Conference Proceedings:
A. Georgaki and G. Kouroupetroglou (Eds.), Proceedings ICMC|SMC|2014, 14-20 September 2014, Athens, Greece
Part A: Keynote and invited speeches
Keynote Speeches
Creative symbolic interaction
Gérard Assayag, IRCAM, CNRS, UPMC, France......................................................... 1Mathews’ Diagram and Euclid’s Line -fifty years ago
John Chowning, Stanford University, USA................................................................. 7What is sound?
Peter Nelson, University of Edinburgh, United Kingdom.......................................... 13Sound and music computing meets philosophy
Jean-Claude Risset, Universitéd'Aix-Marseille, France............................................. 20Rhythmic processes in electronic music
Curtis Roads, University of California, Santa Barbara, USA...................................... 27
Chorale synthesis by the multidimensional scaling of pitches
Clarence Barlow, University of California Santa Barbara, USA................................. 32Musings on the status of electronic music today
Cort Lippe, University of Buffalo, USA..................................................................... 37Echoes in Plato’s cave: ontology of sound objects in computer music and analysis
Alan Marsden, Lancaster University, United Kingdom............................................. 41The place and meaning of computing in a sound relationship of man,
machines, and environment
Agostino Di Scipio, Conservatory of Naples, Italy.................................................... 47Xenakis’s philosophy of technology through some interviews
Makis Solomos, University Paris 8, France................................................................ 54Real-time composition of sound environments
Georgia Spiropoulos, IRCAM, France...................................................................... 62Computational ethnomusicology: a music information retrieval perspective
George Tzanetakis, University of Victoria, Canada.................................................... 69
Part B: Papers and Posters
Auditory fusion and holophonic musical texture in Xenakis’ spithoprakta
Panayotis Kokoras.................................................................................................... 76Chronotope
Ivan Zavada.............................................................................................................. 81Computer game piece: exploring video games as means for controlled
improvisation
DariuszJackowski, Francho Melendez, Andrzej Bauer,
PawelHendrich, CezaryDuchnowski........................................................................... 88Computer, formalisms, intuition and metaphors Α.Xenakian
and post-Xenakian approach
Jose Luis Besada....................................................................................................... 93Contemporary practices in the performance and sustainability
of computer music repertoire
Jeremy Baguyos....................................................................................................... 99Could the endless progressions in James Tenney’s music
be viewed as sonic koans?
François-Xavier Féron............................................................................................. 103Creativity through technology and science in Xenakis
Kostas Paparigopoulos............................................................................................ 109December variations (on a theme by Earle Brown)
Richard Hoadley...................................................................................................... 115Degrees of interpretation in computer aided algorithmic composition
Jessica Aslan.......................................................................................................... 121Diffusing Diffusion: A history of the technological advances
in spatial performance
Bridget Johnson, Michael Norris, Ajay Kapur............................................................ 126Digitally extending the optical soundtrack
Alexander Dupuis, Carlos Dominguez...................................................................... 133Easter eggs: hidden tracks and messages in musical mediums
Jonathan Weinel, Darryl Griffiths, Stuart Cunningham.............................................. 140Eroticism and time in computer music: Juliana Hodkinson
and Niels Ronsholdt’s fish & fowl
Danielle Sofer......................................................................................................... 148Examining the analysis of dynamical sonic
ecosystems: in light of a criterion for evaluating theories
Michael Musick....................................................................................................... 154Expanding the vocalist’s role through the use of live electronics
in realtime improvisation
Tone Åse................................................................................................................ 162Experimence: considerations for composing a rock song for interactive
audience participation
Oliver Hödl, Geraldine Fitzpatrick, Simon Holland..................................................... 169Exploring a visual/sonic representational continuum
Lindsay Vickery....................................................................................................... 177From automatic sound analysis of gameplay footage [Echos]to the understanding
of player experience [Ethos]: an interdisciplinary approach
Raphael Marczak, Pierre Hanna, Jean-Luc Rouas,
Jasper van Vught, Gareth Schott............................................................................. 185From digital ‘Echos’ to virtual ‘ethos’: ethical aspects of music technology
George Kosteletos, Anastasia Georgaki................................................................... 193From technological investigation and software emulation
to music analysis: an integrated approach to Barry Truax's riverrun
Michael Clarke, FrédéricDufeu, Peter Manning........................................................ 201How blue is Mozart? Non verbal sensory scales for describing music qualities
Maddalena Murari, Antonio Roda, Osvaldo Da Pos, Sergio Canazza,
Giovanni De Poli, Marta Sandri................................................................................ 209Lose Control Gain Influence
Alberto de Campo................................................................................................... 217Music systemisers and music empathisers – do they rate expressiveness
of computer generated performances the same?
