Proceedings of the InternationalProceedings of the International
Editors: Alexander Refsum Jensenius, Anders Tveit, Rolf Inge Godøy, Dan Overholt
Publishers: University of Oslo and Norwegian Academy of Music
ISSN: 2220-4792 (Print), 2220-4806 (Online), 2220-4814 (USB)
ISBN: 978-82-991841-7-5 (Print), 978-82-991841-6-8 (Online)
All copyrights remain with the authors.
Dan Overholt.
The overtone fiddle: an actuated acoustic instrument.
(Pages 4-7).
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Matthew Montag, Stefan Sullivan, Scott Dickey, and Colby Leider.
A low-cost and low-latency multi-touch table with haptic feedback for
musical applications.
(Pages 8-13).
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Greg Shear and Matthew Wright.
The electromagnetically sustained rhodes piano.
(Pages 14-17).
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Laurel Pardue, Christine Southworth, Andrew Boch, Matt Boch, and Alex
Rigopulos.
Gamelan elek trika: An electronic balinese gamelan.
(Pages 18-23).
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Jeong-Seob Lee and Woon Seung Yeo.
Sonicstrument: A musical interface with stereotypical acoustic
transducers.
(Pages 24-27).
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Scott Smallwood.
Solar sound arts: Creating instruments and devices powered by
photovoltaic technologies.
(Pages 28-31).
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Niklas Klügel, Marc René Frieß, Georg Groh, and Florian Echtler.
An approach to collaborative music composition.
(Pages 32-35).
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Nicolas Gold and Roger Dannenberg.
A reference architecture and score representation for popular music
human-computer music performance systems.
(Pages 36-39).
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Abstract ]
Mark Bokowiec.
V'oct (ritual): An interactive vocal work for bodycoder system and 8
channel spatialization.
(Pages 40-43).
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Florent Berthaut, Haruhiro Katayose, Hironori Wakama, Naoyuki Totani, and
Yuichi Sato.
First person shooters as collaborative multiprocess instruments.
(Pages 44-47).
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Tilo Hähnel and Axel Berndt.
Studying interdependencies in music performance: An interactive tool.
(Pages 48-51).
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Sinan Bokesoy and Patrick Adler.
1city 1001vibrations: development of a interactive sound installation
with robotic instrument performance.
(Pages 52-55).
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Tim Murray-Browne, Di Mainstone, Nick Bryan-Kinns, and Mark D. Plumbley.
The medium is the message: Composing instruments and performing
mappings.
(Pages 56-59).
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Seunghun Kim, Luke Keunhyung Kim, Songhee Jeong, and Woon Seung Yeo.
Clothesline as a metaphor for a musical interface.
(Pages 60-63).
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Abstract ]
Pietro Polotti and Maurizio Goina.
Eggs in action.
(Pages 64-67).
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Berit Janssen.
A reverberation instrument based on perceptual mapping.
(Pages 68-71).
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Lauren Hayes.
Feedback-assisted performance.
(Pages 72-75).
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Daichi Ando.
Improving user-interface of interactive ec for composition-aid by
means of shopping basket procedure.
(Pages 76-79).
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Ryan Mcgee, Yuan-Yi Fan, and Reza Ali.
Biorhythm: a biologically-inspired audio-visual installation.
(Pages 80-83).
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Jon Pigott.
Vibration and volts and sonic art: A practice and theory of
electromechanical sound.
(Pages 84-87).
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George Sioros and Carlos Guedes.
Automatic rhythmic performance in max/msp: the kin.rhythmicator.
(Pages 88-91).
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André Gonçalves.
Towards a voltage-controlled computer - control and interaction
beyond an embedded system.
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Tae Hun Kim, Satoru Fukayama, Takuya Nishimoto, and Shigeki Sagayama.
Polyhymnia: An automatic piano performance system with statistical
modeling of polyphonic expression and musical symbol interpretation.
(Pages 96-99).
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Juan Pablo Carrascal and Sergi Jorda.
Multitouch interface for audio mixing.
(Pages 100-103).
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Nate Derbinsky and Georg Essl.
Cognitive architecture in mobile music interactions.
(Pages 104-107).
