in spontaneous dance},
  booktitle = {Proceedings of the 11th international conference in music perception and cognition},
  address = {Seattle, WA},
  year = {2010},
  pages = {429--434},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:mcpherson2010towardacompu,
  author = {McPherson, A. and Kim, Y.},
  title = {Toward a Computationally-Enhanced Acoustic Grand Piano},
  booktitle = {Proceedings of the ACM Conference on Human Factors in Computing Systems (CHI)},
  year = {2010},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@book{zotero:essl2010urmusanenvir,
  author = {Essl, Georg},
  title = {UrMus-an environment for mobile instrument design and performance},
  publisher = {Ann Arbor, MI: MPublishing, University of Michigan Library},
  year = {2010},
  url = {http://web.eecs.umich.edu/~gessl/georg_papers/ICMC10-UrMus.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@incollection{zotero:leman2010whystudymusi,
  author = {Leman, Marc and Godøy, Rolf Inge},
  title = {Why study musical gestures},
  booktitle = {Musical gestures: Sound, movement, and meaning},
  year = {2010},
  pages = {3--11},
  url = {http://www.google.com/books?hl=en&lr=&id=lHaMAgAAQBAJ&oi=fnd&pg=PA3&dq=rolf+inge+god%C3%B8y&ots=9qP6Xv7D6H&sig=rsoqswuE3QuDkbzLCFgBv3CWrlA},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:chan2011avirtualreal,
  author = {Chan, Jacky CP and Leung, Howard and Tang, Jeff KT and Komura, Taku},
  title = {A virtual reality dance training system using motion capture technology},
  journal = {Learning Technologies, IEEE Transactions on},
  year = {2011},
  volume = {4},
  number = {2},
  pages = {187--195},
  url = {http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=5557840},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:magnusson2011confessionso,
  author = {Magnusson, Thor},
  title = {Confessions of a live coder},
  booktitle = {Proceedings of the International Computer Music Conference},
  publisher = {University of Huddersfield},
  year = {2011},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:roberts2011controlsoftw,
  author = {Roberts, Charles},
  title = {Control: Software for End-User Interface Programming and Interactive Performance},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2011},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@article{zotero:dequay2011dancejockeyp,
  author = {de Quay, Yago and Skogstad, Ståle and Jensenius, Alexander Refsum},
  title = {Dance Jockey: Performing Electronic Music by Dancing},
  journal = {Leonardo Music Journal},
  year = {2011},
  volume = {21},
  pages = {11--12},
  doi = {10.1162/LMJ_a_00052},
  abstract = {The authors present an experimental musical performance called Dance Jockey, wherein sounds are controlled by sensors on the dancer's body. These sensors manipulate music in real time by acquiring data about body actions and transmitting the information to a control unit that makes decisions and gives instructions to audio software. The system triggers a broad range of music events and maps them to sound effects and musical parameters such as pitch, loudness and rhythm.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:mcpherson2011designandapp,
  author = {McPherson, A. and Kim, Y.},
  title = {Design and Applications of a Multi-Touch Musical Keyboard},
  booktitle = {Proceedings of the Sound & Music Computing Conference},
  year = {2011},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:morin2011espacedeconc,
  author = {Morin, Rudy},
  title = {Espace de conception et modèle d'interaction multi-tactile gestuel : un environnement de développement pour enrichir le modèle. (Design space and multi-touch gestural interaction model : a framework to enhance the model)},
  year = {2011},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:roberts2011gibberliveco,
  author = {Roberts, C. and Kuchera-Morin, J.A.},
  title = {Gibber: Live Coding Audio In The Browser},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2011},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:collins2011livecodingof,
  author = {Collins, Nick},
  title = {Live Coding of Consequence},
  journal = {Leonardo},
  year = {2011},
  volume = {44},
  number = {3},
  pages = {207--211},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:mcpherson2011multidimensi,
  author = {McPherson, A. and Kim, Y.},
  title = {Multidimensional Gesture Sensing at the Piano Keyboard},
  booktitle = {Proceedings of the ACM Conference on Human Factors in Computing Systems (CHI)},
  address = {Vancouver, Canada},
  year = {2011},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@book{zotero:mazzola2011musicalperfo,
  author = {Mazzola, Guerino},
  title = {Musical Performance},
  publisher = {Springer Berlin Heidelberg},
  address = {Berlin, Heidelberg},
  year = {2011},
  isbn = {978-3-642-11837-1 978-3-642-11838-8},
  doi = {10.1007/978-3-642-11838-8},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:overholt2011nimeeducatio,
  author = {Overholt, Dan},
  title = {NIME Education : Using the CUI32 for Musical Interaction Design},
  year = {2011},
  pages = {4},
  abstract = {The Create USB Interface 32 (CUI32) is a microcontroller prototyping system that utilizes a Microchip® PIC32 as a highperformance programmable data acquisition (analog/digital) and actuator controller for user input and feedback interfaces. In the context of this position paper, it’s design and use is described in the area of musical interaction design for new musical instruments and interfaces.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:anon2011proceedingso,
  editor = {Jensenius, Alexander Refsum and Tveit, Anders and Godøy, Rolf Inge and Overholt, Dan},
  title = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  publisher = {University of Oslo},
  year = {2011},
  isbn = {978-82-991841-7-5 (Print), 978-82-991841-6-8 (Online)},
  url = {http://urn.nb.no/URN:NBN:no-29363},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:anon2011programbooko,
  title = {Program book of the International Conference on New Interfaces for Musical Expression},
  publisher = {Universitetet i Oslo og Norges musikkhøgskole},
  year = {2011},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:knapp2011themeasureme,
  author = {Knapp, R. Benjamin and Lyon, Eric},
  title = {The Measurement of Performer and Audience Emotional State as a New Means of Computer Music Interaction: A Performance Case Study},
  booktitle = {Proceedings of the International Computer Music Conference},
  year = {2011},
  pages = {415--420},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@book{zotero:sheetsjohnstone2011theprimacyof,
  author = {Sheets-Johnstone, Maxine},
  title = {The Primacy of Movement},
  publisher = {John Benjamins Publishing},
  year = {2011},
  isbn = {978-90-272-5218-0},
  keywords = {Philosophy / General},
  abstract = {This expanded second edition carries forward the initial insights into the biological and existential significances of animation by taking contemporary research findings in cognitive science and philosophy and in neuroscience into critical and constructive account. It first takes affectivity as its focal point, elucidating it within both an enactive and qualitative affective-kinetic dynamic. It follows through with a thoroughgoing interdisciplinary inquiry into movement from three perspectives: mind, brain, and the conceptually reciprocal realities of receptivity and responsivity as set forth in phenomenology and evolutionary biology, respectively. It ends with a substantive afterword on kinesthesia, pointing up the incontrovertible significance of the faculty to cognition and affectivity. Series A},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@book{zotero:hermann2011thesonificat,
  author = {Hermann, Thomas and Hunt, Andy and Neuhoff, John G.},
  title = {The Sonification Handbook},
  publisher = {Logos Verlag},
  address = {Berlin},
  year = {2011},
  keywords = {Auditory perception, sound, psychoacoustics, Computer sound processing, Recording and reproducing Digital techniques},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@article{zotero:fiebrink2011thewekinator,
  author = {Fiebrink, Rebecca and Trueman, Dan and Cook, Perry R.},
  title = {The Wekinator: Software for using machine learning to build real-time interactive systems},
  year = {2011},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@book{zotero:bianchini2011virtualsound,
  author = {Bianchini, Riccardo},
  title = {Virtual sound: sound synthesis and signal processing : theory and practice with csound},
  publisher = {Contempo},
  address = {Rome},
  year = {2011},
  isbn = {978-88-900261-4-0},
  keywords = {MIDI, composing/producing, Synthesis, sampling, csound},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:hertz2012artafternewm,
  author = {Hertz, G.},
  title = {Art After New Media: Exploring Black Boxes, Tactics and Archaeologies},
  journal = {Leonardo Electronic Almanac},
  year = {2012},
  volume = {17},
  number = {2},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@article{zotero:bental2012characterisi,
  author = {Ben-Tal, Oded},
  title = {Characterising musical gestures},
  journal = {Musicae Scientiae},
  year = {2012},
  volume = {16},
  number = {3},
  pages = {247--261},
  url = {http://msx.sagepub.com/content/16/3/247.short},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:ogborn2012composingfor,
  author = {Ogborn, David},
  title = {Composing for a networked, pulse-based, laptop orchestra},
  journal = {Organised Sound},
  year = {2012},
  volume = {17},
  number = {1},
  pages = {56--61},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@book{zotero:lyon2012designingaud,
  author = {Lyon, Eric},
  title = {Designing audio objects for Max/MSP and Pd},
  publisher = {A-R Editions},
  address = {Middleton, Wisc},
  year = {2012},
  isbn = {978-0-89579-715-5},
  keywords = {composing/producing, Max/MSP, Performance, Synthesis, Instrument Design, DSP, C},
  abstract = {OCLC: 840723508},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:tanaka2012gesturalmusi,
  author = {Tanaka, Atau and Altavilla, Alessandro and Spowage, Neal},
  title = {Gestural Musical Affordances},
  publisher = {Sound and Music Computing},
  year = {2012},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:brinkmann2012makingmusica,
  author = {Brinkmann, Peter},
  title = {Making Musical Apps: Real-time Audio Synthesis on Android and iOS},
  publisher = {O'Reilly Media, Inc.},
  year = {2012},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@book{zotero:miller2012playingalong,
  author = {Miller, Kiri},
  title = {Playing along: digital games, YouTube, and virtual performance},
  publisher = {Oxford University Press},
  address = {Oxford ; New York},
  year = {2012},
  isbn = {978-0-19-975345-1 978-0-19-975346-8},
  keywords = {composing/producing, Performance, game music, Guitar Hero, YouTube},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@phdthesis{zotero:wakefield2012realtimemeta,
  author = {Wakefield, Graham},
  title = {Real-Time Meta-Programming for Interactive Computational Arts},
  school = {University of California Santa Barbara},
  year = {2012},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@phdthesis{zotero:holopainen2012selforganise,
  author = {Holopainen, Risto},
  title = {Self-organised Sound with Autonomous Instruments: Aesthetics and experiments},
  school = {University of Oslo},
  year = {2012},
  abstract = {Autonomous instruments are computer programmes that generate music algo- rithmically and without realtime interaction, from the waveform level up to the large scale form. This thesis addresses questions of aesthetics and the role of the composer in music made with more or less autonomous instruments. Furthermore, a particular form of autonomous instruments, called feature-feedback systems, are developed. These instruments use feature extractors in a feedback loop, where features of the audio output modulate the synthesis parameters. Methods adopted mainly from chaos theory are used in experimental investiga- tions of several feature-feedback systems. Design principles are also introduced for controlling limited aspects of these instruments. These experimental methods and design strategies are not widely used in current research on synthesis models, but may be useful to anyone who wishes to build similar instruments. Whereas Varèse preferred to designate music as “organised sound”, autonomous instruments may be said to engender self-organised sound, in the sense that the result was not specified in detail by the composer—in fact, the result may not even have been expected. Thus, there is a trade-off between a deliberate sound-shaping by the composer on the one hand, and truly autonomous instruments on the other. The idiomatic way of operating an autonomous instrument is experimentation fol- lowed by serendipitous discovery.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:knees2012soundtracksa,
  author = {Knees, Peter and Pohle, Tim and Widmer, Gerhard},
  title = {Sound/tracks: artistic real-time sonification of train journeys},
  journal = {Journal on Multimodal User Interfaces},
  year = {2012},
  volume = {6},
  number = {1-2},
  pages = {87--93},
  doi = {10.1007/s12193-011-0089-x},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:polli2012soundscapeso,
  author = {Polli, Andrea},
  title = {Soundscape, sonification, and sound activism},
  journal = {AI & SOCIETY},
  year = {2012},
  volume = {27},
  number = {2},
  pages = {257--268},
  doi = {10.1007/s00146-011-0345-3},
  abstract = {In this article, the author will argue that the act of listening through public soundwalks and other formal and informal exercises builds environmental and social awareness and promotes changes in social and cultural practices. By examining the act of listening as an alternative pathway and comparing the research, writings, and creative work of leaders of the acoustic ecology movement (i.e., R. Murray Schafer, Hildegard Westerkamp, and Bernie Krause), the author hopes to shed light on these potentials. For purposes of comparison, projects that explore the sonification and audification of inaudible signals will be examined, including the work of Christina Kubisch. The process of audification and sonification of these signals will be examined in comparison to soundscape experiences in order to develop a theory of data sonification based on the soundscape. In order to build a community around the urban soundscape, in 2003, the author co-founded the New York Society of Acoustic Ecology. Through this endeavor, she co-created the ongoing NYSoundmap and Sound Seeker projects, which provide some practical research for this article. Thus, by comparing and contrasting theoretical writings with leading listening exercises, public soundwalks, soundscaperelated brainstorming sessions, and presenting field recordings in various settings, new methodologies will be documented.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:kronlachner2012thekinectsen,
  author = {Kronlachner, Matthias and m Zmoelnig, I.},
  title = {THE KINECT SENSOR AS HUMAN-MACHINE-INTERFACE IN AUDIO-VISUAL ART PROJECTS},
  journal = {Live Interfaces: Performance, Art, Music},
  year = {2012},
  url = {http://www.matthiaskronlachner.com/wp-content/uploads/2012/09/lipam2012-kronlachner-paper.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:schacher2012thebodyinele,
  author = {Schacher, Jan},
  title = {The Body in Electronic Music Performance},
  booktitle = {Proceedings of the 9th Sound and Music Computing Conference},
  address = {Copenhagen},
  year = {2012},
  pages = {194--200},
  abstract = {This text discusses the notions of physical presence, perception and `gestural' actions as an important element of a performance practice in electronic music. After discussing the meaning of the term `gesture' in music and dance, a brief overview about current trends and methods in research is presented. The skills associated with the performance of electronic instruments are compared to those acquired with traditional instruments, for other physical performing arts such as dance and in technologically mediated art forms that extend the concept of the stage. Challenges and approaches for composing and performing electronic music are addressed and finally a tentative statement is made about embodiment as a quality and category to be applied to and perceived in electronic music performance.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:hugill2012thedigitalmu,
  author = {Hugill, Andrew},
  title = {The digital musician},
  publisher = {Routledge},
  address = {New York ; London},
  year = {2012},
  isbn = {978-0-415-80659-6 978-0-415-80660-2},
  keywords = {composing/producing, Performance, Analysis, Interactive composition, Hardware Hacking, live coding, pedagogical},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:dalgleish2013acontemporar,
  author = {Dalgleish, Mathew and Spencer, Steve and Foster, Chris},
  title = {A Contemporary Approach to Expressiveness in the Design of Digital Musical Instruments},
  year = {2013},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:jensenius2013anactionsoun,
  author = {Jensenius, Alexander Refsum},
  title = {An Action-Sound Approach to Teaching Interactive Music},
  journal = {Organised Sound},
  year = {2013},
  volume = {18},
  number = {2},
  pages = {178--189},
  doi = {10.1017/S1355771813000095},
  abstract = {The conceptual starting point for an `action–sound approach' to teaching music technology is the acknowledgment of the couplings that exist in acoustic instruments between sounding objects, sound-producing actions and the resultant sounds themselves. Digital music technologies, on the other hand, are not limited to such natural couplings, but allow for arbitrary new relationships to be created between objects, actions and sounds. The endless possibilities of such virtual action–sound relationships can be exciting and creatively inspiring, but they can also lead to frustration among performers and confusion for audiences. This paper presents the theoretical foundations for an action–sound approach to electronic instrument design and discusses the ways in which this approach has shaped the undergraduate course titled `Interactive Music' at the University of Oslo. In this course, students start out by exploring various types of acoustic action–sound couplings before moving on to designing, building, performing and evaluating both analogue and digital electronic instruments from an action–sound perspective.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:tzanetakis2013blendingthep,
  author = {Tzanetakis, George and Fels, Sidney and Lyons, Michael},
  title = {Blending the physical and the virtual in music technology: from interface design to multi-modal signal processing},
  booktitle = {Proceedings of the 21\textsuperscriptst ACM International Conference on Multimedia},
  publisher = {ACM},
  year = {2013},
  pages = {1119--1120},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@mastersthesis{zotero:basanta2013compositiona,
  author = {Basanta, Adam},
  title = {Compositional Strategies in Light and Sound Installations},
  year = {2013},
  url = {https://spectrum.library.concordia.ca/id/eprint/976949/},
  abstract = {This thesis explores various compositional strategies in light and sound installations using luminosonic objects: objects which appear to emit both sound and light. Contrary to accounts of media installations which are analyzed from a visual art perspective, in this research, audiovisual installations are analyzed through the application and adaptation of musical concepts and language to the installation context. In particular, selected audiovisual installations are analyzed with respect to the constitution, or compositional dynamics, of audiovisual materials. This analysis results in a typology of audiovisual relations, represented within a three-dimensional compositional state-space. Furthermore, the production of audiovisual, spatio-temporal compositional structures within the installation context is investigated in relation to the embodied, mobile spectator. The elucidation of audiovisual materials and spatio-temporal structures is illustrated through analysis of selected works, as well as through original artistic output. Finally, several implications of this interdisciplinary research are suggested in relation to the fields of audiovisual installation and contemporary music composition.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@article{zotero:hall2013coreaspectso,
  author = {Hall, Joshua M.},
  title = {Core Aspects of Dance: Condillac and Mead on Gesture},
  journal = {Dance Chronicle},
  year = {2013},
  volume = {36},
  number = {3},
  pages = {352--371},
  doi = {10.1080/01472526.2013.834286},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:linn2013linnstrument,
  author = {Linn, Roger},
  title = {LinnStrument and other new expressive musical controllers},
  journal = {The Journal of the Acoustical Society of America},
  year = {2013},
  volume = {134},
  number = {5},
  pages = {4053--4053},
  doi = {10.1121/1.4830792},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@incollection{zotero:chandra2013marketbasedc,
  author = {Chandra, Arjun and Nymoen, Kristian and Voldsund, Arve and Jensenius, Alexander Refsum and Glette, Kyrre and Torresen, Jim},
  editor = {Aramaki, Mitsuko and Barthet, Mathieu and Kronland-Martinet, Richard and Ystad, Sølvi},
  title = {Market-based Control in Interactive Music Environments},
  booktitle = {From Sounds to Music and Emotions},
  publisher = {Springer},
  address = {Berlin},
  year = {2013},
  volume = {7900},
  pages = {439--458},
  isbn = {978-3-642-41247-9 978-3-642-41248-6},
  doi = {10.1007/978-3-642-41248-6_25},