Emery Schubert, Giovanni De Poli, Antonio Roda, Sergio Canazza............................. 223OPERAcraft: blurring the lines between real and virtual
Ivica Bukvic, Cody Cahoon, Ariana Wyatt, Tracy Cowden, Katie Dredger.................... 228Realism, art, technology and audiovisual immersion into the environment
of the Ionian islands
George Heliades, Apostolos Loufopoulos, Minas Emmanouil, Theofanis Maragkos... 236The ghost in the MP3
Ryan Maguire......................................................................................................... 243The use of rhythmograms in the analysis of electroacoustic music,
with application to Normandeau’s onomatopoeias cycle
David Hirst.............................................................................................................. 248Timbral haunting: an interactive system re-interpreting the present
in echoes of the past
Michael Musick, Tae Hong Park............................................................................... 254Towards an aesthetic of electronic-music performance practice
Marko Ciciliani........................................................................................................ 262Towards defining the potential of electroacoustic infrasonic music
Alexis Crawshaw..................................................................................................... 269Zwischenräume - A case study towards an the evaluation of interactive
sound installations
Georgios Marentakis, David Pirrò, Raphael Kapeller................................................ 277
A genetic algorithm approach to collaborative music creation
on a multi-touch table
Niklas Klügel, Andreas Lindström, Georg Groh......................................................... 286AutoRhythmGuitar: computer-aided composition for rhythm guitar in the tab space
Matt McVicar, Satoru Fukayama, Masataka Goto..................................................... 293Broadening telematic electroacoustic music by affective rendering
and embodied real-time data sonification
Ian Whalley............................................................................................................. 301Cage: a high-level library for real-time computer-aided composition
Andrea Agostini, ÉricDaubresse, Daniele Ghisi......................................................... 308Conceptual interacting strategies in forming electroacoustic sound identities
Georgia Kalodiki ..................................................................................................... 314Considering roughness to describe and generate vertical musical
structure in content-based algorithmic-assisted audio composition
Gilberto Bernardes, Matthew Davies, Carlos Guedes, Bruce Pennycook................... 318Declarative composition and reactive control in marsyas
Jakob Leben, George Tzanetakis............................................................................. 325Directed transitional composition for gaming and adaptive
music using Q-learning
Jason Cullimore, Howard Hamilton, David Gerhard................................................... 332EmbodiComp: embodied interaction for mixing and composition
Dalia El-Shimy, Steve Cowar, Jeremy Cooperstock................................................... 339Griddy: a drawing based music composition system with multi-layered structure
Keunhyoung Luke Kim, Woon Seung Yeo................................................................. 345Kara: a BCI approach to composition
Rodrigo Cadiz, Patricio de la Cuadra......................................................................... 350Kuatro: a motion-based framework for interactive music installations
David Johnson, Yiorgos Vassilandonakis, Seth Stoudenmier, Bill Manaris.................. 355Modelling the live-electronics in electroacoustic music using particle systems
André Perrotta, Flo Menezes, Luis Gustavo Martin.................................................. 363Musical perspectives on composition sonification and music
Amalia de Götzen, Nicola Bernardini, Alvise Vidolin.................................................. 371NEYMA interactive soundscape composition based on a low budget
motion capture system
Stefano Alessandretti, Giovanni Sparano................................................................. 379pOM: linking pen gestures to computer-aided composition processes
Jérémie Garcia, Jean Bresson, Philippe Leroux........................................................ 384Principles of visual design for computer music
Ge Wang................................................................................................................ 391Query-by-multiple-examples: content-based search in computer-assisted
sound-based musical composition
Tiago Fernandes Tavares, Jônatas Manzolli.............................................................. 397Real-time breeding composition system by means of genetic programming
and breeding procedure
Daichi Ando............................................................................................................ 402Real-time music composition through P-timed Petri Nets
Adriano Barate, Goffredo Haus, Luca Ludovico......................................................... 408Sense: an electroacoustic composition for surround sound and tactile transducers
Panayiotis Kokoras.................................................................................................. 416Sound of rivers: stone drum: a multimed
Charles Nichols, Mark Lorang, Mark Gibbons, Nicole Bradley Browning,
Amber Bushnell...................................................................................................... 420Swarm lake: a game of swarm intelligence, human interaction
and collaborative music composition
Maximos Kaliakatsos-Papakostas, Andreas Floros, Konstantinos Drossos,