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Benjamin D. Smith and Guy E. Garnett.
The self-supervising machine.
(Pages 108-111).
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Aaron Albin, Sertan Senturk, Akito Van Troyer, Brian Blosser, Oliver Jan, and
Gil Weinberg.
Beatscape and a mixed virtual-physical environment for musical
ensembles.
(Pages 112-115).
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Marco Fabiani, Gaà«l Dubus, and Roberto Bresin.
Moodifierlive: Interactive and collaborative expressive music
performance on mobile devices.
(Pages 116-119).
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Benjamin Schroeder, Marc Ainger, and Richard Parent.
A physically based sound space for procedural agents.
(Pages 120-123).
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Francisco Garcia, Leny Vinceslas, Esteban Maestre, and Josep Tubau.
Acquisition and study of blowing pressure profiles in recorder
playing.
(Pages 124-127).
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Anders Friberg and Anna Källblad.
Experiences from video-controlled sound installations.
(Pages 128-131).
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Nicolas d'Alessandro, Roberto Calderon, and Stefanie Müller.
Room#81 - agent-based instrument for experiencing architectural and
vocal cues.
(Pages 132-135).
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Yasuo Kuhara and Daiki Kobayashi.
Kinetic particles synthesizer using multi-touch screen interface of
mobile devices.
(Pages 136-137).
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Christopher Carlson, Eli Marschner, and Hunter Mccurry.
The sound flinger: A haptic spatializer.
(Pages 138-139).
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Ravi Kondapalli and Benzhen Sung.
Daft datum: an interface for producing music through foot-based
interaction.
(Pages 140-141).
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Abstract ]
Charles Martin and Chi-Hsia Lai.
Strike on stage: a percussion and media performance.
(Pages 142-143).
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Baptiste Caramiaux, Patrick Susini, Tommaso Bianco, Frédéric
Bevilacqua, Olivier Houix, Norbert Schnell, and Nicolas Misdariis.
Gestural embodiment of environmental sounds: an experimental study.
(Pages 144-148).
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Sebastian Mealla, Aleksander Valjamae, Mathieu Bosi, and Sergi Jorda.
Listening to your brain: Implicit interaction in collaborative music
performances.
(Pages 149-154).
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Dan Newton and Mark Marshall.
Examining how musicians create augmented musical instruments.
(Pages 155-160).
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Abstract ]
Zachary Seldess and Toshiro Yamada.
Tahakum: A multi-purpose audio control framework.
(Pages 161-166).
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Dawen Liang, Guangyu Xia, and Roger Dannenberg.
A framework for coordination and synchronization of media.
(Pages 167-172).
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Edgar Berdahl and Wendy Ju.
Satellite ccrma: A musical interaction and sound synthesis platform.
(Pages 173-178).
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Nicholas J. Bryan and Ge Wang.
Two turntables and a mobile phone.
(Pages 179-184).
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Nick Kruge and Ge Wang.
Madpad: A crowdsourcing system for audiovisual sampling.
(Pages 185-190).
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Patrick O'Keefe and Georg Essl.
The visual in mobile music performance.
(Pages 191-196).
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Ge Wang, Jieun Oh, and Tom Lieber.
Designing for the ipad: Magic fiddle.
(Pages 197-202).
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Benjamin Knapp and Brennon Bortz.
Mobilemuse: Integral music control goes mobile.
(Pages 203-206).
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Stephen Beck, Chris Branton, Sharath Maddineni, Brygg Ullmer, and Shantenu Jha.
Tangible performance management of grid-based laptop orchestras.
(Pages 207-210).
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Smilen Dimitrov and Stefania Serafin.
Audio arduino - an alsa (advanced linux sound architecture) audio
driver for ftdi-based arduinos.
(Pages 211-216).
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Seunghun Kim and Woon Seung Yeo.
Musical control of a pipe based on acoustic resonance.
(Pages 217-219).
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Anne-Marie Hansen, Hans Jørgen Andersen, and Pirkko Raudaskoski.
Play fluency in music improvisation games for novices.
(Pages 220-223).
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Izzi Ramkissoon.
The bass sleeve: A real-time multimedia gestural controller for
augmented electric bass performance.