  abstract = {The paper presents the interactive music system SoloJam, which allows a group of participants with little or no musical training to effectively play together in a “band-like” setting. It allows the participants to take turns playing solos made up of rhythmic pattern sequences. We specify the issue at hand for enabling such participation as being the requirement of decentralised coherent circulation of playing solos. Satisfying this requirement necessitates some form of intelligence within the devices used for participation, with each participant being associated with their respective enabling device. Markets consist of buyers and sellers, which interact with each other in order to trade commodities. Based on this idea, we let devices enable buying and selling, more precisely bidding and auctioneering, and assist participants trade in musical terms. Consequentially, the intelligence in the devices is modelled as their ability to help participants trade solo playing responsibilities with each other. This requires them to possess the capability of assessing the utility of the associated participant's deservedness of being the soloist, the capability of holding auctions on behalf of the participant, and of enabling the participant bid within these auctions. We show that holding auctions and helping bid within them enables decentralisation of co-ordinating solo circulation, and a properly designed utility function enables coherence in the musical output. The market-based approach helps achieve decentralised coherent circulation with artificial agents simulating human participants. The effectiveness of the approach is further supported when human users participate. As a result, the approach is shown to be effective at enabling participants with little or no musical training to play together in SoloJam.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:palmer2013musicperform,
  author = {Palmer, Caroline and Deutsch, Diana},
  title = {Music performance: Movement and coordination},
  journal = {The psychology of music},
  year = {2013},
  pages = {405--422},
  url = {http://www.google.com/books?hl=en&lr=&id=yPtXixrt-ooC&oi=fnd&pg=PA405&dq=laban+movement+analysis+music&ots=zCeHOoAGdg&sig=ic94otlshliedB1e4lWGEq4ZNic},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@phdthesis{zotero:desouza2013musicalinstr,
  author = {De Souza, Jonathan Gregory},
  title = {Musical Instruments, Bodies, and Instruments},
  school = {University of Chicago},
  year = {2013},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:jensenius2013nonrealtimes,
  author = {Jensenius, Alexander Refsum},
  title = {Non-Realtime Sonification of Motiongrams},
  booktitle = {Proceedings of Sound and Music Computing},
  address = {Stockholm},
  year = {2013},
  pages = {500--505},
  url = {http://urn.nb.no/URN:NBN:no-37228},
  abstract = {The paper presents a non-realtime implementation of the sonomotiongram method, a method for the sonification of motiongrams. Motiongrams are spatiotemporal displays of motion from video recordings, based on frame-differencing and reduction of the original video recording. The sonomotiongram implementation presented in this paper is based on turning these visual displays of motion into sound using FFT filtering of noise sources. The paper presents the application ImageSonifyer, accompanied by video examples showing the possibilities of the sonomotiongram method for both analytic and creative applications.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:bevilacqua2013signimemusic,
  author = {Bevilacqua, Frédéric and Fels, Sidney S. and Jensenius, Alexander Refsum and Lyons, Michael and Schnell, Norbert and Tanaka, Atau},
  title = {SIG NIME: Music, Technology, and Human-Computer Interaction},
  booktitle = {CHI 2013},
  address = {Paris},
  year = {2013},
  pages = {2529--2532},
  url = {http://dl.acm.org/citation.cfm?id=2468356.2468822&coll=DL&dl=GUIDE&CFID=212477371&CFTOKEN=33106905},
  abstract = {This SIG intends to investigate the ongoing dialogue between music technology and the field of human-computer interaction. Our specific aims are to consider major findings of musical interface research over recent years and discuss how these might best be conveyed to CHI researchers interested but not yet active in this area, as well as to consider how to stimulate future collaborations between music technology and CHI research communities.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:tsay2013sightoversou,
  author = {Tsay, Chia-Jung},
  title = {Sight over sound in the judgment of music performance},
  journal = {Proceedings of the National Academy of Sciences},
  year = {2013},
  volume = {110},
  number = {36},
  pages = {14580--14585},
  doi = {10.1073/pnas.1221454110},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@book{zotero:rossing2013thescienceof,
  author = {Rossing, Thomas D. and Moore, Richard F. and Wheeler, Paul A.},
  title = {The Science of Sound: Pearson New International Edition},
  publisher = {Pearson Higher Ed},
  year = {2013},
  url = {https://www.pearson.com/en-us/subject-catalog/p/science-of-sound-the/P200000006977/9780805385656?srsltid=AfmBOorod631-pekYbwJV1XDmGlGjkXNB3SFQvBdzeBgUtFgNgam8ngY},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@book{zotero:jenkins2013ipadmusicint,
  author = {Jenkins, Mark},
  title = {iPad music: in the studio and on stage},
  publisher = {Focal Press},
  address = {New York},
  year = {2013},
  isbn = {978-0-415-65680-1},
  keywords = {MIDI, composing/producing, Performance, Interface Design, control, mobile apps, iPad},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:garcia2014abstracoesan,
  author = {Garcia, Denise and Fornari, José and Manzolli, Jonatas and others},
  title = {Abstrações: an audiovisual installation based on motion recognizing},
  journal = {NICS Reports},
  year = {2014},
  number = {7},
  pages = {01--04},
  url = {http://www.nics.unicamp.br/revistas/ojs/index.php/nr/article/download/98/77},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:wanderley2014advancesinth,
  author = {Wanderley, Marcelo M. and Malloch, J.},
  title = {Advances in the Design of Mapping for Computer Music},
  journal = {Computer Music Journal},
  year = {2014},
  volume = {38},
  number = {3},
  pages = {4--5},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:schacher2014corporeality,
  author = {Schacher, Jan C.},
  title = {Corporeality, Actions and Perceptions in Gestural Performance of Digital Music},
  journal = {International Conference on Mathematics and Computing},
  year = {2014},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:bluff2014creativecont,
  author = {Bluff, Andrew and Johnston, Andrew},
  title = {Creative Control of Granular Synthesis Using Fluid Simulation & Motion Tracking},
  publisher = {ACM Press},
  year = {2014},
  pages = {150--153},
  isbn = {978-1-4503-2814-2},
  doi = {10.1145/2617995.2618022},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:deweppe2014engagingaudi,
  author = {Deweppe, Alexander and Diniz, Nuno and Coussement, Pieter and Leman, Marc},
  title = {Engaging Audiences through a Participatory Design Approach with the Interactive Music Installation'SoundField'},
  booktitle = {Proceedings of the EVA London 2014 on Electronic Visualisation and the Arts},
  publisher = {BCS},
  year = {2014},
  pages = {1--8},
  url = {http://dl.acm.org/citation.cfm?id=2737734},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@incollection{zotero:keller2014ensembleperf,
  author = {Keller, Peter},
  editor = {Fabian, Dorottya and Timmers, Renee and Schubert, Emery},
  title = {Ensemble Performance: Interpersonal Alignment of Musical Expression},
  booktitle = {Expressiveness in music performance: Empirical approaches across styles and cultures},
  publisher = {Oxford University Press},
  address = {Oxford},
  year = {2014},
  pages = {260--282},
  url = {https://scholar.google.no/scholar?hl=en&as_sdt=0%2C5&q=keller+2014+When+co-performers+are+denied+visual+contact%2C+increases+in+body+sway+serve+as+a+compensatory+mechanism+to+regulate+each&btnG=},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:visi2014gestureinper,
  author = {Visi, Federico and Schramm, Rodrigo and Miranda, Eduardo},
  title = {Gesture in performance with traditional musical instruments and electronics: Use of embodied music cognition and multimodal motion capture to design gestural mapping strategies},
  booktitle = {Proceedings of the International Workshop on Movement and Computing},
  publisher = {ACM Press},
  address = {Paris},
  year = {2014},
  pages = {100--105},
  isbn = {978-1-4503-2814-2},
  doi = {10.1145/2617995.2618013},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@article{zotero:mota2014influenceofe,
  author = {Mota, Davi and Loureiro, Maurício and Laboissière, Rafael},
  title = {Influence of Expressive Coupling in Ensemble Performance on Musicians’ Body Movement},
  year = {2014},
  url = {http://speech.di.uoa.gr/ICMC-SMC-2014/images/VOL_1/0513.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:ogborn2014livecodingin,
  author = {Ogborn, David},
  title = {Live coding in a scalable, participatory laptop orchestra},
  journal = {Computer Music Journal},
  year = {2014},
  volume = {38},
  number = {1},
  pages = {17--30},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@incollection{zotero:parkinson2014makingdatasi,
  author = {Parkinson, Adam and Tanaka, Atau},
  title = {Making Data Sing: Embodied Approaches to Sonification},
  booktitle = {Sound, Music, and Motion},
  publisher = {Springer},
  year = {2014},
  pages = {151--160},
  url = {http://link.springer.com/10.1007%2F978-3-319-12976-1_9},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@article{zotero:lyon2014mappingincom,
  author = {Lyon, E. and Knapp, R. B. and Ouzounian, G.},
  title = {Mapping in Computer Chamber Music: A Case Study},
  journal = {Computer Music Journal},
  year = {2014},
  volume = {38},
  number = {3},
  pages = {64--75},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:alemi2014movainteract,
  author = {Alemi, Omid and Pasquier, Philippe and Shaw, Chris},
  title = {Mova: Interactive Movement Analytics Platform},
  publisher = {ACM Press},
  year = {2014},
  pages = {37--42},
  isbn = {978-1-4503-2814-2},
  doi = {10.1145/2617995.2618002},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:ka14ssner2014musiciansare,
  author = {Küssner, Mats B. and Tidhar, Dan and Prior, Helen M. and Leech-Wilkinson, Daniel},
  title = {Musicians are more consistent: Gestural cross-modal mappings of pitch, loudness and tempo in real-time},
  journal = {Frontiers in Psychology},
  year = {2014},
  volume = {5},
  doi = {10.3389/fpsyg.2014.00789},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:donnarumma2014notesonbimod,
  author = {Donnarumma, Marco},
  title = {Notes on Bimodal Muscle Sensing for the Sonification of Indeterminate Motion},
  publisher = {ACM Press},
  year = {2014},
  pages = {170--171},
  isbn = {978-1-4503-2814-2},
  doi = {10.1145/2617995.2618028},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; tagged or filed as NIME there; NIME-topic probability 0.91}
}

@book{zotero:gopinath2014oxfordhandbo,
  author = {Gopinath, Sumanth and Stanyek, Jason},
  title = {Oxford Handbook of Mobile Music},
  publisher = {Oxford University Press},
  address = {Oxford},
  year = {2014},
  volume = {1 and 2},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:branje2014playingvibro,
  author = {Branje, Carmen and Fels, Deborah I.},
  title = {Playing vibrotactile music: A comparison between the Vibrochord and a piano keyboard},
  journal = {International journal of human-computer studies},
  year = {2014},
  volume = {72},
  number = {4},
  pages = {431--439},
  url = {https://www.sciencedirect.com/science/article/pii/S1071581914000044},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:attenberger2014remotehandaw,
  author = {Attenberger, Andreas and Buchenrieder, Klaus},
  title = {RemoteHand: A wireless myoelectric interface},
  booktitle = {International Conference on Human-Computer Interaction},
  publisher = {Springer},
  year = {2014},
  pages = {3--11},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:boem2014sculptonamal,
  author = {Boem, Alberto},
  title = {SCULPTON: A MALLEABLE TANGIBLE INTERFACE FOR SOUND SCULPTING},
  year = {2014},
  url = {http://speech.di.uoa.gr/ICMC-SMC-2014/images/VOL_1/0737.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@book{zotero:cox2014sonicwonderl,
  author = {Cox, Trevor},
  title = {Sonic Wonderland: A Scientific Odyssey of Sound},
  publisher = {Random House},
  year = {2014},
  isbn = {978-1-4481-1457-3},
  keywords = {Science / Earth Sciences / General},
  abstract = {As an acoustic engineer, Trevor Cox has spent his career eradicating unwanted noises – echoes in concert halls, clamour in classrooms. Until the day he heard something so astonishing that he had an epiphany: rather than quashing rare or bizarre sounds, we should be celebrating these sonic treasures. This is the story of his investigation into the mysteries of these Sonic Wonders of the World. In the Mojave Desert he finds sand dunes that sing. In France he discovers an echo that tells jokes. In California he drives down a musical road that plays the William Tell Overture. In Cathedrals across the world he learns how acoustics changed the history of the Church. Touching on physics, music, archaeology, neuroscience, biology, and design, Cox explains how sound is made and altered by the environment and how our body reacts to peculiar noises – from the exotic sonic wonders he encounters on his journey, or the equally unique and surprising sounds of our everyday environment. In a world dominated by the visual, Sonic Wonderland encourages us to become better listeners and to open our ears to the glorious cacophony around us. Listen to a selection of astonishing sounds here: https://soundcloud.com/sonicwonderland},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@book{zotero:anon2014theoxfordhan,
  editor = {Collins, Karen and Kapralos, Bill and Tessler, Holly},
  title = {The Oxford handbook of interactive audio},
  publisher = {Oxford University Press},
  address = {Oxford},
  year = {2014},
  isbn = {978-0-19-979722-6 978-0-19-065105-3},
  keywords = {composing/producing, Performance, Analysis, Interactive composition, interdisciplinary perspective, producer-consumerism},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@book{zotero:vail2014thesynthesiz,
  author = {Vail, Mark},
  title = {The synthesizer: a comprehensive guide to understanding, programming, playing, and recording the ultimate electronic music instrument},
  year = {2014},
  isbn = {978-0-19-933485-8},
  url = {http://site.ebrary.com/id/10831302},
  keywords = {Performance, Synthesis, Interface Design, control},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:schacher2014watchthisexp,
  author = {Schacher, Jan C. and Bisig, Daniel},
  title = {Watch This! Expressive Movement in Electronic Music Performance},
  publisher = {ACM Press},
  year = {2014},
  pages = {106--111},
  isbn = {978-1-4503-2814-2},
  doi = {10.1145/2617995.2618014},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:naveda2014topostoolkit,
  author = {Naveda, Luiz and Santana, Ivani},
  title = {“Topos” toolkit for Pure Data: exploring the spatial features of dance gestures for interactive musical applications},
  booktitle = {ICMC},
  year = {2014},
  url = {https://www.researchgate.net/profile/Luiz_Naveda2/publication/266141223_Topos_toolkit_for_Pure_Data_exploring_the_spatial_features_of_dance_gestures_for_interactive_musical_applications/links/5426ca440cf2e4ce940a1916.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:lahdeoja2015anaugmentedg,
  author = {Lähdeoja, Otso},
  title = {An Augmented Guitar With Active Acoustics},
  booktitle = {Proceedings of the Sound and Music Computing Conference},
  address = {Maynooth, Ireland},
  year = {2015},
  url = {https://zenodo.org/record/851049},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@article{zotero:bachrach2015audienceentr,
  author = {Bachrach, Asaf and Fontbonne, Yann and Joufflineau, Coline and Ulloa, José Luis},
  title = {Audience entrainment during live contemporary dance performance: Physiological and cognitive measures},
  journal = {Frontiers in human neuroscience},
  year = {2015},
  volume = {9},
  pages = {179},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:taylor2015braidawebins,
  author = {Taylor, Benjamin and Allison, Jesse},
  title = {BRAID: A Web Instrument Builder with Embedded Code Blocks},
  booktitle = {Proceedings of the 1\textsuperscriptst Annual Web Audio Conference},
  year = {2015},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@article{zotero:martinezpadro2015developmento,
  author = {Martínez Padró, Enoc and others},
  title = {Development of a FM/Granular Synthesizer with Non-Standard control Interface},
  year = {2015},
  url = {http://upcommons.upc.edu/handle/2099.1/25360},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:lee2015expressitani,
  author = {Lee, Kyungho and Cox, Donna J. and Garnett, Guy E. and Junokas, Michael J.},
  title = {Express It!: An Interactive System for Visualizing Expressiveness of Conductor's Gestures},
  booktitle = {Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition},
  publisher = {ACM},
  address = {New York, NY, USA},
  year = {2015},
  pages = {141--150},
  isbn = {978-1-4503-3598-0},
  doi = {10.1145/2757226.2757243},
  keywords = {music, conductor's gestures, expressivity, gesture recognition, visualization},
  abstract = {A conductor provides a single unified vision of how to interpret and perform music. However, perceiving a conductor's musical intention and expression is quite challenging as they convey information to performers with subtle, nuanced, and highly individualized gestures. This artwork visualizes the conductor's gestures in order to give the audience a better understanding of its expressivity. To represent the expressivity of the gestures, we created motion profiles over eight frames, at 30 frames per second, and compared them to previously modeled gestures using three motion factors, called Weight, Space and Time from related concepts in Laban Movement Analysis (LMA). Based on this, we have created a real-time, interactive visualization that is driven by the motion factor parameters. The visualization receives the input video stream, and it is transformed into a representation of the three motion factors extracted from the real-time conducting gestures.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:didonato2015gspatlivesou,
  author = {Di Donato, Balandino and Bullock, Jamie},
  title = {GSPAT: Live sound spatialisation using gestural control},
  booktitle = {Student Think Tank at the 21st International Conference on Auditory Display},
  year = {2015},
  pages = {7},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@article{zotero:taylor2015gesturecaptu,
  author = {Taylor, Benjamin and Allison, Jesse},
  title = {Gesture Capture, Processing, and Asynchronous Playback within Web Audio Instruments.},
  year = {2015},
  url = {http://whitechord.org/articles/gesture-icmc15.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:visi2015instrumental,
  author = {Visi, Federico and Coorevits, Esther and Schramm, Rodrigo and Miranda, Eduardo},
  title = {Instrumental Movements of Neophytes: Analysis of Movement Periodicities, Commonalities and Individualities in Mimed Violin Performance},
  booktitle = {Proceedings of the 11\textsuperscriptth International Symposium on Computer Music Multidisciplinary Research (CMMR)},
  address = {Plymouth, United Kingdom},
  year = {2015},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@book{zotero:manzo2015interactivec,
  author = {Manzo, V. J. and Kuhn, Will},
  title = {Interactive composition: strategies using Ableton Live and Max for Live},
  publisher = {Oxford University Press},
  address = {New York, NY},
  year = {2015},
  isbn = {978-0-19-997381-1 978-0-19-997382-8},
  keywords = {composing/producing, Performance, Interactive composition, Ableton Live, Max for Live},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@book{zotero:anon2015keywordsinso,
  editor = {Novak, David and Sakakeeny, Matt},
  title = {Keywords in sound},
  publisher = {Duke University Press},
  address = {Durham ; London},
  year = {2015},
  isbn = {978-0-8223-5903-6 978-0-8223-5889-3},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:green2015leonardospec,
  author = {Green, O.},
  title = {Leonardo Special Section: Practice-Based Research and New Interfaces for Musical Expression: The Situation of Practice-Led Research around NIME, and Two Methodological Suggestions for Improved Communication},
  journal = {Leonardo},
  year = {2015},
  volume = {48},
  number = {5},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:maclennan2015mappinghowst,
  author = {MacLennan, Donald Scott},
  title = {Mapping how students conceptualize ancillary movements in instrumental music performance},
  year = {2015},
  url = {http://circle.ubc.ca/handle/2429/52157},
  abstract = {Music theorists have emphasized the intellectual, disembodied mind throughout music education’s history in Western culture extending back to the time of the ancient Greeks. Additionally, Regelski (2009) notes that the dominant and residual view of music curriculum involves the contemplation of music for its own sake (i.e., autonomous “works”) instead of experiencing it through action. Yet pioneering advocates for movement in music education, including Jaques-Dalcroze, Orff, Kodály, and Suzuki, all affirmed and emphasized the centrality of the body in music making and learning. Present-day instrumental music teachers’ proclivity toward teaching to the minds of their students (marginalizing physical action) seems incongruous with the views of these pioneers, especially when one considers the prevalence of movement and dance in contemporary popular music culture. When instrumental music teachers focus on teaching to the minds of their students, they ignore the importance of the students’ ancillary movements, those physical movements not directly involved in the production of sound (e.g., leaning forward, swaying side to side). Research on the importance of ancillary movements in the experiences of adolescent students studying instrumental music is sorely lacking. I thus undertook a two-month study utilizing a phenomenographic approach, which involves identifying and describing the varied conceptions of a phenomenon held by the members of a group collectively, not individual conceptions. I used interviews and student journals to map the different conceptions 24 adolescent instrumental music students have of ancillary movements. I found that ancillary movements reflect students’ degree of engagement with music-making and that these movements hold important meanings for them. Participants’ statements suggested that students become more engaged with music they are performing when they 1) are given freedom to make their own natural ancillary movements, 2) feel confident with their music skills (i.e., balance between challenge and skills), 3) do not feel self conscious about what others might think, and 4) discover that their teachers support ancillary movements. Moreover, students’ descriptions of their conceptions revealed increasingly complex understandings of ancillary movements, suggesting ways in which educators might develop more embodied approaches to teaching instrumental music.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:bertrand2015musicalacous,
