| Title |
Author(s) |
|
Sound Element Spatializer
|
McGee, Ryan; Wright, Matthew |
|
Spatial Mastering - a new concept for spatial sound design in object-based audio scenes
|
Melchior, Frank; Michaelis, Uwe; Steffens, Robert |
|
Controlling Real Time Sound Spatialization Using The Radiodrum
|
Ness, Steven; Odowichuk, Gabrielle; Driessen, Peter; Tzanetakis, George |
|
COSM: A toolkit for composing immersive audio-visual worlds of agency and autonomy
|
Wakefield, Graham; Smith, Wesley |
|
The influence of sub-woofer frequencies within a multi-channel loudspeaker configuration on the perception of spatial attributes in a concert hall environment
|
Sazdov, Robert |
|
Phenomenology, Spatial Music and the Composer: prelude to a phenomenology of space in acousmatic music
|
Macedo, Frederico |
|
Why things don't work: What you need to know about spatial audio
|
Kendall, Gary S.; Cabrera, Andrés |
|
The Spatialisation of Stereophony: Taking Positions in Post-War Electroacoustic Music
|
Valiquet, Patrick |
|
Developing methods for computer programming by musical performance and composition
|
Kirke, Alexis; Miranda, Eduardo R. |
|
Sound synthesis and composition with compression-controlled feedback
|
Battey, Brett |
|
PhinGen: A Physically Informed Stochastic Synthesis Generator
|
Döbereiner, Luc |
|
The music21 Stream: A New Object Model for Representing, Filtering, and Transforming Symbolic Musical Structures
|
Ariza, Christopher; Cuthbert, Michael Scott |
|
Flood Tide See Further: Sonification as Musical Performance
|
Eacott, John |
|
Multi-dimensional spatial sound design for 'On the String'
|
Lindborg, PerMagnus; Beetuan Koh, Joyce |
|
CYCLIC-N, a real-time mobile multi-touch application for composition, improvisation and education
|
Gao, Mingfei Mike |
|
Representation and Interchange of Sound Spatialization Data for Compositional Applications
|
Bresson, Jean; Schumacher, Marlon |
|
Unconventional Computing for Music: Sound Synthesis with Slime Mould
|
Miranda, Eduardo R.; Adamatzky, Andrew; Jones, Jeff |
|
Aspects of second order feedback AM synthesis
|
Lazzarini, Victor; Kleimola, Jari; Timoney, Joseph; Välimäki, Vesa |
|
Designing Synthetic Reverberators in Kronos
|
Norilo, Vesa |
|
Composing with Swarm Algorithms - Creating interactive audio-visual pieces with flocking behavior
|
Schacher, Jan C.; Bisig, Daniel; Neukom, Martin |
|
A Graphical User Interface for Supercollider Audio Units
|
Trützschler von Falkenstein, Jan; Baracskai, Zlatko |
|
Progress Report on the EAVI BCI Toolkit for Music: Musical Applications of Algorithms for use with consumer brain computer interfaces
|
Grierson, Mike; Kiefer, Chris; Yee-King, Matthew |
|
The NLN-Player: A system for nonlinear music in games
|
van Nispen tot Pannerden, Than; Huiberts, Sander; Donders, Sebastiaan; Koch, Stan |
|
Musical Tempo Curves
|
Berndt, Axel |
|
An autonomous timbre matching improviser
|
Yee-King, Matthew John |
|
Gestural Mappings: Towards the Creation of a Three Dimensional Composition Environment
|
Pearse, Stephen A. |
|
An ecologically valid experiment for the comparison of established spatial techniques
|
Lynch, Hugh; Sazdov, Robert |
|
Anton - A Rule-Based Composition System
|
Boenn, Georg; Brain, Martin; De Vos, Marina; ffitch, John |
|
Cellular automata dynamic control for sound design with histogram mapping synthesis and the multitype voter model
|
Serquera, Jaime; Miranda, Eduardo R. |
|
PVOC KIT: new applications of the phase vocoder
|
Erbe, Tom |
|
Multi-modal instrument: towards a platform for comparative controller evaluation
|
Polfreman, Richard |
|
Cloud chamber: a performance involving real time two-way interaction between subatomic radioactive particles and violinist
|
Kirke, Alexis; Miranda, Eduardo; Chiaramonte, Antonino; Troisi, Anna R.; Matthias, John; Radtke, Jeff; Fry, Nicholas; McCabe, Catherine; Bull, Martyn |
|
Automatic Synthesiser Programming
|
Clement, Ross |
|
Cloning in Max/MSP Patches
|