(Pages 224-227).
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Ajay Kapur, Michael Darling, James Murphy, Jordan Hochenbaum, Dimitri
Diakopoulos, and Trimpin.
The karmetik notomoton: A new breed of musical robot for teaching and
performance.
(Pages 228-231).
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Adrian Barenca and Giuseppe Torre.
The manipuller: Strings manipulation and multi-dimensional force
sensing.
(Pages 232-235).
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Abstract ]
Alain Crevoisier and Cécile Picard-Limpens.
Mapping objects with the surface editor.
(Pages 236-239).
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Jordan Hochenbaum and Ajay Kapur.
Adding z-depth and pressure expressivity to tangible tabletop
surfaces.
(Pages 240-243).
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Andrew Milne, Anna Xambó, Robin Laney, David B. Sharp, Anthony Prechtl, and
Simon Holland.
Hex player: A virtual musical controller.
(Pages 244-247).
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Carl Haakon Waadeland.
Rhythm performance from a spectral point of view.
(Pages 248-251).
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Josep M Comajuncosas, Enric Guaus, Alex Barrachina, and John O'Connell.
Nuvolet : 3d gesture-driven collaborative audio mosaicing.
(Pages 252-255).
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Erwin Schoonderwaldt and Alexander Refsum Jensenius.
Effective and expressive movements in a french-canadian fiddler's
performance.
(Pages 256-259).
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Daniel Bisig, Jan Schacher, and Martin Neukom.
Flowspace: A hybrid ecosystem.
(Pages 260-263).
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Abstract ]
Marc Sosnick and William Hsu.
Implementing a finite difference-based real-time sound synthesizer
using gpus.
(Pages 264-267).
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Axel Tidemann.
An artificial intelligence architecture for musical expressiveness
that learns by imitation.
(Pages 268-271).
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Luke Dahl, Jorge Herrera, and Carr Wilkerson.
Tweetdreams: Making music with the audience and the world using
real-time twitter data.
(Pages 272-275).
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Lawrence Fyfe, Adam Tindale, and Sheelagh Carpendale.
Junctionbox: A toolkit for creating multi-touch sound control
interfaces.
(Pages 276-279).
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Andrew Johnston.
Beyond evaluation: Linking practice and theory in new musical
interface design.
(Pages 280-283).
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Phillip Popp and Matthew Wright.
Intuitive real-time control of spectral model synthesis.
(Pages 284-287).
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Pablo Molina, Martin Haro, and Sergi Jordà .
Beatjockey: A new tool for enhancing dj skills.
(Pages 288-291).
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Jan Schacher and Angela Stoecklin.
Traces: Body and motion and sound.
(Pages 292-295).
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Grace Leslie and Tim Mullen.
Moodmixer: Eeg-based collaborative sonification.
(Pages 296-299).
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Ståle A. Skogstad, Kristian Nymoen, Yago De Quay, and Alexander Refsum
Jensenius.
Osc implementation and evaluation of the xsens mvn suit.
(Pages 300-303).
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Lonce Wyse, Norikazu Mitani, and Suranga Nanayakkara.
The effect of visualizing audio targets in a musical listening and
performance task.
(Pages 304-307).
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Adrian Freed, John Maccallum, and Andrew Schmeder.
Composability for musical gesture signal processing using new
osc-based object and functional programming extensions to max/msp.
(Pages 308-311).
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Kristian Nymoen, Ståle A. Skogstad, and Alexander Refsum Jensenius.
Soundsaber - a motion capture instrument.
(Pages 312-315).
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Øyvind Brandtsegg, Sigurd Saue, and Thom Johansen.
A modulation matrix for complex parameter sets.
(Pages 316-319).
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Yu-Chung Tseng, Che-Wei Liu, Tzu-Heng Chi, and Hui-Yu Wang.
Sound low fun.
(Pages 320-321).
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Edgar Berdahl and Chris Chafe.
Autonomous new media artefacts (autonma).
(Pages 322-323).
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Abstract ]
Min-Joon Yoo, Jin-Wook Beak, and In-Kwon Lee.
Creating musical expression using kinect.
(Pages 324-325).
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Staas De Jong.