  author = {Bertrand, Thibault and Kaczmarek, Konrad and Wilen, Larry},
  title = {Musical Acoustics & Instrument Design: When Engineering Meets Music},
  booktitle = {ICMC},
  year = {2015},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@book{zotero:anon2015programmingf,
  editor = {Cook, Perry R. and Salazar, Spencer and Kapur, Ajay and Wang, Ge and Reas, Casey},
  title = {Programming for musicians and digital artists: creating music with ChucK},
  publisher = {Manning},
  address = {Shelter Island},
  year = {2015},
  isbn = {978-1-61729-170-8},
  keywords = {MIDI, Performance, Gestural Control, Instrument Design, Interface Design, control, ChucK, live music coding},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:ferguson2015realtimeteac,
  author = {Ferguson, Paul and Waterman–Trumpet, Steve},
  title = {Real-time teaching of musicianship and audio engineering using LOLA–LOw LAtency audio/video streaming},
  booktitle = {26th United Kingdom Audio Engineering Society Conference on Audio Education},
  year = {2015},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@article{zotero:napoli2015suggestionsf,
  author = {Napoli, Donna Jo and Kraus, L.},
  title = {Suggestions For A Parametric Typology Of Dance},
  journal = {Leonardo},
  year = {2015},
  doi = {10.1162/LEON_a_01079},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:seibert2015towardsanena,
  author = {Seibert, Gabriela and Hug, Daniel and Cslovjecsek, Markus},
  title = {Towards an Enactive Swimming Sonification: Exploring Multisensory Design and Musical Interpretation},
  booktitle = {Proceedings of the Audio Mostly 2015 on Interaction With Sound},
  publisher = {ACM},
  year = {2015},
  pages = {27},
  url = {http://dl.acm.org/citation.cfm?id=2814902},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@book{zotero:chaigne2016acousticsofm,
  author = {Chaigne, Antoine and Kergomard, Jean},
  title = {Acoustics of Musical Instruments},
  publisher = {Springer},
  address = {Nerw York, NY},
  year = {2016},
  isbn = {978-1-4939-3679-3},
  keywords = {Technology & Engineering / Mechanical, Science / Physics / General, Science / Acoustics & Sound, Technology & Engineering / Acoustics & Sound, Music / General, Science / Waves & Wave Mechanics, Mathematics / Linear & Nonlinear Programming, Science / Chaotic Behavior in Systems, Science / Mechanics / Dynamics},
  abstract = {This book, the first English-language translation of Acoustique des instruments de musique, Second Edition, presents the necessary foundations for understanding the complex physical phenomena involved in musical instruments. What is the function of the labium in a flute? Which features of an instrument allow us to make a clear audible distinction between a clarinet and a trumpet? With the help of numerous examples, these questions are addressed in detail. The authors focus in particular on the significant results obtained in the field during the last fifteen years. Their goal is to show that elementary physical models can be used with benefit for various applications in sound synthesis, instrument making, and sound recording. The book is primarily addressed to graduate students and researchers; however it could also be of interest for engineers, musicians, craftsmen, and music lovers who wish to learn about the basics of musical acoustics.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@phdthesis{zotero:donnarumma2016configuringc,
  author = {Donnarumma, Marco},
  title = {Configuring Corporeality: Performing bodies, vibrations and new musical instruments.},
  school = {Goldsmiths, University of London},
  year = {2016},
  url = {http://research.gold.ac.uk/19202/},
  abstract = {How to define the relationship of human bodies, sound and technological instruments in musical performance? This enquiry investigates the issue through an iterative mode of research. Aesthetic and technical insights on sound and body art performance with new musical instruments combine with analytical views on technological embodiment in philosophy and cultural studies. The focus is on corporeality: the physiological, phenomenological and cultural basis of embodied practices. The thesis proposes configuration as an analytical device and a blueprint for artistic creation. Configuration defines the relationship of the human being and technology as one where they affect each other's properties through a continuous, situated negotiation. In musical performance, this involves a performer's intuition, cognition, and sensorimotor skills, an instrument's material, musical and computational properties, and sound's vibrational and auditive qualities. Two particular kinds of configuration feature in this enquiry. One arises from an experiment on the effect of vibration on the sensorimotor system and is fully developed through a subsequent installation for one visitor at a time. The other emerges from a scientific study of gesture expressivity through muscle physiological sensing and is consolidated into an ensuing body art performance for sound and light. Both artworks rely upon intensely intimate sensorial and physical experiences, uses and abuses of the performer's body and bioacoustic sound feedback as a material force. This work contends that particular configurations in musical performance reinforce, alter or disrupt societal criteria against which human bodies and technologies are assessed. Its contributions are: the notion of configuration, which affords an understanding of human-machine co-dependence and its politics; two sound-based artworks, joining and expanding musical performance and body art; two experiments, and their hardware and software tools, providing insights on physiological computing methods for corporeal human-computer interaction.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@phdthesis{zotero:faria2016exercisingmu,
  author = {Faria, Bruno and Malmö Faculty og Fin and Performing Arts, Lund University},
  title = {Exercising musicianship anew through soundpainting: speaking music through sound gestures},
  school = {Malmö Faculty og Fin and Performing Arts : Malmö Academy of Music : Lund University},
  address = {Lund},
  year = {2016},
  abstract = {In this thesis I focus on soundpainting-mediated musical experiences. Proposed in the mid seventies by the American musician Walter Thompson (b. 1952), soundpainting is a conventionalized artistic practice designed to create artistic works in real time. Thompson's definition of soundpainting as a sign language is central to the present artistic inquiry, based on different moments of artistic practice and on interviews with students and professional artists, and informed by an existentialist hermeneutic and yet pragmatic perspective. What does it mean to have an experience in soundpainting? Considering soundpainting as an artistic language, what does it mean to know and speak it? How is meaning mediated in soundpainting? What does a knowledge of soundpainting bring to classically trained musicians? Classically trained orchestral flutist as I am, my starting point has been the similarities and differences between the production and interpretation of signs as they occur in soundpainting-mediated practices and in personal experience of playing from scores and relating to conductors' gestures. The artistic, hermeneutic circle turns on transpositions across horizons of understanding, since in soundpainting one's own practices are extended, and one frequently acts as instrumentalist, composer, and conductor. This is formulated as an example of artistic transaction, in the sense of acting across borders that usually separate roles. In addition to critical reflections on the indeterminacy of soundpainting as a practice and on the two performative perspectives possible in soundpainting (performance leader and performer), I explore soundpainting as an individual instrumental practice too. Although a particularization of soundpainting, this transposition from moments of qualitative transaction between two or more artists to an individual practice retains the significant aspects of standard practice in a soundpainting-mediated musical experience. In the process, sig},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@article{zotero:frid2016interactives,
  author = {Frid, Emma and Bresin, Roberto and Alborno, Paolo and Elblaus, Ludvig},
  title = {Interactive Sonification of Spontaneous Movement of Children—Cross-Modal Mapping and the Perception of Body Movement Qualities through Sound},
  journal = {Frontiers in Neuroscience},
  year = {2016},
  volume = {10},
  doi = {10.3389/fnins.2016.00521},
  abstract = {In this paper we present three studies focusing on the effect of different sound models in interactive sonification of bodily movement. We hypothesized that a sound model characterized by continuous smooth sounds would be associated with other movement characteristics than a model characterized by abrupt variation in amplitude and that these associations could be reflected in spontaneous movement characteristics. Three subsequent studies were conducted to investigate the relationship between properties of bodily movement and sound: (1) a motion capture experiment involving interactive sonification of a group of children spontaneously moving in a room, (2) an experiment involving perceptual ratings of sonified movement data and (3) an experiment involving matching between sonified movements and their visualizations in the form of abstract drawings. In (1) we used a system constituting of 17 IR cameras tracking passive reflective markers. The head positions in the horizontal plane of 3–4 children were simultaneously tracked and sonified, producing 3–4 sound sources spatially displayed through an 8-channel loudspeaker system. We analyzed children's spontaneous movement in terms of energy-, smoothness- and directness-index. Despite large inter-participant variability and group-specific effects caused by interaction among children when engaging in the spontaneous movement task, we found a small but significant effect of sound model. Results from (2) indicate that different sound models can be rated differently on a set of motion-related perceptual scales (e.g., expressivity and fluidity). Also, results imply that audio-only stimuli can evoke stronger perceived properties of movement (e.g., energetic, impulsive) than stimuli involving both audio and video representations. Findings in (3) suggest that sounds portraying bodily movement can be represented using abstract drawings in a meaningful way. We argue that the results from these studies support the existence of a cross-modal mapping of body motion qualities from bodily movement to sounds. Sound can be translated and understood from bodily motion, conveyed through sound visualizations in the shape of drawings and translated back from sound visualizations to audio. The work underlines the potential of using interactive sonification to communicate high-level features of human movement data.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:barrett2016interactives,
  author = {Barrett, Natasha},
  title = {Interactive Spatial Sonification of Multidimensional Data for Composition and Auditory Display},
  journal = {Computer Music Journal},
  year = {2016},
  volume = {40},
  number = {2},
  pages = {47--69},
  doi = {10.1162/COMJ_a_00358},
  abstract = {This article presents a new approach to interactive spatial sonification of multidimensional data as a tool for spatial sound synthesis, for composing temporal–spatial musical materials, and as an auditory display for scientists to analyze multidimensional data sets in time and space. The approach applies parameter-mapping sonification and is currently implemented in an application called Cheddar, which was programmed in Max/MSP. Cheddar sonifies data in real time, where the user can modify a wide variety of temporal, spatial, and sonic parameters during the listening process, and thus more easily uncover patterns and processes in the data than when applying non-realtime, noninteractive techniques. The design draws on existing literature concerning perception and acoustics, and it applies the author’s practical experience in acousmatic composition, spectromorphology, and sound semantics, while addressing accuracy, flexibility, and ease of use. Although previous sonification applications have addressed some degree of real-time control and spatialization, this approach integrates space and sound in an interactive framework. Spatial information is sonified in high-order 3-D ambisonics, where the user can interactively move the virtual listening position to reveal details easily missed from fixed or noninteractive spatial views. Sounds used as input to the sonification take advantage of the rich spectra and extramusical attributes of acoustic sources, which, although previously theorized, are investigated here in a practical context thoroughly tested alongside acoustic and psychoacoustic considerations. Furthermore, when using Cheddar, no specialized knowledge of programming, acoustics, or psychoacoustics is required. These approaches position Cheddar at the junction between science and art. With one application serving both disciplines, the patterns and processes of science are more fluently appropriated into music or sound art, and vice versa for scientific research, science public outreach, and education.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@phdthesis{zotero:derrico2016interfaceaes,
  author = {D’Errico, Michael},
  title = {Interface Aesthetics. Sound, Software, and the Ecology of Digital Audio Production},
  school = {LA: University of California.},
  year = {2016},
  keywords = {Performance, Analysis, game music, Interface Design},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@book{zotero:nelson2016junkyardjamb,
  author = {Nelson, David Erik},
  title = {Junkyard jam band: DIY musical instruments and noisemakers},
  publisher = {No Starch Press},
  address = {San Francisco},
  year = {2016},
  isbn = {978-1-59327-611-9},
  keywords = {Performance, circuit-bending, electronics, DIY, cigar box instruments, Droid Voicebox, preamp, Scratchbox},
  abstract = {"A collection of DIY musical instruments made from everyday materials. Projects include audio effect generators, a sequencer, an electric ukulele, a PVC slide-whistle, and an acoustic-electric thumb piano. Features step-by-step, illustrated instructions, modifications, and a soldering primer. Touches on topics like circuits, harmonics, wind instrument physics, and music theory"--},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@article{zotero:collins2016livecodingan,
  author = {Collins, Nick},
  title = {Live coding and teaching SuperCollider.},
  journal = {Journal of music, technology and education.},
  year = {2016},
  volume = {9},
  number = {1},
  pages = {5--16},
  doi = {10.1386/jmte.9.1.5_1},
  abstract = {SuperCollider (SC) is a highly customizable programming language for music; live coding is the dynamic rewriting of a computer program as a concert or exploratory act. Learning sessions on SC can make ready use of live coding techniques, with many interesting musical possibilities, and this article explores the author’s twelve years of SC teaching. Contexts include SC workshops for adults, undergraduate computer music classes, and widening participation of creative coding sampler sessions for 11–13-year olds. The article is a personal reflection on pedagogy, which can provide ideas for live coding and computer music teaching across a range of audiences.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:dannenberg2016o2rethinking,
  author = {Dannenberg, Roger B and Chi, Zhang},
  title = {O2: Rethinking Open Sound Control},
  booktitle = {Proceedings of the International Computer Music Conference},
  address = {Utrecht},
  year = {2016},
  pages = {4},
  abstract = {O2 is a new communication protocol and implementation for music systems that aims to replace Open Sound Control (OSC). Many computer musicians routinely deal with problems of interconnection in local area networks, unreliable message delivery, and clock synchronization. O2 solves these problems, offering named services, automatic network address discovery, clock synchronization, and a reliable message delivery option, as well as interoperability with existing OSC libraries and applications. Aside from these new features, O2 owes much of its design to OSC and is mostly compatible with and similar to OSC. O2 addresses the problems of inter-process communication with a minimum of complexity.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@article{zotero:johnston2016opportunitie,
  author = {Johnston, Andrew},
  title = {Opportunities for Practice-Based Research in Musical Instrument Design},
  journal = {Leonardo},
  year = {2016},
  volume = {49},
  number = {1},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@book{zotero:lepecki2016singularitie,
  author = {Lepecki, Andre},
  title = {Singularities: Dance in the Age of Performance},
  publisher = {Routledge},
  address = {London},
  year = {2016},
  isbn = {978-1-315-69494-8},
  doi = {10.4324/9781315694948},
  abstract = {How does the production of performance engage with the fundamental issues of our advanced neo-capitalist age? André Lepecki surveys a decade of experimental choreography to uncover the dual meaning of ‘performance’ in the twenty-first century: not just an aesthetic category, but a mode of political power. He demonstrates the enduring ability of performance to critique and subvert this power, examining this relationship through five ‘singularities’ in contemporary dance: thingness, animality, persistence, darkness, and solidity. Exploring the works of Mette Ingvartsen, Yvonne Rainer, Ralph Lemon, Jérôme Bel and others, Lepecki uses his concept of ‘singularity’—the resistance of categorization and aesthetic identification—to examine the function of dance and performance in political and artistic debate.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:coop2016sonification,
  author = {Coop, Allan D.},
  title = {Sonification, Musification, and Synthesis of Absolute Program Music},
  booktitle = {Proceedings of the 22nd International Conference on Auditory Display - ICAD 2016},
  publisher = {The International Community for Auditory Display},
  address = {Canberra, Australia},
  year = {2016},
  pages = {177--183},
  isbn = {978-0-9670904-3-6},
  doi = {10.21785/icad2016.030},
  abstract = {When understood as a communication system, a musical work can be interpreted as data existing within three domains. In this interpretation an absolute domain is interposed as a communication channel between two programatic domains that act respectively as source and receiver. As a source, a programatic domain creates, evolves, organizes, and represents a musical work. When acting as a receiver it re-constitutes acoustic signals into unique auditory experience. The absolute domain transmits physical vibrations ranging from the stochastic structures of noise to the periodic waveforms of organized sound. Analysis of acoustic signals suggest recognition as a musical work requires signal periodicity to exceed some minimum. A methodological framework that satisfies recent definitions of sonification is outlined. This framework is proposed to extend to musification through incorporation of data features that represent more traditional elements of a musical work such as melody, harmony, and rhythm.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@phdthesis{zotero:chabot2016spatializeds,
  author = {Chabot, Samuel RV},
  title = {Spatialized sound reproduction for telematic music performances in an immersive virtual environment},
  school = {Rensselaer Polytechnic Institute},
  year = {2016},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@article{zotero:laland2016theevolution,
  author = {Laland, Kevin and Wilkins, Clive and Clayton, Nicky},
  title = {The evolution of dance},
  journal = {Current Biology},
  year = {2016},
  volume = {26},
  number = {1},
  pages = {R5--R9},
  doi = {10.1016/j.cub.2015.11.031},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@book{zotero:aho2016thetangiblei,
  author = {Aho, Marko},
  title = {The tangible in music: the tactile learning of a musical instrument},
  publisher = {Routledge},
  address = {Abingdon},
  year = {2016},
  isbn = {978-1-4724-3957-4},
  keywords = {Performance, Analysis, Instrument Design, performative ethnomusicology, corporeal/cognitive processes},
  abstract = {In the age of digital music it seems striking that so many of us still want to produce music concretely with our bodies, through the movement of our limbs, lungs and fingers, in contact with those materials and objects which are capable of producing sounds. The huge sales figures of musical instruments in the global market, and the amount of time and effort people of all ages invest in mastering the tools of music, make it clear that playing musical instruments is an important phenomenon in human life. By combining the findings made in music psychology and performative ethnomusicology, Marko Aho shows how playing a musical instrument, and the pleasure musicians get from it, emerges from an intimate dialogue between the personally felt body and the sounding instrument. An introduction to the general aspects of the tactile resources of musical instruments, musical style and the musician is followed by an analysis of the learning process of the regional kantele style of the Perho river valley in Finnish Central Ostrobothnia.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@article{zotero:olsen2016whatconstitu,
  author = {Olsen, Kirk N. and Dean, Roger T. and Leung, Yvonne},
  title = {What Constitutes a Phrase in Sound-Based Music? A Mixed-Methods Investigation of Perception and Acoustics},
  journal = {PLOS ONE},
  year = {2016},
  volume = {11},
  number = {12},
  pages = {e0167643},
  doi = {10.1371/journal.pone.0167643},