Gold, Nicolas; Krinke, Jens; Harman, Mark; Binkley, David |
|
Stimulus Complexity and Time Judgments
|
Pasoulas, Aki |
|
Towards a comprehensive framework for electro-acoustic music analysis
|
Hong Park, Tae; Hyman, David; Leonard, Peter; Hermans, Phillip |
|
Mapping change over time within stereo Acousmatic Music – A Case Study
|
Woolley, Jason |
|
Sound-types: a new framework for symbolic sound analysis and synthesis
|
Emanuele Cella, Carmine |
|
A Virtual Orchestra for Human-Computer Music Performance
|
Dannenberg, Roger B. |
|
Analysis-by-Performance: Gesturally-Controlled Voice Synthesis as an Input for Modelling of Vibrato in Singing
|
d’Alessandro, Nicolas; Dutoit, Thierry; Fels, Sidney; Ooge, Christophe |
|
Sound synthesis model based on the simulation of a gaussian bouncing wave packet
|
Ramos, Javier; Cadiz, Rodrigo F. |
|
A Multi-perspective user interface for music signal analysis
|
Müller, Meinard; Konz, Verena; Jiang, Nanzhu; Zuo, Zhe |
|
Multimodal Control of Music and Fire Patterns
|
Todoroff, Todor; Benmadhkour, Radhwan; Chessini, Ricardo |
|
Real-time Musical Applications on an Experimental Operating System for Multi-Core Processors
|
Colmenares, Juan A.; Saxton, Ian; Battenberg, Eric; Avizienis, Rimas; Peters, Nils; Asanovic, Krste; Kubiatowicz, John D.; Wessel, David |
|
Screen Scores: New Media Music Manuscripts
|
Hope, Cat; Vickery, Lindsay |
|
History of electroacoustic music through filmed sources: an example at IRCAM
|
Bossis, Bruno |
|
New forms of hybrid musical discourse: an exploration of stylistic and procedural crossfertilisation between contemporary art music and electronic dance music
|
Ratcliffe, Robert |
|
XTH SENSE: a study of muscle sounds for an experimental paradigm of musical performance
|
Donnarumma, Marco |
|
Real-time emulation of the Clavinet
|
Gabrielli, Leonardo; Välimäki, Vesa; Bilbao, Stefan |
|
Physical Thinking: two approached to mechanical sound design
|
Pigott, Jon; Kontogeorgakopoulos, Alexandros |
|
Analysis and Synthesis of Hand Clapping Sounds Based on Adaptive Dictionary
|
Ahmad, Wasim; Kondoz, Ahmet M. |
|
Emergent Construction of melodic pitch and hierarchy through agents communicating emotion without melodic intelligence
|
Kirke, Alexis; Miranda, Eduardo R. |
|
A Demonstration of Bow Articulation Recognition with Wekinator and K-Bow
|
Schedel, Margaret; Fiebrink, Rebecca |
|
Maximillian: An easy to use, cross platform C++ Toolkit for interactive audio and synthesis applications
|
Grierson, Mike; Kiefer, Chris |
|
Towards using expressive performance algorithms for typist emotion detection
|
Kirke, Alexis; Bonnot, Matthieu; Miranda, Eduardo R. |
|
A perceptually based onset detector for real-time and offline audio parsing
|
Brent, William |
|
The Harmonic Matrix: Exploring the geometry of Pitch
|
Bond, Daryn |
|
Mapping 3D Objects To Synthesised Sound Using A Simulated Physics System
|
Perkins, Rhys |
|
The M2 Compositions: A Technical Overview of a Modular Work Flow Towards the Creation of a Video Score
|
Canning, Rob |
|
KLANGPILOT - a new interface for “writing” (not only) synthetic sounds
|
Kretz, Johannes |
|
Flexible spatial design for dance performance
|
Otondo, Felipe |
|
Constructing Music Applications for Smartphones
|
Hamanaka, Masathoshi; Yoshiya, Mikito; Yoshida, Shyuhei |
|
Sound Level of Detail in Interactive Audiographic 3D Scenes
|
Schwarz, Diemo; Cahen, Roland; Brument, François; Ding, Hui; Jacquemin, Christian |
|
Untouchable instruments and Performances
|
Nagashima, Yoichi |
|
Representing and Automating Rhythmic Pattern Transformations
|
Wyse, Lonce; Tan, Keith; Kellock, Peter |
|
Tiny Jungle: Psychedelic Techniques in Audio-Visual Composition
|
Weinel, Jonathan |
|
The Visible String, a Direct Audiovisual Model
|
Schroeder, Benjamin; Ainger, Marc; Parent, Richard |
|
The Control of the CHANT Synthesizer in OpenMusic: Modelling Continuous Aspects in Sound Synthesis
|
Bresson, Jean; Stroppa, Marco |
|
CACIE CB: Genetic programming based composition-aid system by shopping basket interface