Making grains tangible: microtouch for microsound.
(Pages 326-328).
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Baptiste Caramiaux, Frederic Bevilacqua, and Norbert Schnell.
Sound selection by gestures.
(Pages 329-330).
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Hernán Kerlleñevich, Manuel C. Eguía, and Pablo E. Riera.
An open source interface based on biological neural networks for
interactive music performance.
(Pages 331-336).
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Nicholas Gillian, R. Benjamin Knapp, and Sile O'Modhrain.
Recognition of multivariate temporal musical gestures using
n-dimensional dynamic time warping.
(Pages 337-342).
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Nicholas Gillian, R. Benjamin Knapp, and Sile O'Modhrain.
A machine learning toolbox for musician computer interaction.
(Pages 343-348).
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Elena Jessop, Peter Torpey, and Benjamin Bloomberg.
Music and technology in death and the powers.
(Pages 349-354).
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Victor Zappi, Dario Mazzanti, Andrea Brogni, and Darwin Caldwell.
Design and evaluation of a hybrid reality performance.
(Pages 355-360).
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Jérémie Garcia, Theophanis Tsandilas, Carlos Agon, and Wendy Mackay.
Inksplorer : Exploring musical ideas on paper and computer.
(Pages 361-366).
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Pedro Lopes, Alfredo Ferreira, and J. A. Madeiras Pereira.
Battle of the djs: an hci perspective of traditional and virtual and
hybrid and multitouch djing.
.
(Pages, Norway, 2011.
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Adnan Marquez-Borbon, Michael Gurevich, A. Cavan Fyans, and Paul Stapleton.
Designing digital musical interactions in experimental contexts.
(Pages 373-376).
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Jonathan Reus.
Crackle: A mobile multitouch topology for exploratory sound
interaction.
(Pages 377-380).
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Abstract ]
Samuel Aaron, Alan F. Blackwell, Richard Hoadley, and Tim Regan.
A principled approach to developing new languages for live coding.
(Pages 381-386).
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Jamie Bullock, Daniel Beattie, and Jerome Turner.
Integra live: a new graphical user interface for live electronic
music.
(Pages 387-392).
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Jung-Sim Roh, Yotam Mann, Adrian Freed, and David Wessel.
Robust and reliable fabric and piezoresistive multitouch sensing
surfaces for musical controllers.
(Pages 393-398).
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Mark Marshall and Marcelo Wanderley.
Examining the effects of embedded vibrotactile feedback on the feel
of a digital musical instrument.
(Pages 399-404).
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Abstract ]
Dimitri Diakopoulos and Ajay Kapur.
Hiduino: A firmware for building driverless usb-midi devices using
the arduino microcontroller.
(Pages 405-408).
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Abstract ]
Emmanuel Fléty and Côme Maestracci.
Latency improvement in sensor wireless transmission using ieee
802.15.4.
(Pages 409-412).
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Jeff Snyder.
The snyderphonics manta and a novel usb touch controller.
(Pages 413-416).
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Abstract ]
William Hsu.
On movement and structure and abstraction in generative audiovisual
improvisation.
(Pages 417-420).
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Claudia Robles Angel.
Creating interactive multimedia works with bio-data.
(Pages 421-424).
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Abstract ]
Paula Ustarroz.
Tresnanet: musical generation based on network protocols.
(Pages 425-428).
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Matti Luhtala, Tiina Kymäläinen, and Johan Plomp.
Designing a music performance space for persons with intellectual
learning disabilities.
(Pages 429-432).
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Tom Ahola, Teemu Ahmaniemi, Koray Tahiroglu, Fabio Belloni, and Ville Ranki.
Raja - a multidisciplinary artistic performance.
(Pages 433-436).
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Abstract ]
Emmanuelle Gallin and Marc Sirguy.
Eobody3: A ready-to-use pre-mapped amp; multi-protocol sensor
interface.
(Pages 437-440).
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Abstract ]
Rasmus Bååth, Thomas Strandberg, and Christian Balkenius.
Eye tapping: How to beat out an accurate rhythm using eye movements.
(Pages 441-444).
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Abstract ]
Eric Rosenbaum.
Melodymorph: A reconfigurable musical instrument.