  keywords = {Acoustics, Language, Birds, Pitch perception, Sensory perception, music perception, Language acquisition, Speech},
  abstract = {Phrasing facilitates the organization of auditory information and is central to speech and music. Not surprisingly, aspects of changing intensity, rhythm, and pitch are key determinants of musical phrases and their boundaries in instrumental note-based music. Different kinds of speech (such as tone- vs. stress-languages) share these features in different proportions and form an instructive comparison. However, little is known about whether or how musical phrasing is perceived in sound-based music, where the basic musical unit from which a piece is created is commonly non-instrumental continuous sounds, rather than instrumental discontinuous notes. This issue forms the target of the present paper. Twenty participants (17 untrained in music) were presented with six stimuli derived from sound-based music, note-based music, and environmental sound. Their task was to indicate each occurrence of a perceived phrase and qualitatively describe key characteristics of the stimulus associated with each phrase response. It was hypothesized that sound-based music does elicit phrase perception, and that this is primarily associated with temporal changes in intensity and timbre, rather than rhythm and pitch. Results supported this hypothesis. Qualitative analysis of participant descriptions showed that for sound-based music, the majority of perceived phrases were associated with intensity or timbral change. For the note-based piano piece, rhythm was the main theme associated with perceived musical phrasing. We modeled the occurrence in time of perceived musical phrases with recurrent event ‘hazard’ analyses using time-series data representing acoustic predictors associated with intensity, spectral flatness, and rhythmic density. Acoustic intensity and timbre (represented here by spectral flatness) were strong predictors of perceived musical phrasing in sound-based music, and rhythm was only predictive for the piano piece. A further analysis including five additional spectral measures linked to timbre strengthened the models. Overall, results show that even when little of the pitch and rhythm information important for phrasing in note-based music is available, phrasing is still perceived, primarily in response to changes of intensity and timbre. Implications for electroacoustic music composition and music recommender systems are discussed.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; tagged or filed as NIME there; NIME-topic probability 0.08}
}

@article{zotero:grau2016whypeopledan,
  author = {Grau, Andrée},
  title = {Why people dance – evolution, sociality and dance},
  journal = {Dance, Movement & Spiritualities},
  year = {2016},
  volume = {2},
  number = {3},
  pages = {233--254},
  doi = {10.1386/dmas.2.3.233_1},
  abstract = {Dance, along with song and body percussion, emanates from the body. All three therefore can be said to belong to the most elementary artistic processes. Anthropologist John Blacking believed that they were ‘a special kind of exercise of sensory, communicative and cooperative powers that is as fundamental to the making and remaking of human nature as speech’. The article engages with such an idea and examines the significance of dance in human evolution, moving away from the usual schema that presents bipedalism and the development of language as the two key moments in human evolution. It proposes instead another stage in-between, that it was the ability to move together in time that allowed collaboration among individuals, which led to the acquisition of language, and, therefore, culture. The article also investigates what can be loosely called the ‘power’ of dance. Dance is seen as powerful because it integrates intellect, our mental apparatus that engages primarily with reason and cognition, and affect, which emphasizes feeling and emotion. Three examples from Europe, Oceania, and Africa are discussed to demonstrate the similarities of the ways dancers have articulated what can be called, for expediency, a shared aesthetic experience bringing a heightened state of consciousness. Through such examples, dance is presented as a multi-sensory pursuit that connects human beings in a particular kind of relationship, which gives dance its power.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@book{zotero:anon2017animereaderf,
  editor = {Jensenius, Alexander Refsum and Lyons, Michael J.},
  title = {A NIME Reader: Fifteen Years of New Interfaces},
  publisher = {Springer},
  address = {Berlin},
  year = {2017},
  isbn = {978-3-319-47213-3},
  url = {http://www.springer.com/gp/book/9783319472133},
  abstract = {What is a musical instrument? What are the musical instruments of the future? This anthology presents thirty papers selected from the fifteen year long...},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@inproceedings{zotero:young2017anarmmounted,
  author = {Young, Thomas S. and Teather, Robert J. and MacKenzie, I. Scott},
  title = {An arm-mounted inertial controller for 6DOF input: Design and evaluation},
  booktitle = {3D User Interfaces (3DUI), 2017 IEEE Symposium on},
  publisher = {IEEE},
  year = {2017},
  pages = {26--35},
  url = {http://ieeexplore.ieee.org/abstract/document/7893314/},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:rostami2017biosensedand,
  author = {Rostami, Asreen and McMillan, Donald and Márquez Segura, Elena and Rossito, Chiara and Barkhuus, Louise},
  title = {Bio-Sensed and Embodied Participation in Interactive Performance},
  booktitle = {Proceedings of the Tenth International Conference on Tangible, Embedded, and Embodied Interaction},
  publisher = {ACM},
  address = {New York, NY, USA},
  year = {2017},
  pages = {197--208},
  isbn = {978-1-4503-4676-4},
  doi = {10.1145/3024969.3024998},
  keywords = {bio-sensing, audience engagement, biodata, bodily tracking, interactive performances},
  abstract = {Designing for interactive performances is challenging both in terms of technology design, and of understanding the interplay between technology, narration, and audience interactions. Bio-sensors and bodily tracking technologies afford new ways for artists to engage with audiences, and for audiences to become part of the artwork. Their deployment raises a number of issues for designers of interactive performances. This paper explores such issues by presenting five design ideas for interactive performance afforded by bio-sensing and bodily tracking (i.e. Microsoft Kinect) developed during two design workshops. We use these ideas, and the related scenarios to discuss three emerging issues namely: temporality of input, autonomy and control, and visibility of input in relation to the deployment of bio-sensors and bodily tracking technologies in the context of interactive performances.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@phdthesis{zotero:hug2017cltktyclacke,
  author = {Hug, Daniel},
  title = {CLTKTY? CLACK! Exploring Design and Interpretation of Sound for Interactive Commodities},
  school = {University of Linz},
  year = {2017},
  url = {https://www.researchgate.net/profile/Daniel_Hug/publication/317951343_CLTKTY_CLACK_Exploring_Design_and_Interpretation_of_Sound_for_Interactive_Commodities/links/595280d5aca272a343db4255/CLTKTY-CLACK-Exploring-Design-and-Interpretation-of-Sound-for-Interactive-Commodities.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:parkinson2017demonstratin,
  author = {Parkinson, Adam and Zbyszynski, Michael and Bernardo, Francisco},
  title = {Demonstrating Interactive Machine Learning Tools for Rapid Prototyping of Gestural Instruments in the Browser},
  year = {2017},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:bellona2017empiricallyi,
  author = {Bellona, Jon and Bai, Lin and Dahl, Luke and LaViers, Amy},
  title = {Empirically Informed Sound Synthesis Application for Enhancing the Perception of Expressive Robotic Movement},
  publisher = {The International Community for Auditory Display},
  year = {2017},
  pages = {73--80},
  isbn = {978-0-9670904-4-3},
  doi = {10.21785/icad2017.049},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@incollection{zotero:himberg2017entrainmenta,
  author = {Himberg, Tommi},
  title = {Entrainment and Mutual Adaptation in Musical Movement and Dance},
  booktitle = {The Routledge Companion to Embodied Music Interaction},
  year = {2017},
  pages = {141--149},
  doi = {10.4324/9781315621364-16},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:jakubowski2017extractingco,
  author = {Jakubowski, Kelly and Eerola, Tuomas and Alborno, Paolo and Volpe, Gualtiero and Camurri, Antonio and Clayton, Martin},
  title = {Extracting Coarse Body Movements from Video in Music Performance: A Comparison of Automated Computer Vision Techniques with Motion Capture Data},
  journal = {Frontiers in Digital Humanities},
  year = {2017},
  volume = {4},
  pages = {9},
  doi = {10.3389/fdigh.2017.00009},
  keywords = {computer vision, music performance, motion tracking, Movement, musical ensemble coordination, Video Analysis},
  abstract = {The measurement and tracking of body movement within musical performances can provide valuable sources of data for studying interpersonal interaction and coordination between musicians. The continued development of tools to extract such data from video recordings will offer new opportunities to research musical movement across a diverse range of settings, including field research and other ecological contexts in which the implementation of complex motion capture systems is not feasible or affordable. Such work might also make use of the multitude of video recordings of musical performances that are already available to researchers. The present study made use of such existing data, specifically, three video datasets of ensemble performances from different genres, settings, and instrumentation (a pop piano duo, three jazz duos, and a string quartet). Three different computer vision techniques were applied to these video datasets—frame differencing, optical flow, and kernelized correlation filters (KCF)—with the aim of quantifying and tracking movements of the individual performers. All three computer vision techniques exhibited high correlations with motion capture data collected from the same musical performances, with median correlation (Pearson’s r) values of .75 to .94. The techniques that track movement in two dimensions (optical flow and KCF) provided more accurate measures of movement than a technique that provides a single estimate of overall movement change by frame for each performer (frame differencing). Measurements of performer’s movements were also more accurate when the computer vision techniques were applied to more narrowly-defined regions of interest (head) than when the same techniques were applied to larger regions (entire upper body, above the chest or waist). Some differences in movement tracking accuracy emerged between the three video datasets, which may have been due to instrument-specific motions that resulted in occlusions of the body part of interest (e.g. a violinist’s right hand occluding the head whilst tracking head movement). These results indicate that computer vision techniques can be effective in quantifying body movement from videos of musical performances, while also highlighting constraints that must be dealt with when applying such techniques in ensemble coordination research.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@incollection{zotero:enders2017fromidiophon,
  author = {Enders, Bernd},
  title = {From Idiophone to Touchpad. The Technological Development to the Virtual Musical Instrument},
  booktitle = {Musical Instruments in the 21st Century},
  publisher = {Springer},
  address = {Singapore},
  year = {2017},
  pages = {45--58},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:dyer2017mappingsonif,
  author = {Dyer, John F. and Stapleton, Paul and Rodger, Matthew},
  title = {Mapping sonification for perception and action in motor skill learning},
  journal = {Frontiers in neuroscience},
  year = {2017},
  volume = {11},
  pages = {463},
  url = {https://www.frontiersin.org/journals/neuroscience/articles/10.3389/fnins.2017.00463/full},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@book{zotero:anon2017musicalinstr,
  editor = {Bovermann, Till and de Campo, Alberto and Egermann, Hauke and Hardjowirogo, Sarah-Indriyati and Weinzierl, Stefan},
  title = {Musical Instruments in the 21st Century},
  publisher = {Springer},
  address = {Singapore},
  year = {2017},
  isbn = {978-981-10-2950-9 978-981-10-2951-6},
  doi = {10.1007/978-981-10-2951-6},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:visi2017musicalinstr,
  author = {Visi, Federico and Coorevits, Esther and Schramm, Rodrigo and Miranda, Eduardo Reck},
  title = {Musical instruments, body movement, space, and motion data: music as an emergent multimodal choreography},
  journal = {Human technology},
  year = {2017},
  volume = {13},
  number = {1},
  pages = {58},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@incollection{zotero:wang2017thelaptoporc,
  author = {Wang, Ge},
  title = {The Laptop Orchestra},
  booktitle = {The Routledge Companion to Music, Technology, and Education},
  publisher = {Routledge},
  year = {2017},
  abstract = {The laptop orchestra is an intersection of cutting-edge technology and conventional musical contexts, exploring new possibilities for large-scale computer-mediated musical performance. Simultaneously, the laptop orchestra suggests unique artistic and pedagogical opportunities to investigate instrument design, computer programming, music composition, and live performance as a single context. This chapter examines the nature and development of the laptop orchestra, its artistic process and its distinctively integrated laboratory and classroom combination, drawing from experiences of the Princeton Laptop Orchestra (PLOrk) and Stanford Laptop Orchestra (SLOrk).},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@article{zotero:cupellini2017thesoundmoti,
  author = {Cupellini, Enrico and Cooperstock, Jeremy R. and Belardinelli, Marta Olivetti},
  title = {The Sound Motion Controller: A Distributed System for Interactive Music Performance},
  year = {2017},
  url = {http://www.escom2017.org/wp-content/uploads/2016/06/Cupellini-et-al.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@inproceedings{zotero:markovic2018adaptiveinte,
  author = {Marković, Dimitrije and Malešević, Nebojša},
  title = {Adaptive Interface for Mapping Body Movements to Sounds},
  publisher = {Springer, Cham},
  year = {2018},
  pages = {194--205},
  doi = {10.1007/978-3-319-77583-8_13},
  abstract = {Contemporary digital musical instruments allow an abundance of means to generate sound. Although superior to traditional instruments in terms of producing a unique audio-visual act, there is still an...},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:robertson2018audiovisualr,
  author = {Robertson, Robert},
  title = {Audiovisual Rhythm: Eisenstein's Laboratory of Music, Image and Sound},
  publisher = {CreateSpace Independent Publishing Platform},
  year = {2018},
  isbn = {978-1-7231-7947-1},
  abstract = {What is rhythm? Rhythm is related to pattern. How do we perceive it? Rhythm is organised comparison. It is directly related to our perception. This is why rhythm is there in music, mathematics, art, literature, theatre, dance, architecture, cinema. Rhythm in cinema is audiovisual.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:bressan2018betweenartis,
  author = {Bressan, Federica and Finbow, Acatia and Vets, Tim and Lesaffre, Micheline and Leman, Marc},
  title = {Between artistic creativity and documentation: An experiment on interaction with an installation for music-making},
  booktitle = {Interactivity, game creation, design, learning, and innovation},
  publisher = {Springer International Publishing},
  address = {Cham},
  year = {2018},
  pages = {3--12},
  isbn = {978-3-319-76908-0},
  abstract = {This article presents the preliminary results of an exploratory experiment with BilliArT, an interactive installation for music-making. The aim is to extract useful information from the combination of different ways to approach to the art work, namely that of conservation, of the aesthetic experience, and of the artistic creativity. The long-term goal is to achieve a better understanding of how people engage with interactive installations, and ultimately derive an ontology for interactive art.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@incollection{zotero:bryant2018corispezzati,
  author = {Bryant, David},
  editor = {Schiltz, Katelijne},
  title = {Cori spezzati in Composition and Sound},
  booktitle = {A Companion to Music in Sixteenth-Century Venice},
  publisher = {Brill},
  address = {Leiden},
  year = {2018},
  pages = {371--394},
  isbn = {978-90-04-35830-0},
  keywords = {History / Europe / General},
  abstract = {Covering all facets of musical life in sixteenth-century Venice, the Companion addresses the city’s institutions (churches, confraternities, and academies), public and private occasions of music making, musicians and instrument makers, and the rich variety of musical genres.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@book{zotero:bell2018dawnofthedaw,
  author = {Bell, Adam Patrick},
  title = {Dawn of the DAW: The Studio as Musical Instrument},
  publisher = {Oxford University Press},
  address = {New York, NY},
  year = {2018},
  isbn = {978-0-19-029663-6},
  keywords = {Music / Instruction & Study / Theory, Music / Instruction & Study / General, Music / Genres & Styles / Pop Vocal, Music / Instruction & Study / Exercises},
  abstract = {Dawn ot the DAW tells the story of how the dividing line between the traditional roles of musicians and recording studio personnel (producers, recording engineers, mixing engineers, technicians, etc.) has eroded throughout the latter half of the twentieth century to the present. Whereas those equally adept in music and technology such as Raymond Scott and Les Paul were exceptions to their eras, the millennial music maker is ensconced in a world in which the symbiosis of music and technology is commonplace. As audio production skills such as recording, editing, and mixing are increasingly co-opted by musicians teaching themselves in their do-it-yourself (DIY) recording studios, conventions of how music production is taught and practiced are remixed to reflect this reality. Dawn of the DAW first examines DIY recording practices within the context of recording history from the late nineteenth century to the present. Second, Dawn of the DAW discusses the concept of "the studio as musical instrument" and the role of the producer, detailing how these constructs have evolved throughout the history of recorded music in tandem. Third, Dawn of the DAW details current practices of DIY recording--how recording technologies are incorporated into music making, and how they are learned by DIY studio users in the musically--chic borough of Brooklyn. Finally, Dawn of the DAW examines the broader trends heard throughout, summarizing the different models of learning and approaches to music making. Dawn of the DAW concludes by discussing the ramifications of these new directions for the field of music education.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:morreale2018effectofinst,
  author = {Morreale, Fabio and Armitage, Jack and McPherson, Andrew},
  title = {Effect of Instrument Structure Alterations on Violin Performance},
  journal = {Frontiers in Psychology},
  year = {2018},
  volume = {9},
  doi = {10.3389/fpsyg.2018.02436},
  keywords = {music cognition, Feedback and feedforward, Learning generalization, Sensorimotor training, Transparency Effect},
  abstract = {Extensive training with a musical instrument results in the automatisation of the bodily operations needed to manipulate the instrument: the performer no longer has to consciously think about the instrument while playing. The ability of the performer to automate operations on the instrument is due to sensorimotor mechanisms that can predict changes in the state of the body and the instrument in response to motor commands. But how strong are these mechanisms? To what extent can we alter the structure of the instrument before they disappear? We performed an exploratory study to understand whether and how sensorimotor predictions survive instrument modification. We asked seven professional violinists to perform repertoire pieces and sight-reading exercises on four different violins: their own, a cheap violin, a small violin, and a violin whose strings had been put on in reverse order. We performed a series of quantitative investigations on performance intonation and duration, and on bowing gestures and errors. The analysis revealed that participants struggled adapting to the altered instruments, suggesting that prediction mechanisms are a function of instrument configuration. In particular, the analysis of bowing errors, intonation, and of performance duration suggested that the performance with the reverse violin was much less fluent and precise than the performer's own instrument; the performance with the small violin was also sub-standard though to a lesser extent. We also observed that violinists were differently affected by instrument modifications, suggesting that the capability to adapt to a new instrument is highly personal.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:malloch2018generalizedm,
  author = {Malloch, Joseph and Sinclair, Stephen and Wanderley, Marcelo M.},
  title = {Generalized Multi-Instance Control Mapping for Interactive Media Systems},
  journal = {IEEE MultiMedia},
  year = {2018},
  volume = {25},
  number = {1},
  pages = {39--50},
  doi = {10.1109/MMUL.2018.112140028},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:kinoshita2018investigatio,
  author = {Kinoshita, Yuichiro and Nishio, Masato and Shiraga, Shota and Go, Kentaro},
  title = {INVESTIGATION OF PLEASANTNESS IN THE MANIPULATION OF DEFORMABLE INTERFACES FOR MUSICAL EXPRESSION},
  year = {2018},
  pages = {10},