|
Ando, Daichi |
|
Composing with Absent Sound
|
Haworth, Christopher |
|
Ophidian and the Uncanny Valley
|
Bessell, David |
|
Application of multi-agent whale modeling to an interactive saxophone and whales duet
|
Kirke, Alexis; Freeman, Samuel; Miranda, Eduardo R. |
|
Wii Play Piano: Composing for Piano and Wii Remote
|
Jette, Christopher; Kirchoff, Keith |
|
LiveCell: Real-Time Score Generation Through Interactive Generative Composition
|
Ash, Kingsley Michael; Stavropoulos, Niko |
|
Music – Imagination - Technology
|
Emmerson, Simon |
|
Studio based composers in collaboration: a socioculturally framed study
|
Dobson, Elizabeth; Flewitt, Rosie; Littleton, Karen; Miell, Dorothy |
|
An interface to support creative studio practice
|
King, Andrew |
|
Innovation, Interaction, experience and imagination in computer music education
|
Cipriani, Alessandro; Giri, Maurizio |
|
Design and Implementation of a Piano Practice Support System using a Real-Time Fingering Recognition Technique
|
Takegawa, Yoshinari; Tsukamoto, Masahiko; Terada, Tsutomu |
|
Using the iPhone for live-electronics in my composition Irrgaerten for two pianos
|
Tutschku, Hans |
|
Automated Ad Hoc Networking for Mobile and Hybrid Music Performance
|
Essl, Georg |
|
Multi-touch interaction principles for collaborative real-time music activities: towards a pattern language
|
Xambó, Anna; Laney, Robin; Dobbyn, Chris; Jordà, Sergi |
|
World Stage: A Crowd-sourcing Paradigm for Interactive Social / Mobile Music
|
Wang, Ge; Oh, Jieun; Salazar, Spencer; Hamilton, Robert |
|
The measurement of performer and audience emotional state as a new means of computer music interaction: a performance case study
|
Knapp, R. Benjamin; Lyon, Eric |
|
Unnecessary Constraints: A Challenge to Some Assumptions of Digital Musical Instrument Design
|
Linson, Adam |
|
Control: Software for End-User Interface Programming and Interactive Performance
|
Roberts, Charles |
|
Aspects of gesture in Digital Musical Instrument Design
|
Brent, William |
|
The Timelessness of Maximal Music
|
Menezes, Flo |
|
Sculpture as Music Interface
|
Hoadley, Richard |
|
Infuriating Nonlinear Reverberator
|
Puckette, Miller |
|
Variable 4: A Dynamical Composition For Weather Systems
|
Bulley, James; Jones, Daniel |
|
What are we making? The work-without-content in live computer music
|
Impett, Jonathan |
|
Reconsidering Laptop Orchestras as a Computational Grid for Music Performance
|
Beck, Stephen David; Branton, Chris |
|
Developing a user-relative motion detection interface for mobile devices
|
Benatan, Matt; Symonds, Ian; Ng, Kia |
|
Interactive High Performance Computing for Music
|
Smith, Benjamin D.; Garnett, Guy E. |
|
Scheduling and composing with Risset eternal accelerando rhythms
|
Stowell, Dan |
|
Modeling Speed Doubling in Carnatic Music
|
Subramanian, Srikumar K.; Wyse, Lonce; McGee, Kevin |
|
Towards musical interaction: 'Schismatics' for e-violin and computer
|
Hayden, Sam; Kanno, Mieko |
|
Dynamic, Instance-based, object-oriented programming in Max/MSP using open sound control message delegation
|
Freed, Adrian; MacCallum, John; Schmeder, Andrew |
|
SCMIR: A SuperCollider Music Information Retrieval Library
|
Collins, Nick |
|
The IXI Lang: A SuperCollider Parasite for Live Coding
|
Magnusson, Thor |
|
An architecture for creating hosting plug-ins for use in digital audio workstations
|
Gibson, Darrell; Polfreman, Richard |
|
Auksalaq, A telematic opera
|
Deal, Scott; Burtner, Matthew |
|
Reproducibility and random access in sound synthesis
|
Rutz, Hanns Holger; Miranda, Eduardo; Eckel, Gerhard |
|
Electroacoustic Music: Overcoming Analysis Paralysis
|
Dahan, Kevin |
|
Using gaming engine for virtual prototyping and impact assessment of complex interactive art installations
|
Ico Bukvic, Ivica; Betz, Scott |
|
Towards the Beat of a Different Drummer: A Journey into the Loss of Fidelity in Drums and Electronics
|
Constanzo, Rodrigo |
|