(Pages 445-447).
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Abstract ]
Karmen Franinovic.
Flo)(ps: Between habitual and explorative action-sound relationships.
(Pages 448-452).
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Margaret Schedel, Rebecca Fiebrink, and Phoenix Perry.
Wekinating 000000swan: Using machine learning to create and control
complex artistic systems.
(Pages 453-456).
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Carles F. Julià, Daniel Gallardo, and Sergi Jordà.
Mtcf: A framework for designing and coding musical tabletop
applications directly in pure data.
(Pages 457-460).
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David Pirrò and Gerhard Eckel.
Physical modelling enabling enaction: an example.
(Pages 461-464).
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Thomas Mitchell and Imogen Heap.
Soundgrasp: A gestural interface for the performance of live music.
(Pages 465-468).
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Tim Mullen, Richard Warp, and Adam Jansch.
Minding the (transatlantic) gap: An internet-enabled acoustic
brain-computer music interface.
(Pages 469-472).
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Stefano Papetti, Marco Civolani, and Federico Fontana.
Rhythm'n'shoes: a wearable foot tapping interface with audio-tactile
feedback.
(Pages 473-476).
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Cumhur Erkut, Antti Jylhä, and Reha Disçioğlu.
A structured design and evaluation model with application to rhythmic
interaction displays.
(Pages 477-480).
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Abstract ]
Marco Marchini, Panos Papiotis, Alfonso Pérez, and Esteban Maestre.
A hair ribbon deflection model for low-intrusiveness measurement of
bow force in violin performance.
(Pages 481-486).
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Jonathan Forsyth, Aron Glennon, and Juan Bello.
Random access remixing on the ipad.
(Pages 487-490).
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Erika Donald, Ben Duinker, and Eliot Britton.
Designing the ep trio: Instrument identities and control and
performance practice in an electronic chamber music ensemble.
(Pages 491-494).
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A. Cavan Fyans and Michael Gurevich.
Perceptions of skill in performances with acoustic and electronic
instruments.
(Pages 495-498).
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Hiroki Nishino.
Cognitive issues in computer music programming.
(Pages 499-502).
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Abstract ]
Roland Lamb and Andrew Robertson.
Seaboard: a new piano keyboard-related interface combining discrete
and continuous control.
(Pages 503-506).
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Abstract ]
Gilbert Beyer and Max Meier.
Music interfaces for novice users: Composing music on a public
display with hand gestures.
(Pages 507-510).
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Abstract ]
Birgitta Cappelen and Anders-Petter Andersson.
Expanding the role of the instrument.
(Pages 511-514).
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Todor Todoroff.
Wireless digital/analog sensors for music and dance performances.
(Pages 515-518).
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Trond Engum.
Real-time control and creative convolution - exchanging techniques
between distinct genres.
(Pages 519-522).
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Abstract ]
Andreas Bergsland.
The six fantasies machine: an instrument modelling phrases from paul
lansky's six fantasies.
(Pages 523-526).
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Jan Trutzschler.
Gliss: An intuitive sequencer for the iphone and ipad.
(Pages 527-528).
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Jiffer Harriman, Locky Casey, Linden Melvin, and Mike Repper.
Quadrofeelia - a new instrument for sliding into notes.
(Pages 529-530).
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Johnty Wang, Nicolas D'Alessandro, Sidney Fels, and Bob Pritchard.
Squeezy: Extending a multi-touch screen with force sensing objects
for controlling articulatory synthesis.
(Pages 531-532).
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Souhwan Choe and Kyogu Lee.
Swaf: Towards a web application framework for composition and
documentation of soundscape.
(Pages 533-534).
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Norbert Schnell, Frederic Bevilacqua, Nicolas Rasamimana, Julien Blois, Fabrice
Guedy, and Emmanuel Flety.
Playing the "mo" - gestural control and re-embodiment of recorded
sound and music.
(Pages 535-536).
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Bruno Zamborlin, Marco Liuni, and Giorgio Partesana.
(land)moves.
(Pages 537-538).
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Bill Verplank and Francesco Georg.
Can haptics make new music? - fader and plank demos.
(Pages 539-540).
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