  abstract = {Currently, deformable user interfaces are a popular topic in the Human Computer Interaction (HCI) community. These interfaces enable intuitive manipulation for users. Deformable interfaces are also reported in the field of musical expression, such as sound controllers. However, the user experience of the manipulation of these interfaces is not well studied so far. This paper therefore focuses on the clarification of pleasantness in the manipulation of deformable interfaces for musical expression. First, evaluation experiments were conducted to investigate the pleasantness and user impressions of deformable interface manipulation using 36 dissimilar interface mockups. The evaluation results explained that the impressions related to the activity factor particularly correlate with pleasantness. Also, Hayashi’s quantification theory type I revealed the relationship between the physical features of the interfaces and pleasantness. Based on the findings, the ideal deformable interface design for pleasant musical expression was finally proposed. The design was with medium deformation and squashing manipulation.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@inproceedings{zotero:ahmed2018interactiona,
  author = {Ahmed, Salah Uddin},
  title = {Interaction and Interactivity: In the Context of Digital Interactive Art Installation},
  booktitle = {Human-Computer Interaction. Interaction in Context},
  publisher = {Springer, Cham},
  year = {2018},
  pages = {241--257},
  isbn = {978-3-319-91244-8},
  doi = {10.1007/978-3-319-91244-8_20},
  abstract = {Different people define ‘interaction’ in the context of digital interactive art in different ways. The confusion comes from the fact that the meaning of interaction is different in different fields. Medical science, social science, information technology...},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:dannenberg2018languagesfor,
  author = {Dannenberg, Roger B.},
  title = {Languages for Computer Music},
  journal = {Frontiers in Digital Humanities},
  year = {2018},
  volume = {5},
  doi = {10.3389/fdigh.2018.00026},
  keywords = {Real-time, functional programming, sound synthesis, music languages, Music representations, Object-oriented programming, Visual programming},
  abstract = {Specialized languages for computer music have long been an important area of research in this community. Computer music languages have enabled composers who are not software engineers to nevertheless use computers effectively. While powerful general-purpose programming languages can be used for music tasks, experience has shown that time plays a special role in music computation, and languages that embrace musical time are especially expressive for many musical tasks. Time is expressed in procedural languages through schedulers and abstractions of beats, duration and tempo. Functional languages have been extended with temporal semantics, and object-oriented languages are often used to model stream-based computation of audio. This chapter considers models of computation that are especially important for music programming, how these models are supported in programming languages, and how this leads to expressive and efficient programs. Concrete examples are drawn from some of the most widely used music programming languages.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@mastersthesis{zotero:bye2018midipolyphon,
  author = {Bye, Mads},
  title = {MIDI Polyphonic Expression: A Bridge Between Acoustic and Electronic Instrument Experience?},
  year = {2018},
  url = {https://www.duo.uio.no/handle/10852/62802},
  abstract = {This paper is about MIDI Polyphonic Expression controllers. Since the invention of the synthesizer and computer music instruments a decoupling between performers and sound generators has occurred. Expression has in some ways been lost and the need for performers to physically interact with instruments has not been fulfilled by the proliferation of MIDI keyboards and controllers. Computer music can feel sterile and less expressive than music played with acoustic instruments. The inability of musical controllers to capture expressive gestures makes performing emotionally engaging electronic music difficult for instrumentalists. By looking at the history behind MIDI and MPE and discussing the human need for expression in music, the author gives a framework for an experiment he conducts. By testing several MPE controllers in a systematic way he hopes to answer questions over MIDI Polyphonic Expression’s role in restoring tactility and gestural expression to musical instruments.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@inproceedings{zotero:dahl2018modoscalibra,
  author = {Dahl, Luke and Visi, Federico},
  title = {Modosc: a library of real-time movement descriptors for marker-based motion capture},
  booktitle = {Proceedings of the 5th international conference on movement and computing},
  publisher = {Association for Computing Machinery},
  address = {Genoa, Italy and New York, NY, USA},
  year = {2018},
  isbn = {978-1-4503-6504-8},
  doi = {10.1145/3212721.3212842},
  keywords = {Motion capture, Open Sound Control, interaction design, motion analysis, expressive movement, Max, modosc, motion descriptors},
  abstract = {Marker-based motion capture systems that stream precise movement data in real-time afford interaction scenarios that can be subtle, detailed, and immediate. However, challenges to effectively utilizing this data include having to build bespoke processing systems which may not scale well, and a need for higher-level representations of movement and movement qualities. We present modosc, a set of Max abstractions for computing motion descriptors from raw motion capture data in real time. Modosc is designed to address the data handling and synchronization issues that arise when working with complex marker sets, and to structure data streams in a meaningful and easily accessible manner. This is achieved by adopting a multiparadigm programming approach using o.dot and Open Sound Control. We describe an initial set of motion descriptors, the addressing system employed, and design decisions and challenges.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@incollection{zotero:puttke2018motionanalys,
  author = {Puttke, Martin and Volchenkov, Dimitri},
  title = {Motion Analysis as Pedagogic Tool in Dance},
  booktitle = {Handbook of Human Motion},
  publisher = {Springer International Publishing},
  address = {Cham},
  year = {2018},
  pages = {1889--1909},
  isbn = {978-3-319-14418-4},
  doi = {10.1007/978-3-319-14418-4_198},
  keywords = {Attention, Canon, Danamos, Dance didactic, External focus, Function, Morpheme, Proprioception},
  abstract = {Excellence in dance arises due to a truly exceptional match between movements of all body parts of a dancer and is ruined by tiny imperfections and flaws in performance. We analyzed the technical canon of dance technique by using an analogy to the morphological subsystem of linguistics and described the very basic elements of any dance technique and its roots in human motion system – morphemes of human motor action as an analytic and pedagogic tool in dance. This definition led to a critical analysis of some aspects of traditional teaching methods and questions of attention focus and motor skill learning in dance completed by some relevant historical perspectives. In the biomechanical lab, the practical use of these specific morphological instructions was tested and proved by kinematic data of dancer’s performance while in jumps before and after corrections given by the author.Finally the new concept Danamos – dance.art.master.system is described with its core, the seven basic motion morphemes of human motor action, its relevance to any artistic motion sequence, and the cooperation of mental and physical action.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:weiss2018motiontypeso,
  author = {Weiss, Anna E. and Nusseck, Manfred and Spahn, Claudia},
  title = {Motion types of ancillary gestures in clarinet playing and their influence on the perception of musical performance},
  journal = {Journal of New Music Research},
  year = {2018},
  volume = {47},
  number = {2},
  pages = {129--142},
  doi = {10.1080/09298215.2017.1413119},
  keywords = {Motion capture, motion analysis, ancillary gestures, movement perception},
  abstract = {Musicians’ body movements are considered to be a source of communication and to contribute to the perceived musical impression of a performance. The aim of this study was to analyse ancillary body movements of clarinettists in order to identify characteristic motion types used in performance and to investigate their influence on the perception of the musical performance. The body movements of 22 clarinettists were recorded using 3D motion capture. A cluster analysis was performed on the variances of the angles in the shoulders, arms, knees, the back and the instrument hold, in order to examine commonalities in movement patterns. Four different motion types were classified: predominant knee motion (PkneeM), predominant arm motion (ParmM), no specific prominent motion pattern (NoSMP) and overall low motion performance (LowMP). In a perceptual experiment, in which all audio-visual recordings of performances were presented with the same audio track, 154 participants were asked to rate 8 performances (2 in each motion type) on 5 evaluation scales. The results showed that different motion types had a significant effect on perceptual ratings, with the highest affective ratings given to those who performed with predominant motion patterns in either the arms (ParmM) or in the knees (PkneeM), and the lowest ratings were given for performances with overall low motion (LowMP). In summary, the categorization of four motion types supports a systematic analysis of commonalities in motions made during clarinet performances across players. In addition, these different motion types have been shown to effectively influence perception of musical performance.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@incollection{zotero:goebl2018movementandt,
  author = {Goebl, Werner},
  title = {Movement and Touch in Piano Performance},
  booktitle = {Handbook of Human Motion},
  publisher = {Springer International Publishing},
  address = {Cham},
  year = {2018},
  pages = {1821--1838},
  isbn = {978-3-319-14418-4},
  doi = {10.1007/978-3-319-14418-4_109},
  keywords = {Motion capture, Movement efficiency, Piano performance, Piano technique, Piano touch},
  abstract = {Pianists achieve extreme levels of virtuosity on their instrument, requiring a combination of talent and decade-long continuous and deliberate practice, training, and experience. As with all musical behaviors, body movements in piano performance are goal directed, aiming at producing intended sounds with utmost precision and accuracy in expressive parameters such as timing, dynamics, timbre, and articulation. Body movements in piano performance may also serve communicative purposes such as to express emotional states or to coordinate with co-performers. Pianists control the timing and velocities of the individual piano hammers by varying the forces applied to the piano key surfaces, as well as to the three pedals through their feet. The key forces are accomplished by coordinating the kinematic chain from their shoulders to the fingertips aligned with feet movements to manipulate the pedals. As kinematic properties such as finger velocity covary with performance parameters (tempo, dynamics, etc.), pianists have to stabilize several parameters of movement kinematics and musical expression simultaneously. The intrinsic way the fingers arrive at the piano key surface, referred to as piano touch (i.e., pressing versus striking a piano key), yields different tactile and other sensory percepts to the pianists themselves and the audiences alike, making this parameter an important one in accomplished piano performance.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@book{zotero:silverthorne2018musicartandp,
  author = {Silverthorne, Diane V.},
  title = {Music, Art and Performance from Liszt to Riot Grrrl: The Musicalization of Art},
  publisher = {Bloomsbury Publishing USA},
  year = {2018},
  isbn = {978-1-5013-3015-5},
  keywords = {Music / History & Criticism, Art / History / General, Music / Instruction & Study / Theory, Art / History / Romanticism},
  abstract = {A 2019 Choice Outstanding Academic TitleOpening with an account of print portraiture facilitating Franz Liszt's celebrity status and concluding with Riot Grrrl's noisy politics of feminism and performance, this interdisciplinary anthology charts the relationship between music and the visual arts from late Romanticism and the birth of modernism to 'postmodernism', while crossing from Western art to the Middle East. Focused on music as a central experience of art and life, these essays scrutinize 'the musicalisation of art' focusing on the visual and performing arts and detailing significant instances of intra-art relations between c. 1840 and the present day. Essays reflect on the aesthetic relationships of music to painting, performance and installation, sound-and- silence, time-and-space. The insistent influence of Wagner is considered as well as the work and ideas of Manet, Satie and Cage, Thomas Wilfred, La Monte Young and Eliasson. What distinguishes these studies are the convictions that music is never alone and that a full understanding of the “isms” of the last two hundred years is best achieved when music's influential presence in the visual arts is acknowledged and interrogated.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@book{zotero:anon2018musicalhapti,
  editor = {Papetti, Stefano and Saitis, Charalampos},
  title = {Musical Haptics},
  publisher = {Springer},
  address = {Cham, Switzerland},
  year = {2018},
  isbn = {978-3-319-58315-0 978-3-319-58316-7},
  doi = {10.1007/978-3-319-58316-7},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:demos2018musiciansbod,
  author = {Demos, Alexander P. and Chaffin, Roger and Logan, Topher},
  title = {Musicians body sway embodies musical structure and expression: A recurrence-based approach},
  journal = {Musicae Scientiae},
  year = {2018},
  volume = {22},
  number = {2},
  pages = {244--263},
  doi = {10.1177/1029864916685928},
  abstract = {Musicians’ sway during performance seems to be related to musical structure. However, it has yet to be shown that examples of the relationship are not simply due to chance. Progress has been impeded by three problems: the assumption that musical structure is constant across performances; the complexity of the movements; and the inability of traditional statistical tests to accurately model the multilevel temporal hierarchies involved. We solved these problems in a study of the side-to-side postural sway of two trombonists as they each recorded two performances of each of two solo pieces in each of three different performance styles (normal, expressive, non-expressive). The musicians reported their phrasing immediately after each performance by marking copies of the score. We measured the rate and stability (mean line) of recurrence (self-similarity) and assessed the effect of serial position within a phrase, using mixed linear models to model the nesting of phrases within pieces, within performances, across expressive styles and musicians. Recurrence and stability of recurrence changed systematically across the course of a phrase, producing sinusoidal-like and arch-shaped phrasing contours that differed with the performance style and length of phrase. As long suspected, musicians’ expressive movements reflect musical structure.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@mastersthesis{zotero:tveit2018onusingthela,
  author = {Tveit, Anders},
  title = {On using the laptop in improvisation. - Constrained interfaces, engaging instruments},
  year = {2018},
  url = {https://www.duo.uio.no/handle/10852/66477},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:bjrn2018patchtweakex,
  author = {Bjørn, Kim and Meyer, Chris},
  title = {Patch & Tweak - Exploring Modular Synthesis},
  publisher = {Bjooks},
  address = {Copenhagen},
  year = {2018},
  url = {https://bjooks.com/products/patch-tweak-exploring-modular-synthesis},
  abstract = {Become a true master of your modular systemPATCH & TWEAK is a comprehensive look at modular synthesizers. It explores how to build them, how to use them, and how to get the most out of them, with beautiful illustrations and step-by-step tutorials with easy-to-read patch diagrams. Over 700 Modules 38 Interviews with},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:bachmann2018reviewofthre,
  author = {Bachmann, Daniel and Weichert, Frank and Rinkenauer, Gerhard},
  title = {Review of Three-Dimensional Human-Computer Interaction with Focus on the Leap Motion Controller},
  journal = {Sensors},
  year = {2018},
  volume = {18},
  number = {7},
  pages = {2194},
  doi = {10.3390/s18072194},
  abstract = {Modern hardware and software development has led to an evolution of user interfaces from command-line to natural user interfaces for virtual immersive environments. Gestures imitating real-world interaction tasks increasingly replace classical two-dimensional interfaces based on Windows/Icons/Menus/Pointers (WIMP) or touch metaphors. Thus, the purpose of this paper is to survey the state-of-the-art Human-Computer Interaction (HCI) techniques with a focus on the special field of three-dimensional interaction. This includes an overview of currently available interaction devices, their applications of usage and underlying methods for gesture design and recognition. Focus is on interfaces based on the Leap Motion Controller (LMC) and corresponding methods of gesture design and recognition. Further, a review of evaluation methods for the proposed natural user interfaces is given.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:aristidou2018stylebasedmo,
  author = {Aristidou, Andreas and Stavrakis, Efstathios and Papaefthimiou, Margarita and Papagiannakis, George and Chrysanthou, Yiorgos},
  title = {Style-based motion analysis for dance composition},
  journal = {The Visual Computer},
  year = {2018},
  volume = {34},
  number = {12},
  pages = {1725--1737},
  doi = {10.1007/s00371-017-1452-z},
  abstract = {Synthesizing human motions from existing motion capture data is the approach of choice in most applications requiring high- quality visual results. Usually to synthesize motion, short motion segments are concatenated into longer sequences by finding transitions at points where character poses are similar. If similarity is only a measure of posture correlation, without consideration for the stylistic variations of movement, the resulting motion might have unnatural discontinuities. Particularly prone to this problem are highly stylized motions, such as dance performances. This work presents a motion analysis framework, based on Laban Movement Analysis, that also accounts for stylistic variations of the movement. Implemented in the context of Motion Graphs, it is used to eliminate potentially problematic transitions and synthesize style-coherent animation, without requiring prior labeling of the data. The effectiveness of our method is demonstrated by synthesizing contemporary dance performances that include a variety of different emotional states. The algorithm is able to compose highly stylized motions that are reminiscent to dancing scenarios using only plausible movements from existing clips.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@phdthesis{zotero:bin2018theshowmustg,
  author = {Bin, Astrid S.},
  title = {The Show Must Go Wrong: Towards an understanding of audience perception of error in digital musical instrument performance},
  school = {Queen Mary University of London},
  year = {2018},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@book{zotero:hffding2019aphenomenolo,
  author = {Høffding, Simon},
  title = {A phenomenology of musical absorption},
  publisher = {Springer},
  year = {2019},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:gonzalezsanchez2019characterizi,
  author = {González Sánchez, Victor and Dahl, Sofia and Hatfield, Johannes Lunde and Godøy, Rolf Inge},
  title = {Characterizing Movement Fluency in Musical Performance: Toward a Generic Measure for Technology Enhanced Learning},
  journal = {Frontiers in Psychology},
  year = {2019},
  volume = {10},
  pages = {84},
  doi = {10.3389/fpsyg.2019.00084},
  abstract = {Virtuosity in music performance is often associated with fast, precise, and efficient sound-producing movements. The generation of such highly skilled movements involves complex joint and muscle control by the central nervous system, and depends on the ability to anticipate, segment, and coarticulate motor elements, all within the biomechanical constraints of the human body. When successful, such motor skill should lead to what we characterize as fluency in musical performance. Detecting typical features of fluency could be very useful for technology-enhanced learning systems, assisting and supporting students during their individual practice sessions by giving feedback and helping them to adopt sustainable movement patterns. In this study, we propose to assess fluency in musical performance as the ability to smoothly and efficiently coordinate while accurately performing slow, transitionary, and rapid movements. To this end, the movements of three cello players and three drummers at different levels of skill were recorded with an optical motion capture system, while a wireless electromyography (EMG) system recorded the corresponding muscle activity from relevant landmarks. We analyzed the kinematic and coarticulation characteristics of these recordings separately and then propose a combined model of fluency in musical performance predicting music sophistication. Results suggest that expert performers’ movements are characterized by consistently smooth strokes and scaling of muscle phasic coactivation. The explored model of fluency as a function of movement smoothness and coarticulation patterns was shown to be limited by the sample size, but it serves as a proof of concept. Results from this study show the potential of a technology-enhanced objective measure of fluency in musical performance, which could lead to improved practices for aspiring musicians, instructors, and researchers.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@mastersthesis{zotero:weibezahn2019einszweianin,
  author = {Weibezahn, Marc-Andre},
  title = {Eins, Zwei - An Interactive Space For Rhythm And Movement},
  year = {2019},