The Effect of Visual Modalities on Human Perception of Emotion from Music
|
Kim, Kwan; Lee, Samuel; Seung Yeo, Woon |
|
Suspended Imprints: An Exploration of Sound, Space and the Inner Monologue
|
Horseman, Samantha |
|
Chor-Respondent: A dynamic system in the musical domain
|
Hancock, Oliver |
|
Audio Technology at American University
|
Oehlers, Paul; Brent, William; Harvey, Michael |
|
Towards a Model for the Humanisation of Pitch Drift in Singing Voice Synthesis
|
Stables, Ryan; Athwal, Cham; Bullock, Jamie |
|
Algorithmic multi-genre classification of music: an empirical study
|
Sanden, Chris; Zhang, John Z. |
|
A musical instrument using in vitro neural networks
|
Miranda, Eduardo R.; Nasuto, Slawomir J.; Troisi, Anna R.; Downes, Julia; Chiaramonte, Antonino; Spencer, Matthew; Hammond, Mark; Xydas, Dimitris; Whalley, Ben; Becerra, Victor; Warwick, Kevin |
|
A similarity algorithm for interactive style imitation
|
Martin, Aengus; Jin, Craig T.; McEwan, Alistair; Martens, William L. |
|
Tracking Virtuosity and Flow in Computer Music
|
Nash, Chris; Blackwell, Alan |
|
Real-time Grammar-based parsing and restructuring of musical streams
|
Parson, Dale E.; Panuski, Ryan R. |
|
Real-time Sliding Phase Vocoder using a Commodity GPU
|
Bradford, Russell; ffitch, John; Dobson, Richard |
|
The ModFM Synthesis Vocoder
|
Lazzarini, Victor; Timoney, Joseph |
|
Sound Cross-synthesis and Morphing Using Dictionary-based Methods
|
Collins, Nick; Sturm, Bob L. |
|
Hypothesis for the foundation of a laptop orchestra
|
Gasperini, Marco |
|
Confessions of a Live Coder
|
Magnusson, Thor |
|
Real-time Visual Beat Tracking using a Comb Filter Matrix
|
Robertson, Andrew; Stark, Adam M.; Plumbley, Mark D. |
|
Texture: Visual Notation for Live Coding of Pattern
|
McLean, Alex; Wiggins, Geraint |
|
Cabbage Audio Plugin Framework
|
Walsh, Rory |
|
Digital Modeling of the Vintage Telephone Sound
|
Oksanen, Sami; Välimäki, Vesa |
|
The Integra Framework for rapid modular audio application development
|
Bullock, Jamie; Frisk, Henrik |
|
Supernova - A scalable parallel audio synthesis server for SuperCollider
|
Blechmann, Tim |
|
Characterizing Tempo Change In Musical Performances
|
Dannenberg, Roger B.; Mohan, Sukrit |
|
Gesture Analysis of radiodrum data
|
Ness, Steven R.; Methabi, Sonmez; Odowichuk, Gabrielle; Tzanetakis, George; Schloss, Andrew W. |
|
Tactile Feedback Tool: approaching the foot pedal problem in live electronic music
|
Michailidis, Tychonas; Berweck, Sebastian |
|
Audience-Participation Techniques Based on Social Mobile Computing
|
Oh, Jieun; Wang, Ge |
|
Software for Schenkerian Analysis
|
Marsden, Alan |
|
Inclusive Interconnections: Retaining Diversity in Networked Laptop Performance
|
Booth, Graham |
|
Prioritizing Audio Features Selection Using Analysis Hierarchy Process As A Mean To Extend User Control In Concatenative Sound Synthesis
|
Norowi, Noris Mohd; Miranda, Eduardo |
|
Exploring the potential of the dedicated XML syntax for diatonic harmonica tablatures
|
Tomberg, Vladimir; Ivanov, Eugene; Laanpere, Mart |
|
The Horizontal Spacing of Graphical Notation
|
Solomon, Mike |
|
The Prosthetic Mbira: Prosthesis as Design Strategy
|
Vriezenga, Ciska; Rebelo, Pedro |
|
Analytical and Compositional Applications of a Network-Based Scale Model in music21
|
Ariza, Christopher; Cuthbert, Michael Scott |
|
CBPSC: Corpus-based Processing for SuperCollider
|
Stoll, Thomas |
|
Combining EEG Frontal asymmetry studies with affective algorithmic composition and expressive performance models
|
Kirke, Alexis; Miranda, Eduardo |
|
UDKOSC: An immersive musical environment
|
Hamilton, Robert |
|
Artaud's Snake: gesture, time and play - a composer's report on the use and development of the WiGI infra red wireless gestural system
|
Scott, Richard |
|
Concepts and Practical Considerations of Platform-Independent Design of Mobile Music Environments
|
Wook Kim, Jong; Essl, Georg |
|
Sound Synthesis with a New Elasticity Model
|
Sanan, Patrick |