  url = {https://www.researchgate.net/publication/334537110_Eins_Zwei_-_An_Interactive_Space_For_Rhythm_And_Movement},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:carlson2019empathyentra,
  author = {Carlson, Emily and Burger, Birgitta and Toiviainen, Petri},
  title = {Empathy, Entrainment, and Perceived Interaction in Complex Dyadic Dance Movement},
  journal = {Music Perception: An Interdisciplinary Journal},
  year = {2019},
  volume = {36},
  number = {4},
  pages = {390--405},
  doi = {10.1525/mp.2019.36.4.390},
  keywords = {entrainment, dance, interaction, motion capture, perception},
  abstract = {Skip to Next Section The current study explores how individuals' tendency to empathize with others (trait empathy) modulates interaction and social entrainment in dyadic dance in a free movement context using perceptual and computationally derived measures. Stimuli consisting of 24 point-light animations were created using motion capture data selected from a sample of 99 dyads, based on self-reported trait empathy. Individuals whose Empathy Quotient (EQ) scores were in the top or bottom quartile of all scores were considered to have high or low empathy, respectively, and twelve dyads comprised of four high-high, four low-low, and four high-low empathy combinations were identified. Animations of these dyads were presented to 33 participants, who rated the degree of interaction and movement similarity for each stimulus. Results showed a significant effect of empathy combination on perceived interactivity and perceived similarity. High-low stimuli were rated as significantly more interactive than either high-high or low-low stimuli, while high-high stimuli were rated as significantly less similar than high-low and low-low. Dyads’ period-locking, bodily orientation and amount of hand movement were all significantly correlated with rated amount of interaction, while rated similarity only related significantly to period-locking. Results suggest that period-locking is important for social entrainment to be perceived, but that other signals such as bodily orientation and hand movement also signal social entrainment during free dance movement.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@book{zotero:donahue2019enablingnewm,
  author = {Donahue, Chris},
  title = {Enabling New Musical Interactions with Machine Learning},
  publisher = {University of California, San Diego},
  year = {2019},
  abstract = {Despite the ubiquity of computers leading to a steady increase in global music consumption, computing has yet to fundamentally transform the capacity for non-musicians to engage with music. The experience of non-musicians--that of passively listening to music--is largely the same as it was decades prior. In this dissertation, I describe my research which allows non-musicians and musicians alike to create, respond, modify, or otherwise interact with music in new ways. Examples include a system which allows non-musicians to improvise on musical instruments without experience, and a system which automatically choreographs music to provide an interactive listening and dancing experience. Common to all of my work is the use of predictive models which allow us to efficiently sift through musical spaces to identify promising content. The identified content can then be further curated by humans as part of an interactive musical workflow. To build such predictive models, I use machine learning which seeks to extract and generalize patterns in human-composed music. Specifically, I focus on a subfield of machine learning called deep learning, which is capable of extracting such patterns in high-dimensional music representations including both symbolic and acoustic formats. My research focuses on both advancing the state of the art in deep learning for music (and other types of multimedia), and designing interfaces which allow humans to intuitively benefit from what deep learning systems have discovered about music.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:polfreman2019forcemotionc,
  author = {Polfreman, Richard and Oliver, Benjamin and Halford, Daniel and Metcalf, Cheryl},
  title = {Force & Motion: Conducting to the Click},
  booktitle = {Proceedings of the 6th International Conference on Movement and Computing},
  publisher = {ACM},
  address = {Tempe AZ USA},
  year = {2019},
  pages = {1--4},
  isbn = {978-1-4503-7654-9},
  doi = {10.1145/3347122.3347139},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:kontogeorgakopoulos2019gamelancodes,
  author = {Kontogeorgakopoulos, Alexandros and Kotsifa, Olivia},
  title = {Game|lan:Co-designing and co-creating an Orchestra of Digital Musical Instruments within the Fab Lab Network},
  journal = {Stanford University},
  year = {2019},
  pages = {5},
  abstract = {This paper presents an ongoing project focused on the co-design and co-creation of a small orchestra of digitally fabricated digital musical instruments (DMIs) based on the Bela board, an open-source embedded computing platform. The project took place in Fab Labs, an international network of digital fabrication laboratories1. The orchestra, named Game|Lan, is inspired by the traditional Indonesian Gamelan ensembles, their music and philosophy. The project aims to explore the capabilities of the Fab Lab network which runs on an open-access, open-source and open-hardware ethos, for a distributed project of this type. The aspiration is to create an original orchestra for non-musicians, which offers the rich collective experience of being in a music group and explore it as a medium for social interaction. This paper presents the first results of the research project which took place is three Fab Labs in South America and it focuses on the process and the development of the project.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:neuhoff2019issonificati,
  author = {Neuhoff, John G.},
  title = {Is Sonification Doomed to Fail?},
  booktitle = {Proceedings of the 25th International Conference on Auditory Display (ICAD 2019)},
  publisher = {Department of Computer and Information Sciences, Northumbria University},
  address = {Newcastle upon Tyne},
  year = {2019},
  pages = {327--330},
  isbn = {978-0-9670904-6-7},
  doi = {10.21785/icad2019.069},
  abstract = {Despite persistent research and design efforts over the last twenty years, widespread adoption of sonification to display complex data has largely failed to materialize, and many of the challenges to successful sonification identified in the past persist. Major impediments to the widespread adoption sonification include fundamental perceptual differences between vision and audition, large individual differences in auditory perception, musical biases of sonification researchers, and the interdisciplinary nature of sonification research and design. The historical and often indiscriminate mingling of art and science in sonification design may be a root cause of some of these challenges. Future sonification design efforts that explicitly strive to meet either artistic or scientific goals may lead to greater clarity and success in the field and more widespread adoption of useful sonification techniques.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:sioros2019mappingtimin,
  author = {Sioros, George and Câmara, Guilherme Schmidt and Danielsen, Anne},
  title = {MAPPING TIMING STRATEGIES IN DRUM PERFORMANCE},
  year = {2019},
  pages = {8},
  abstract = {How do drummers express different timing styles? We conducted an experiment in which we asked twenty-two professional drummers to perform a simple rhythmic pattern while listening to a metronome. Here, we investigate the strategies they employed to express three different instructed timing profiles for the same pattern: “On”, “Pushed” and Laid-back. Our analysis of the recordings follows three stages. First, we compute sixteen boolean features that capture the microtiming relations of the kick, snare and hi-hat drum onsets, between each other and with regards to the metrical grid. Second, we construct a microtiming profile (mtP) for every performance by averaging the boolean features across the recording. An mtP codifies the frequency with which the various features were found in a performance. Third, through a “similarity profiles” hierarchical clustering analysis, we identify groups of recordings with significant similarities in their mtPs. We found distinct strategies to express each intended timing profile that employ specific combinations of relations between the instruments and with regards to the meter. Finally, we created a map that summarizes the main characteristics of the strategies and their relations using a phylogenetic tree visualization.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:lan2019quaverseries,
  author = {Lan, Qichao and Jensenius, Alexander Refsum},
  title = {QuaverSeries: A Live Coding Environment for Music Performance Using Web Technologies},
  booktitle = {Proceedings of the Web Audio Conference},
  year = {2019},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:turchet2019smartmandoli,
  author = {Turchet, Luca and West, Travis and Wanderley, Marcelo M},
  title = {Smart Mandolin and Musical Haptic Gilet: effects of vibro-tactile stimuli during live music performance},
  booktitle = {Proceedings of Audio Mostly},
  address = {Nottingham, UK},
  year = {2019},
  pages = {8},
  abstract = {In this paper we investigate the role of haptic stimuli in affecting the perception of live music. We designed a study where a smart mandolin performer played live for audience members wearing a gilet-based musical haptic wearable, which provided vibro-tactile sensations in response to the performed music. Six performances were conducted, each of which involved audiences of two people for a total of twelve participants. Results showed that the audio-haptic experience was not homogeneous across participants, who could be grouped as those appreciative of the vibrations and those less appreciative of them. The causes for a lack of appreciation of the haptic experience were mainly identified as the sensation of unpleasantness caused by the vibrations in certain parts of the body and the lack of the comprehension of the relation between what was felt and what was heard. Based on the reported results, we offer suggestions for practitioners interested in designing wearables for enriching the musical experience of audiences of live music via the sense of touch. Such suggestions point towards the need of mechanisms of personalization, systems able to minimize the latency between the sound and the vibrations, and a time of adaptation to the vibrations.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@article{zotero:petersen2019theeffectoft,
  author = {Petersen, E. and Guillemain, P. and Kergomard, J. and Colinot, T.},
  title = {The effect of the cutoff frequency on the sound production of a clarinet-like instrument},
  journal = {The Journal of the Acoustical Society of America},
  year = {2019},
  volume = {145},
  number = {6},
  pages = {3784--3794},
  doi = {10.1121/1.5111855},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@book{zotero:garber2020audiostellar,
  author = {Garber, Leandro and Ciccola, Tomás and Amusategui, Juan},
  title = {AudioStellar, an open source corpus-based musical instrument for latent sound structure discovery and sonic experimentation},
  year = {2020},
  abstract = {Generating a visual representation of short audio clips' similarities is not only useful for organizing and exploring an audio sample library but it also opens up a new range of possibilities for sonic experimentation. We present Au-dioStellar, an open source software that enables creative practitioners to create AI generated 2D visualizations of their own audio corpus without programming or machine learning knowledge. Sound artists can play their input corpus by interacting with learned latent space using an user interface that provides built-in modes to experiment with. AudioStellar can interact with other software by MIDI sync-ing, sequencing, adding audio effects, and more. Creating novel forms of interaction is encouraged through OSC communication or writing custom C++ code using provided framework. AudioStellar has also proved useful as an educational strategy in courses and workshops for teaching concepts of programming, digital audio, machine learning and networks to young students in the digital art field.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@article{zotero:erdem2020exploringrel,
  author = {Erdem, Çağrı and Lan, Qichao and Jensenius, Alexander Refsum},
  title = {Exploring relationships between effort, motion, and sound in new musical instruments},
  journal = {Human Technology: An Interdisciplinary Journal on Humans in ICT Environments},
  year = {2020},
  volume = {16},
  number = {3},
  pages = {310--347},
  doi = {10.17011/ht/urn.202011256767},
  abstract = {We investigated how the action–sound relationships found in electric guitar performance can be used in the design of new instruments. Thirty-one trained guitarists performed a set of basic sound-producing actions (impulsive, sustained, and iterative) and free improvisations on an electric guitar. We performed a statistical analysis of the muscle activation data (EMG) and audio recordings from the experiment. Then we trained a long short-term memory network with nine different configurations to map EMG signal to sound. We found that the preliminary models were able to predict audio energy features of free improvisations on the guitar, based on the dataset of raw EMG from the basic sound-producing actions. The results provide evidence of similarities between body motion and sound in music performance, compatible with embodied music cognition theories. They also show the potential of using machine learning on recorded performance data in the design of new musical instruments.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@article{zotero:frid2020hapticmusice,
  author = {Frid, Emma and Lindetorp, Hans},
  title = {HAPTIC MUSIC - EXPLORING WHOLE-BODY VIBRATIONS AND TACTILE SOUND FOR A MULTISENSORY MUSIC INSTALLATION},
  year = {2020},
  pages = {8},
  abstract = {This paper presents a study on the composition of haptic music for a multisensory installation and how composers could be aided by a preparatory workshop focusing on the perception of whole-body vibrations prior to such a composition task. Five students from a Master’s program in Music Production were asked to create haptic music for the installation Sound Forest. The students were exposed to a set of different sounds producing whole-body vibrations through a wooden platform and asked to describe perceived sensations for respective sound. Results suggested that the workshop helped the composers successfully complete the composition task and that awareness of haptic possibilities of the multisensory installation could be improved through training. Moreover, the sounds used as stimuli provided a relatively wide range of perceived sensations, ranging from pleasant to unpleasant. Considerable intra-subject differences motivate future large-scale studies on the perception of whole-body vibrations in artistic music practice.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:bishop2020reliabilityo,
  author = {Bishop, Laura and Jensenius, Alexander Refsum},
  title = {Reliability of two IR Motion Capture Systems in a Music Performance Setting},
  booktitle = {Proceedings of the Sound and Music Computing Conference},
  address = {Torino, Italy},
  year = {2020},
  pages = {47--53},
  url = {http://urn.nb.no/URN:NBN:no-81613},
  abstract = {This paper describes a comparative analysis of tracking quality in two infrared marker-based motion capture systems: one older but high-end (Qualisys, purchased in 2009) and the other newer and mid-range (OptiTrack, purchased in 2019). We recorded performances by a string quartet with both systems simultaneously, using the same frame rate. Our recording set-up included a combination of moving markers (affixed to musicians’ bodies) and stationary markers (affixed to music stands). Higher noise levels were observed in Qualisys recordings of stationary markers than in OptiTrack recordings, as well as a greater spatial range, though OptiTrack recordings had a higher rate of outliers (“spikes” in the signal). In moving markers, increased quantity of motion was associated with increased betweensystem error rates. Both systems showed minimal withintrial drift but a reduction in recording accuracy and precision over the duration of the experiment. Overall, our results show that the older/high-end system (Qualisys) produced slightly lower-quality recordings than the newer/midrange system (OptiTrack). We discuss how our findings may inform researchers’ interpretations of motion capture data, particularly when capturing the types of motion that are important for performing music.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:joshi2020substituting,
  author = {Joshi, Swapna and Stavrianakis, Kostas and Das, Sanchari},
  title = {Substituting Restorative Benefits of Being Outdoors through Interactive Augmented Spatial Soundscapes},
  booktitle = {Proceedings of the 22nd International ACM SIGACCESS Conference on Computers and Accessibility},
  publisher = {ACM},
  address = {Virtual Event Greece},
  year = {2020},
  pages = {1--4},
  isbn = {978-1-4503-7103-2},
  doi = {10.1145/3373625.3418029},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@incollection{zotero:wang2020thestudyofma,
  author = {Wang, Song and Wanderley, Marcelo M. and Scavone, Gary},
  editor = {Li, Haifeng and Li, Shengchen and Ma, Lin and Fang, Chunying and Zhu, Yidan},
  title = {The Study of Mapping Strategies Between the Excitators of the Single-Reed Woodwind and the Bowed String},
  booktitle = {Proceedings of the 7th Conference on Sound and Music Technology (CSMT)},
  publisher = {Springer},
  address = {Singapore},
  year = {2020},
  volume = {635},
  pages = {107--119},
  isbn = {978-981-15-2755-5 978-981-15-2756-2},
  doi = {10.1007/978-981-15-2756-2_9},
  abstract = {Mapping is one of the most important components in digital musical instruments. There have been many works on ”longitudinal” mapping strategies from the input device to the sound synthesizer. Such mapping can be considered longitudinal because the mapping direction is in line with the information transfer direction. However, less research focuses on ”transversal” mappings among input devices or sound synthesizers. In this paper, a transversal mapping strategy is explored between the excitators of bowed strings and single-reed woodwinds which aims to allow more natural use of a given controller to play the sound of another family of instruments. A three-layer mapping structure, namely the playing layer, the mathematical layer, and the physical layer, is built. The mappings in different layers are generated based on the analogy of the mathematical models of two excitators in the mathematical layer. As a result, in the playing layer, the bowing force and the bowing speed of the string instrument are mapped to the lip force and the mouth pressure of a single-reed woodwind, respectively. In the physical layer, the string velocity and the friction force at the bowed point are mapped to the acoustic pressure and the volume velocity in the mouthpiece, respectively. Finally, a Yamaha WX5 wind controller is used to drive the digital waveguide string model. Two different mapping strategies between the lip force and the bowing force are tested and the results are discussed.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:erdem2020towardsplayi,
  author = {Erdem, Cagri and Lan, Qichao and Fuhrer, Julian and Martin, Charles and Tørresen, Jim and Jensenius, Alexander Refsum},
  title = {Towards Playing in the ‘Air’: Modeling Motion–Sound Energy Relationships in Electric Guitar Performance Using Deep Neural Networks},
  booktitle = {Proceedings of the Sound and Music Computing Conference},
  address = {Birmingham, UK},
  year = {2020},
  pages = {177--183},
  url = {http://urn.nb.no/URN:NBN:no-82501},
  abstract = {In acoustic instruments, sound production relies on the interaction between physical objects. Digital musical instruments, on the other hand, are based on arbitrarily designed action–sound mappings. This paper describes the ongoing exploration of an empirically-based approach for simulating guitar playing technique when designing the mappings of ‘air instruments’. We present results from an experiment in which 33 electric guitarists performed a set of basic sound-producing actions: impulsive, sustained, and iterative. The dataset consists of bioelectric muscle signals, motion capture, video, and audio recordings. This multimodal dataset was used to train a long short-term memory network (LSTM) with a few hidden layers and relatively short training duration. We show that the network is able to predict audio energy features of free improvisations on the guitar, relying on a dataset of three distinct motion types.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:aly2021appropriatin,
  author = {Aly, Luís and Silva, Hugo and Bernardes, Gilberto and Penha, Rui},
  title = {Appropriating Biosensors as Embodied Control Structures in Interactive Music Systems},
  journal = {Human Technology},
  year = {2021},
  volume = {17},
  number = {1},
  pages = {45--80},
  doi = {10.17011/ht/urn.202106223978},
  abstract = {We present a scoping review of biosensors appropriation as control structures in interactive music systems (IMSs). Technical and artistic dimensions promoted by transdisciplinary approaches, ranging from biomedicine to musical performance and interaction design fields, support a taxonomy for biosensor-driven IMSs. A broad catalog of 70 biosensor-driven IMSs, ranging in publication dates from 1965 to 2019, was compiled and categorized according to the proposed taxonomy. From the catalog data, we extrapolated representative historical trends, notably to critically verify our working hypothesis that biosensing technologies are expanding the array of control structures within IMSs. Observed data show that our hypothesis is consistent with the historical evolution of the biosensor-driven IMSs. From our findings, we advance future challenges for novel means of control across humans and machines that should ultimately transform the agents involved in interactive music creation to form new corporalities in extended performative settings.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@book{zotero:bown2021beyondthecre,
  author = {Bown, Oliver},
  title = {Beyond the Creative Species: Making Machines That Make Art and Music},
  publisher = {MIT Press},
  address = {Cambridge, MA, USA},
  year = {2021},
  isbn = {978-0-262-04501-8},
  abstract = {A multidisciplinary introduction to the field of computational creativity, analyzing the impact of advanced generative technologies on art and music.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.90}
}

@incollection{zotero:wu2021chapter8anou,
  author = {Wu, Jiayue},
  title = {Chapter 8: An Outlook on Future Digital Musical Instruments In book , Routledge Press, 2021},
  year = {2021},
  isbn = {978-0-367-36274-4},
  abstract = {This chapter focuses on introducing current and reviewing retro trends, mutations, and different research and development approaches to Digital Musical Instrument (DMI) design and sound synthesis techniques, as well as DMIs for Virtual Reality (VR), multimedia, and social engagement in this posthuman era. The author also provides a glimpse of using artificial intelligence and biotechnology in music-making. Based on these research examples within their historical context, the author provides her personal perspectives on the outlook of future DMIs.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@incollection{zotero:mice2021embodiedcogn,
  author = {Mice, Lia and McPherson, Andrew P.},
  editor = {Kronland-Martinet, Richard and Ystad, Sølvi and Aramaki, Mitsuko},
  title = {Embodied Cognition in Performers of Large Acoustic Instruments as a Method of Designing New Large Digital Musical Instruments},
  booktitle = {Perception, Representations, Image, Sound, Music},
  publisher = {Springer International Publishing},
  address = {Cham},
  year = {2021},
  volume = {12631},
  pages = {577--590},
  isbn = {978-3-030-70209-0 978-3-030-70210-6},
  doi = {10.1007/978-3-030-70210-6_37},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@inproceedings{zotero:wallace2021learningembo,
  author = {Wallace, Benedikte and Martin, Charles P. and Tørresen, Jim and Nymoen, Kristian},
  title = {Learning Embodied Sound-Motion Mappings: Evaluating AI-Generated Dance Improvisation},
  booktitle = {Creativity and Cognition},
  publisher = {ACM},
  address = {Virtual Event Italy},
  year = {2021},
  pages = {1--9},
  isbn = {978-1-4503-8376-9},
  doi = {10.1145/3450741.3465245},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@book{zotero:anon2021musicalinstr,
  editor = {Tronchin, Lamberto},
  title = {Musical Instruments: Acoustics and Vibration},
  publisher = {MDPI - Multidisciplinary Digital Publishing Institute},
  address = {Basel, Switzerland},
  year = {2021},
  isbn = {978-3-03936-613-2 978-3-03936-614-9},
  abstract = {The study of the acoustic and vibrational characteristics of musical instruments in terms of their mechanical behavior, sound emission, and characteristics started thousands of years ago, and among the physicists and mathematicians that addressed this matter, we should at least recognize Leonardo da Vinci, with his experimental water organ, and Ernst Chladni, who discovered nodal patterns on rigid surfaces such as soundboards. The growing awareness of our intangible cultural heritage and the need to better understand our roots in the field of music have contributed to increasing the efforts to extend our knowledge in this field, defining new physical parameters, extending the analysis to other musical instruments, and developing new methods to synthesize sound from musical instruments using a simple keyboard},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:dellanna2021musicalinter,
  author = {Dell’Anna, Alessandro and Leman, Marc and Berti, Annamaria},
  title = {Musical interaction reveals music as embodied language},
  journal = {Frontiers in Neuroscience},
  year = {2021},
  volume = {15},
  pages = {667838},
  url = {https://www.frontiersin.org/articles/10.3389/fnins.2021.667838/full},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@inproceedings{zotero:laczko2021reflectionso,
  author = {Laczkó, Bálint and Jensenius, Alexander Refsum},
  title = {Reflections on the Development of the Musical Gestures Toolbox for Python},
  booktitle = {Proceedings of the Nordic Sound and Music Computing Conference},
  address = {Copenhagen},
  year = {2021},
  url = {http://urn.nb.no/URN:NBN:no-91935},
  abstract = {The paper presents the Musical Gestures Toolbox (MGT) for Python, a collection of modules targeted at researchers working with video recordings. The toolbox includes video visualization techniques such as creating motion videos, motion history images, and motiongrams. These visualizations allow for studying video recordings from different temporal and spatial perspectives. The toolbox also includes basic computer vision methods, and it is designed to integrate well with audio analysis toolboxes. The MGT was initially developed to analyze music-related body motion (of musicians, dancers, and perceivers) but is equally helpful for other disciplines working with video recordings of humans, such as linguistics, pedagogy, psychology, and medicine.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:mainsbridge2021somabasednon,
  author = {Mainsbridge, Mary},
  title = {Soma-Based Nonphysical Instrument Design in Electronic Music Performance},
  journal = {Leonardo},
  year = {2021},
  volume = {54},
  number = {4},
  pages = {393--397},
  doi = {10.1162/leon_a_01883},
  abstract = {Attention to the role of the body and bodily awareness in human-computer interaction is increasing. Broader availability of cost-effective motion sensors in mobile and gaming applications has prompted a shift to body-centered design methods. This article examines the relevance of embodied sketching activities drawn from soma-based and sonic interaction design to digital musical instrument (DMI) development. It focuses specifically on the Telechord, a novel motion-controlled system that promotes methods for exploring connections between movement and sound. By emphasizing the felt aspects of movement-based design and performance, this approach places performer experience at the forefront, complementing technical efforts to enhance nuance and coherence in current DMI design research.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.99}
}

@article{zotero:sullivan2021surveyingdig,
  author = {Sullivan, John and Guastavino, Catherine and Wanderley, Marcelo M.},
  title = {Surveying digital musical instrument use in active practice},
  journal = {Journal of New Music Research},
  year = {2021},
  volume = {50},
  number = {5},
  pages = {469--486},
  doi = {10.1080/09298215.2022.2029912},
  abstract = {Digital musical instruments are frequently designed in research and experimental performance contexts but few are taken up into sustained use by active and professional musicians. To identify the needs of performers who use novel technologies in their practices, a survey of musicians was conducted that identified desirable qualities for instruments to be viable in active use, along with attributes for successful uptake and continued use of instruments based on frameworks of long and short term user engagement. The findings are presented as a set of design considerations towards the development of instruments intended for use by active and professional performers.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@article{zotero:vionnet2021thebirthofge,
  author = {Vionnet, Claire},
  title = {The Birth of Gesture. ‘I’m not dancing alone’},
  journal = {Body, Space & Technology},
  year = {2021},
  volume = {20},
  number = {1},
  pages = {83--96},
  doi = {10.16995/bst.350},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:tullberg2021windandwooda,
  author = {Tullberg, Markus and Lunds universitet},
  title = {Wind and Wood: Affordances of Musical Instruments: The Example of the Simple-System Flute},
  year = {2021},
  url = {https://portal.research.lu.se/ws/files/94217304/Wind_and_Wood_Tullberg_2021.pdf},
  abstract = {The aim of this doctoral dissertation is to explore and describe the relationship and interaction between musicians and their instruments. In order to achieve a high level of detail, a certain instrument is in focus: the simple-system flute. Although primarily developed as a product of 19th-century Western art music, this instrument has since become established in other genres and traditions.Empirical data is generated through two qualitative studies. Study A consists of interviews with six flute players, including one flute maker. Together they represent a variety of European music traditions, and hence, the simple-system flute is perceived and used in different ways. In the cooperative inquiry of Study B, six flute players came together to investigate their own musical practice and approach towards their instruments.The central analytical concept is affordances, as coined by ecological psychologist James J. Gibson. The concept of affordances is combined with ideas from the emerging research paradigm of 4E cognition, in particular ideas from the extended and enactive dimensions.Through the analysis, affordances of musical instruments are defined as: perceived opportunities for actions arising from the sensorimotor relationship of the interaction with the instrument, as these unfold in the flow of musical practice.The analysis also shows that the cross-modal perceptual experience of the instrument varies between musicians. Viewed through the lens of affordances, this variation entails qualitatively different ways of playing.The perspective on musical learning that emerges through the analysis is discussed in terms of self-organization in which the development of the relationship between musician and instrument allows for an increasing capacity to perceive and act upon affordances of the instrument.This perspective on musical learning implies an understanding of music education as a form of eduction, where the learner is given appropriate space for self-organization and the educator assumes to role of sense-maker of the learning process, and facilitator and moderator of new musical experiences. The dynamic relationship between the individual learner and the educational environment is articulated as an ecological responsibility.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:lachmair2022actioncontro,
  author = {Lachmair, Martin and Fischer, Martin H. and Gerjets, Peter},
  title = {Action-control mappings of interfaces in virtual reality: A study of embodied interaction},
  journal = {Frontiers in Virtual Reality},
  year = {2022},
  volume = {3},
  doi = {10.3389/frvir.2022.976849},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@phdthesis{zotero:erdem2022controllingo,
  author = {Erdem, Cagri},
  title = {Controlling or Being Controlled? Exploring Embodiment, Agency and Artificial Intelligence in Interactive Music Performance},
  school = {University of Oslo},
  year = {2022},
  url = {https://www.duo.uio.no/handle/10852/94481},
  abstract = {How can we make music with artificial intelligence (AI) in the future? Unlike most studies on AI and music, this dissertation focuses on physical interaction and the ways in which the computer can respond to body movement. Based on experimental music practices, it argues that diversifying artistic repertoires in music-making is crucial for the future of music. Emphasis has been placed on realizing creative works and their evaluations in ecological environments. The exploration starts from an extensive literature review that sketches a broad picture of alternative control paradigms in the performing arts, different types of musical AI, and embodied approaches to human cognition. Then follows a methodological presentation and discussion structured around the four projects that the dissertation is focused on. The shared music–dance piece Vrengt demonstrates the musical possibilities of sonic microinteraction and provides a conceptual model of co-performance. The muscle-based instrument RAW implements various AI techniques to explore a chaotic instrumental behavior and automated interaction with an improvisation ensemble. A novel empirical study sheds light on how guitar players transform biomechanical energy into sound. The collected multimodal dataset is used as part of a modeling framework for “air performance.” The coadaptive audiovisual instrument CAVI uses generative modeling to automate live sound processing and investigates expert improvisers’ varying sense of agency. All in all, this dissertation stresses the importance of embodied perspectives when developing musical AI systems. It emphasizes an entwined artistic–scientific research model for interdisciplinary studies on performing arts, AI, and embodied music cognition.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@book{zotero:tomascalderon2022embodiedgest,
  author = {Tomás Calderón, Enrique and Gorbach, Thomas and Tellioglu, Hilda and Kaltenbrunner, Martin and TU Wien and TU Wien and Tomás Calderón, Enrique and Gorbach, Thomas and Tellioglu, Hilda and Kaltenbrunner, Martin},
  title = {Embodied Gestures},
  publisher = {TU Wien Academic Press},
  year = {2022},
  doi = {10.34727/2022/ISBN.978-3-85448-047-1},
  keywords = {music, composition, expression, electronic musical instruments, body language, Musik, musical experience, Elektronisches Musikinstrument, Ausdruck, avant-garde (music), Experimentelle Musik, Komposition, Körpersprache, Musikerlebnis},
  abstract = {This is a book about musical gestures: multiple ways to design instruments, compose musical performances, analyze sound objects and represent sonic ideas through the central notion of ‘gesture’. The writers share knowledge on major research projects, musical compositions and methodological tools developed among different disciplines, such as sound art, embodied music cognition, human-computer interaction, performative studies and artificial intelligence. They visualize how similar and compatible are the notions of embodied music cognition and the artistic discourses proposed by musicians working with ‘gesture’ as their compositional material. The authors and editors hope to contribute to the ongoing discussion around creative technologies and music, expressive musical interface design, the debate around the use of AI technology in music practice, as well as presenting a new way of thinking about musical instruments, composing and performing with them.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:tsang2022exploringasp,
  author = {Tsang, Sze},
  title = {Exploring aspects of place through sound mapping},
  year = {2022},
  abstract = {Combining aural and visual elements of a place can be a powerful way of exploring the intersections of time, history and geographical features that exist within a location. One way of combining these elements is through sound mapping and cartophony, where spatial and physical information is used as a way of representing an individual’s surroundings and realities of a place, and particularly highlighting personal associations, emotions and memories. This paper details the author’s processes in incorporating place into compositional practice through a combination of eld recordings and soni cation. The Lost (2021) - an audio-visual contemplation of the sensation of loss and the subsequent feelings of dislocation, and how these feelings related to the artist’s own life experiences at the time. The Lost is a work partly based on a map of Perth from 1838, detailing many of Perth’s now-lost wetlands. This map was then soni ed using Iannix (a graphical sequencer), and the sounds were processed and combined in Ableton Live (a Digital Audio Workstation) with a eld recording from the still-existing Herdman’s Lake and soni ed longitudinal and latitude values of these lost wetlands. The Lost is an exploration of connections between artist, history and place, and how these aspects can inform the creation of a work. Through this practice, the author aims to explore how sound and visual elements can combine and resonate with the other, and how such a practice can highlight the connections between artist and place.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@incollection{zotero:jensenius2022gesturesinen,
  author = {Jensenius, Alexander Refsum and Erdem, Cagri},
  editor = {Timmers, Renee and Bailes, Freya and Daffern, Helena},
  title = {Gestures in ensemble performance},
  booktitle = {Together in Music: Coordination, Expression, Participation},
  publisher = {Oxford University Press},
  address = {Oxford},
  year = {2022},
  isbn = {978-0-19-886076-1},
  url = {https://global.oup.com/academic/product/together-in-music-9780198860761},
  abstract = {The topic of gesture has received growing attention among music researchers over recent decades. Some of this research has been summarized in anthologies on "musical gestures", such as those by Gritten and King (2006), Godøy and Leman (2010), and Gritten and King (2011). There have also been a couple of articles reviewing how the term gesture has been used in various music-related disciplines (and beyond), including those by Cadoz and Wanderley (2000) and Jensenius et al. (2010). Much empirical work has been performed since these reviews were written, aided by better motion capture technologies, new machine learning techniques, and a heightened awareness of the topic. Still there are a number of open questions as to the role of gestures in music performance in general, and in ensemble performance in particular. This chapter aims to clarify some of the basic terminology of music-related body motion, and draw up some perspectives of how one can think about gestures in ensemble performance. This is, obviously, only one way of looking at the very multifaceted concept of gesture, but it may lead to further interest in this exciting and complex research domain.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@book{zotero:baalman2022justaquestio,
  author = {Baalman, Marije},
  title = {Just a Question of Mapping: Ins and outs of composing with realtime data},
  publisher = {V2_},
  year = {2022},
  url = {https://justaquestionofmapping.info/book/},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@inproceedings{zotero:remachevinueza2022mappingmonop,
  author = {Remache-Vinueza, Byron and Trujillo-León, Andrés and Clim, Maria-Alena and Sarmiento-Ortiz, Fabián and Topon-Visarrea, Liliana and Jensenius, Alexander Refsum and Vidal-Verdú, Fernando},
  title = {Mapping Monophonic MIDI Tracks to Vibrotactile Stimuli Using Tactile Illusions},
  booktitle = {Haptic and Audio Interaction Design},
  publisher = {Springer International Publishing},
  address = {Cham},
  year = {2022},
  pages = {115--124},
  isbn = {978-3-031-15019-7},
  doi = {10.1007/978-3-031-15019-7_11},
  keywords = {Audio tactile rendering, MIDI, Monophonic music, Tactile illusion, Vibrotactile stimuli},
  abstract = {In this project, we propose an algorithm to convert musical features and structures extracted from monophonic MIDI files to tactile illusions. Mapping music to vibrotactile stimuli is a challenging process since the perceptible frequency range of the skin is lower than that of the auditory system, which may cause the loss of some musical features. Moreover, current proposed models do not warrant the correspondence between the emotional response to music and the vibrotactile version of it. We propose to use tactile illusions as an additional resource to convey more meaningful vibrotactile stimuli. Tactile illusions enable us to add dynamics to vibrotactile stimuli in the form of movement, changes of direction, and localization. The suggested algorithm converts monophonic MIDI files into arrangements of two tactile illusions: “phantom motion” and “funneling”. The validation of the rendered material consisted of presenting the audio rendered from MIDI files to participants and then adding the vibrotactile component to it. The arrangement of tactile illusions was also evaluated alone. Results suggest that the arrangement of tactile illusions evokes more positive emotions than negative ones. This arrangement was also perceived as more agreeable and stimulating than the original audio. Although musical features such as rhythm, tempo, and melody were mostly recognized in the arrangement of tactile illusions, it provoked a different emotional response from that of the original audio.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@inproceedings{zotero:cavdir2022performersus,
  author = {Cavdir, Doga and Dahl, Sofia},
  title = {Performers’ use of space and body in movement interaction with a movement-based digital musical instrument},
  booktitle = {Proceedings of the 8th international conference on movement and computing},
  publisher = {Association for Computing Machinery},
  address = {Chicago, IL, USA and New York, NY, USA},
  year = {2022},
  isbn = {978-1-4503-8716-3},
  doi = {10.1145/3537972.3537976},
  keywords = {dance practice, digital musical instrument design, embodied interaction, human-centered design, movement-based interaction},
  abstract = {Movement-based musical interfaces support performers’ music and movement expressions by drawing from expertise and creative practices of both disciplines. In this work, we qualitatively and quantitatively analyze the movement interaction of participants with Bodyharp, a movement-based musical instrument. This wearable instrument offers musical affordances that allow performers to extend beyond small gestural spaces. Its wearable design encourages the performers to move while creating music and to express while using their bodies. Data was collected from twenty participants’ interactions, reflections, and compositions with Bodyharp. Video recordings of the experiment were annotated and qualitatively analyzed to reveal which performed gestures directly contribute to sound production and modification and which gestures accompany these musical actions. For a subset of participants, Musical Gestures Toolbox was used to further quantify the gestures. Using the Laban Movement Analysis framework, we observed participants’ use of space and body in their interaction with a movement-based musical instrument and how their backgrounds in music or movement (based on participants’ self-reported experiences) influenced the interaction. Our results offer design practices for creating new interactions at the intersection of music and dance.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:szorkovszky2022rapidrhythmi,
  author = {Szorkovszky, Alex and Veenstra, Frank and Glette, Kyrre},
  title = {Rapid rhythmic entrainment in bio-inspired central pattern generators},
  booktitle = {2022 International Joint Conference on Neural Networks (IJCNN)},
  year = {2022},
  pages = {1--7},
  doi = {10.1109/IJCNN55064.2022.9891909},
  keywords = {Neurons, central pattern generator, entrainment, Filtering, Filtering algorithms, Generators, genetic algorithm, Legged locomotion, open loop, Robot sensing systems, robotics, spiking neuron, Stability analysis, synchronization},
  abstract = {Entrainment of movement to a periodic stimulus is a characteristic intelligent behaviour in humans and an important goal for adaptive robotics. We demonstrate a quadruped central pattern generator (CPG), consisting of modified Matsuoka neurons, that spontaneously adjusts its period of oscillation to that of a periodic input signal. This is done by simple forcing, with the aid of a filtering network as well as a neural model with tonic input-dependent oscillation period. We first use the NSGA3 algorithm to evolve the CPG parameters, using separate fitness functions for period tunability, limb homogeneity and gait stability. Four CPGs, maximizing different weighted averages of the fitness functions, are then selected from the Pareto front and each is used as a basis for optimizing a filter network. Different numbers of neurons are tested for each filter network. We find that period tunability in particular facilitates robust entrainment, that bounding gaits entrain more easily than walking gaits, and that more neurons in the filter network are beneficial for pre-processing input signals. The system that we present can be used in conjunction with sensory feedback to allow low-level adaptive and robust behaviour in walking robots.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:brandtsegg2022towardsapitc,
  author = {Brandtsegg, Øyvind},
  title = {Towards a pitch map for vibrotactile feedback instruments},
  journal = {Echo},
  year = {2022},
  volume = {3},
  url = {https://doi.org/10.47041/NXXZ9357},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:cameron2022undetectable,
  author = {Cameron, Daniel J. and Dotov, Dobromir and Flaten, Erica and Bosnyak, Daniel and Hove, Michael J. and Trainor, Laurel J.},
  title = {Undetectable very-low frequency sound increases dancing at a live concert},
  journal = {Current Biology},
  year = {2022},
  volume = {32},
  number = {21},
  pages = {R1222--R1223},
  doi = {10.1016/j.cub.2022.09.035},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@article{zotero:guiottonaifovino2023edukoidevelo,
  author = {Guiotto Nai Fovino, Lucrezia and Grassi, Massimo and Zanella, Anita and Di Mascolo, Luca and Ginolfi, Michele},
  title = {Edukoi: developing an interactive sonification tool for astronomy between entertainment and education},
  journal = {arXiv e-prints},
  year = {2023},
  pages = {arXiv--2309},
  url = {https://ui.adsabs.harvard.edu/abs/2023arXiv230902209G/abstract},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:haugen2023instructedti,
  author = {Haugen, Mari Romarheim and Câmara, Guilherme Schmidt and Nymoen, Kristian and Danielsen, Anne},
  title = {Instructed timing and body posture in guitar and bass playing in groove performance},
  journal = {Musicae Scientiae},
  year = {2023},
  pages = {10298649231182039},
  doi = {10.1177/10298649231182039},
  abstract = {Body movements play a crucial role in music performance and perception, and they do so well beyond those devoted to sound production itself. Various movements related to the performer’s emotional intentions or structural aspects of the music are also part of the performance and crucial to the listening experience. In the present study, we investigated the effect of instructed timing on such non-sound producing body movements, focusing on musicians’ body posture. We used an infrared motion-capture system to record the movements of skilled guitarists and bassists while they were playing electric guitar and electric bass, respectively. We instructed the musicians to perform under three different timing-style conditions: laidback (behind), on-the-beat, and pushed (ahead). We also conducted short semistructured interviews to gain further insight into their movement strategies. The results show that performers generally leaned forward when instructed to play systematically slightly ahead of the pulse. We suggest that this change is related to an alteration in the performer’s experience of the feel of the music. The results support the view that musicians’ non-sound-producing body movements are not random, but integral to the performance, and that they are closely related to the music’s microrhythmic feel.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.98}
}

@inproceedings{zotero:beadling2023listenerperc,
  author = {Beadling, Andrew and Vickers, Paul},
  title = {Listener perception of spatialised audio for embodied interaction in sonification},
  booktitle = {Proceedings of the 28th},
  year = {2023},
  url = {https://www.researchgate.net/profile/Paul-Vickers-3/publication/374734925_Listener_Perception_of_Spatialised_Audio_for_Embodied_Interaction_in_Sonification/links/653f9d34ff8d8f507cd9ac4f/Listener-Perception-of-Spatialised-Audio-for-Embodied-Interaction-in-Sonification.pdf},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@article{zotero:almeida2023recordingand,
  author = {Almeida, André and Li, Weicong and Schubert, Emery and Smith, John and Wolfe, Joe},
  title = {Recording and analysing physical control variables used in clarinet playing: A musical instrument performance capture and analysis toolbox (MIPCAT)},
  journal = {Frontiers in Signal Processing},
  year = {2023},
  volume = {3},
  url = {https://www.frontiersin.org/articles/10.3389/frsip.2023.1089366},
  abstract = {Measuring fine-grained physical interaction between the human player and the musical instrument can significantly improve our understanding of music performance. This article presents a Musical Instrument Performance Capture and Analysis Toolbox (MIPCAT) that can be used to capture and to process the physical control variables used by a musician while performing music. This includes both a measurement apparatus with sensors and a software toolbox for analysis. Several of the components used here can also be applied in other musical contexts. The system is here applied to the clarinet, where the instrument sensors record blowing pressure, reed position, tongue contact, and sound pressures in the mouth, mouthpiece, and barrel. Radiated sound and multiple videos are also recorded to allow details of the embouchure and the instrument’s motion to be determined. The software toolbox can synchronise measurements from different devices, including video sources, extract time-variable descriptors, segment by notes and excerpts, and summarise descriptors per note, phrase, or excerpt. An example of its application shows how to compare performances from different musicians.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:reinsch2023soneculesapy,
  author = {Reinsch, Dennis and Hermann, Thomas},
  title = {Sonecules: A Python Sonification Architecture},
  booktitle = {Proceedings of the 28th International Conference on Auditory Display (ICAD2023)},
  publisher = {International Community for Auditory Display},
  address = {Linköping University},
  year = {2023},
  pages = {62--69},
  isbn = {978-0-9670904-9-8},
  doi = {10.21785/icad2023.5580},
  abstract = {This paper introduces sonecules, a flexible, extensible, enduser friendly and open-source Python sonification toolkit to bring ’sonification to the masses’. The package comes with a basic set of what we define as sonecules which are sonification designs tailored for a given class of data, a selected internal logic for sonification and offering a set of functions to interact with data and sonification controls. This is a design-once-use-many approach as each sonecule can be reused on similarly structured data. The primary goal of sonecules is to enable novice users to rapidly get their data audible – by scaffolding their first steps into auditory display. All sonecules offer a description for the user as well as controls which can be adjusted easily and interactively to the selected data. Users are supported to get started as fast as possible using different sonification designs and they can even mix and match sonecules to create more complex aggregated sonecules. Advanced users are enabled to extend/modify any sonification design and thereby create new sonecules. The sonecules Python package is provided as open-source software, which enables others to contribute their own sonification designs as a sonecule – thus it seeds a growing/growable library of well-documented and easy-to-reuse sonifications designs. Sonecules is implemented in Python using mesonic [1] as the sonification framework, which provides the path to renderingplatform agnostic sonifications.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:moura2024increasedbod,
  author = {Moura, Nádia and Fonseca, Pedro and Vilas-Boas, João Paulo and Serra, Sofia},
  title = {Increased body movement equals better performance? Not always! Musical style determines motion degree perceived as optimal in music performance},
  journal = {Psychological Research},
  year = {2024},
  volume = {88},
  number = {4},
  pages = {1314--1330},
  doi = {10.1007/s00426-024-01928-x},
  abstract = {Musicians’ body behaviour has a preponderant role in audience perception. We investigated how performers’ motion is perceived depending on the musical style and musical expertise. To further explore the effect of visual input, stimuli were presented in audio-only, audio–visual and visual-only conditions. We used motion and audio recordings of expert saxophone players playing two contrasting excerpts (positively and negatively valenced). For each excerpt, stimuli represented five motion degrees with increasing quantity of motion (QoM) and distinct predominant gestures. In the experiment (online and in-person), 384 participants rated performance recordings for expressiveness, professionalism and overall quality. Results revealed that, for the positively valenced excerpt, ratings increased as a function of QoM, whilst for the negatively valenced, the recording with predominant flap motion was favoured. Musicianship did not have a significant effect in motion perception. Concerning multisensory integration, both musicians and non-musicians presented visual dominance in the positively valenced excerpt, whereas in the negatively valenced, musicians shifted to auditory dominance. Our findings demonstrate that musical style not only determines the way observers perceive musicians’ movement as adequate, but also that it can promote changes in multisensory integration.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:gody2024motionshapes,
  author = {Godøy, Rolf Inge},
  title = {Motion shapes for sound shaping},
  journal = {Frontiers in Psychology},
  year = {2024},
  volume = {Volume 15 - 2024},
  doi = {10.3389/fpsyg.2024.1449021},
  abstract = {¡p¿The focus of this perspective paper is on relationships between sound-producing body motion and corresponding perceived sound features, guided by the idea of shapes as the common denominator of these two domains. The term ¡italic¿shape¡/italic¿ is used to denote graphical-pictorial renderings of phenomena that we perceive or imagine, and may have physical manifestations as tracings on paper or on screen, or as gesticulations, or just as imagined tracings in our minds. Shapes give us intermittent snapshots of unfolding motion and sound fragments, and the point of shapes is to make ephemeral sound and motion features tractable as more permanent objects. Shapes of perceived sound include dynamic, spectral, textural, pitch-related, harmonic, etc. features as shapes, whereas shapes of sound-producing motion include both motion trajectories and postures of sound-producing effectors, i.e., of fingers, hands, arms, etc., or mouth, lips, and tongue.¡/p¿},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}

@article{zotero:tahiroglu2024musicalintra,
  author = {Tahiroğlu, Koray},
  title = {Musical intra-actions with digital musical instruments},
  journal = {Journal of New Music Research},
  year = {2024},
  volume = {53},
  number = {1-2},
  pages = {126--138},
  doi = {10.1080/09298215.2024.2442350},
  abstract = {This article explores the evolving dynamics between musicians and technological artifacts. Building on Karen Barad’s concept of intra-action, I intend to show how musicians and digital musical instruments (DMIs) mutually shape, influence, and transform one another. This perspective shifts the view of technologies from purely functional tools to an integral part of a larger system. I aim to explore the concept of musical intra-action with DMIs, suggesting that the capacities of all entities, both human and non-human, to affect music production emerge through their mutually constitutive relationships. To support this investigation, I analyse the results of a workshop I organised with musician-scholars, alongside subjective observations from studio sessions. By focusing on the mutual entanglements, I aim to show how musical intra-action might enable a more relationally incorporated music production process, in which musicians and technological entities are co-constituted, dynamically shaping and transforming one another and their contributions.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 1.00}
}

@article{zotero:laczko2024synthmapsmap,
  author = {Laczkó, Bálint and Jensenius, Alexander Refsum},
  title = {SYNTH MAPS: MAPPING THE NON-PROPORTIONAL RELATIONSHIPS BETWEEN SYNTHESIZER PARAMETERS AND SYNTHESIZED SOUND},
  year = {2024},
  abstract = {Parameter Mapping (PM) is probably the most used design approach in sonification. However, the relationship between a synthesizer’s input parameters and the perceptual distribution of its output sounds might not be proportional, limiting its ability to convey relationships within the source data in the sound. This study evaluates a basic Frequency Modulation (FM) synthesis module with perceptually motivated descriptors, measures of spectral energy distribution, and latent embeddings of pre-trained audio representation models. We demonstrate how these metrics do not indicate straightforward relationships between synthesis parameters and perceived sound. This is done using interactive audiovisual scatter plots—Synth Maps—that can be used to explore the sound distribution of the synthesizer and qualitatively evaluate how well the different representations align with human perception. Link to the code and the interactive Synth Maps are available1.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@book{zotero:anon2024sonicdesigne,
  editor = {Jensenius, Alexander Refsum},
  title = {Sonic Design: Explorations Between Art and Science},
  publisher = {Springer Nature Switzerland},
  address = {Cham},
  year = {2024},
  volume = {12},
  isbn = {978-3-031-57891-5 978-3-031-57892-2},
  doi = {10.1007/978-3-031-57892-2},
  keywords = {Music, Acoustics, Open Access, Musicology, Sound, Embodied Cognition, Sonic Design, Sound Design, Sound Studies},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.93}
}

@phdthesis{zotero:karbasi2024zrobexplorin,
  author = {Karbasi, Seyed Mojtaba},
  title = {ZRob: Exploring Rhythmic Patterns and Emergent Behaviour in Robotic Drumming},
  school = {Universitetet i Oslo},
  year = {2024},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.92}
}

@article{zotero:czepiel2025audiovisualc,
  author = {Czepiel, Anna M. and Fink, Lauren K. and Scharinger, Mathias and Seibert, Christoph and Wald-Fuhrmann, Melanie and Kotz, Sonja A.},
  title = {Audio-visual concert performances synchronize audience's heart rates},
  journal = {Annals of the New York Academy of Sciences},
  year = {2025},
  volume = {n/a},
  number = {n/a},
  pages = {117--132},
  doi = {10.1111/nyas.15279},
  keywords = {engagement, cardiorespiratory synchrony, inter-subject correlation, music concerts, stimulus−response correlation},
  abstract = {Abstract People enjoy engaging with music. Live music concerts provide an excellent option to investigate real-world music experiences, and at the same time, use neurophysiological synchrony to assess dynamic engagement. In the current study, we assessed engagement in a live concert setting using synchrony of cardiorespiratory measures, comparing inter-subject, stimulus?response, correlation, and phase coherence. As engagement might be enhanced in a concert setting by seeing musicians perform, we presented audiences with audio-only (AO) and audio-visual (AV) piano performances. Only correlation synchrony measures were above chance level. In comparing time-averaged synchrony across conditions, AV performances evoked a higher inter-subject correlation of heart rate (ISC-HR). However, synchrony averaged across music pieces did not correspond to self-reported engagement. On the other hand, time-resolved analyses show that synchronized deceleration-acceleration heart rate (HR) patterns, typical of an ?orienting response? (an index of directed attention), occurred within music pieces at salient events of section boundaries. That is, seeing musicians perform heightened audience engagement at structurally important moments in Western classical music. Overall, we could show that multisensory information shapes dynamic engagement. By comparing different synchrony measures, we further highlight the advantages of time series analysis, specifically ISC-HR, as a robust measure of holistic musical listening experiences in naturalistic concert settings.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.96}
}

@article{zotero:iversen2025laptopcomput,
  author = {Iversen, Kristian Tverli and Hebert, David G.},
  title = {Laptop computer as instrument in music performance lessons: issues and opportunities},
  journal = {British Journal of Music Education},
  year = {2025},
  volume = {42},
  number = {2},
  pages = {155--168},
  doi = {10.1017/S0265051724000317},
  abstract = {Abstract In the 21st century, we are increasingly exposed to music created entirely on computers. This article shows how pioneering music teachers approach the challenge of teaching music on the laptop computer in the context of one-to-one musical instrument lessons. Interviews and observations with five laptop teachers in Norwegian secondary schools enabled the authors to explore characteristic challenges in this field. This study explored two research questions: What are the instructional strategies, content and ‘repertoire’ in music lessons on laptop computer? How have teachers experienced the laptop’s evolutionary process towards legitimation?},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.97}
}

@inproceedings{zotero:oflaherty2025sonification,
  author = {O'Flaherty, Tug F. and Elmokadem, Mahmoud B. and Xu, Xinyue and Manjunatha, K. N. and Roma, Gerard and Xenakis, Georgios and Xambo Sedo, A.},
  title = {Sonification Mappings for Sensing Tree Stress: A DIY Approach},
  publisher = {Web Audio Conference (WAC)},
  year = {2025},
  url = {https://qmro.qmul.ac.uk/xmlui/handle/123456789/114551},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.91}
}

@article{zotero:upham2025whenandhowth,
  author = {Upham, Finn and Rosas, Fernando E.},
  title = {When and How the Audience Moves},
  journal = {Music & Science},
  year = {2025},
  volume = {8},
  pages = {20592043251398280},
  doi = {10.1177/20592043251398280},
  abstract = {Audience motion is a defining component of the face-to-face concert experience. Motion is also a common component of individual audience members’ reactions and actions to live performances. This article investigates patterns in chest-mounted accelerometer measurements from audience members at a chamber music concert experiment. The aim is to contextualize their behavior during music performance using a sequence of exploratory analyses. Combining insight from subjective reports of audience motion; musical, environmental, and biological frequencies; and similarity of motion timing with neighbors or more distant participants, both in-hall audience participants and live-stream viewers show two distinct music–motion patterns: either unobtrusive dynamic stilling or noticeable tempo-matched bouncing. Audience motion outside of music, during applause, speeches, or survey writing, also shows distinct average quantities of motion and degrees of shared information between seat neighbors, prompting a discussion on the constrained opportunities for audience action and social interaction at live classical concerts. Although exploratory, these extensive analyses provide a useful foundation for future work to further understand audience behaviors in concert music settings and beyond.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.94}
}

@article{zotero:serdar2026performative,
  author = {Serdar, Bilge and Tidemann, Aleksander and Jensenius, Alexander Refsum},
  title = {Performative Togetherness in networked music–dance performance},
  journal = {International Journal of Performance Arts and Digital Media},
  year = {2026},
  volume = {0},
  number = {0},
  pages = {1--22},
  doi = {10.1080/14794713.2026.2657654},
  keywords = {Co-presence, Cross-modal interaction, Multi-modal interaction, Networked music-performance, Performative togetherness},
  abstract = {This article examines how performative togetherness is constructed in a technologically mediated music–dance performance environment. While togetherness is often associated with co-presence and effortless flow, networked contexts introduce perceptual reconfiguration that makes it fragile and effortful. We present the research concert Telematic@PopSenteret, a networked performance involving dancers and musicians distributed across two floors in a museum, connected through audio–video transmission. Using interviews and audio-video recordings, we explore how latency, fractured perception, and the absence of bodily cues transformed the performers’ coordination and induced cognitive strain. We discuss how performative togetherness – defined as the sense of shared meaning-making that emerges through attentional, sensory, and adaptive negotiation – was maintained during the performance.},
  collection = {Zotero},
  note = {Found in the maintainer's Zotero library; NIME-topic probability 0.95}
}