Konstantinos Koukoudis, Manolis Kyzalas, Achilleas Kalantzis................................... 425Symmetrical and geometrical cycles in twelve-tone composition:
developments toward a new model
Telmo Marques, Paulo Ferreira-Lopes..................................................................... 433Tangibility and low-level live coding
Yorgos Diapoulis, Ioannis Zannos............................................................................. 440The creation and projection of space-source in electroacoustic music
Theodoros Lotis...................................................................................................... 445The procedural sound and music of ECHO:Canyon
Rob Hamilton, Chris Platz......................................................................................... 449Transcription adaptation and maintenance in live electronic performance
with acoustic instruments
Richard Dudas, Pete Furniss.................................................................................... 456Translation as technique: collaboratively creating an electro-acoustic
composition for saxophone and live video projection
Christopher Jette, Kelland Thomas, Javier Villegas, Angus Forbes............................ 463
“Topos” toolkit for pure data: exploring the spatial features of dance
gestures for interactive musical applications
Luiz Naveda, Ivani Santana...................................................................................... 470Bassline pitch prediction for real-time performance systems
Andrew Robertson................................................................................................. 480Beyond the beat: towards metre rhythm and melody modelling
with hybrid oscillator networks
Andrew Lambert, Tillman Weyde, Newton Armstrong............................................. 485Citygram one: one year later
Tae Hong Park, Michael Musick, John Turner, Charlie Mydlarz,
Jun Hee Lee, Jaeseong You, Luke DuBois................................................................ 491Design process for interactive sound installations: the designer,
the interactor and the system
Cecile Le Prado, Stephane Natkin............................................................................ 499ICE - towards a new kind of networked computer music ensemble
Winfried Ritsch....................................................................................................... 506Influence of expressive coupling in ensemble performance on
musicians’ body movement
Davi Mota, Mauricio Loureiro, Rafael Laboissière..................................................... 513Mobile phones as ubiquitous instruments: towards standardizing
performance data on the network
Nathan Bowen, David Reeder................................................................................. 520Movable Party: a bicycle-powered system for interactive musical performance
Steven Kemper, Wendy Hsu, Carey Sargent, Josef Taylor, Linda Wei........................ 527Polytempo network: a system for technology-assisted conducting
Philippe Kocher....................................................................................................... 532Real-time manipulation of syncopation in audio loops
Diogo Cocharro, George Sioros, Marcelo Caetano, Matthew Davies......................... 536StiffNeck: the electroacoustic music performance venue in a box
Gerhard Eckel, Martin Rumori................................................................................. 542Tactile Composition: configurations and communications for a haptic chair
Joanne Armitage, Kia Ng......................................................................................... 547The Black Swan: probable and improbable communication over local
and geographically displaced net-worked connections as a musical performance system
Alyssa Aska............................................................................................................. 553
A computer-mediated interface for jazz piano comping
Rui Dias, Carlos Guedes, Telmo Marques................................................................. 558A high-level review of mappings in musical iOS applications
Thor Kell, Marcelo Wanderley................................................................................. 565A hybrid guitar physical model controller: the Bladeaxe
Romain Michon, Julius Orion III Smith...................................................................... 573Affective jukebox: a confirmatory study of EEG emotional correlates in
esponse to musical stimuli
Joel Eaton, Duncan Williams, Eduardo Mirada.......................................................... 580Animating timbre - A user study
Sean Soraghan........................................................................................................ 586ArmKeyBoard: a mobile keyboard instrument based on chord-scale
system and tonal hierarchy
Jun-qi Deng, Francis Chi Moon Lau, Yu-kwong Kwok................................................ 592AscoGraph: a user interface for sequencing and score following for
interactive musical pieces
Thomas Coffy, Arshia Cont, Jean-Louis Giavitto........................................................ 600Being there & being with: the philosophical and cognitive notions
of presence and embodiment in virtual instruments
Annie Luciani.......................................................................................................... 605Building a Gamelan from bricks
Tzu-En Ngiao........................................................................................................... 613Conceptual blending in biomusic composition space: the “brainswarm” paradigm
Leontios Hadjileontiadis.......................................................................................... 621Corporeality, actions and perceptions in gestural performance of digital music
Jan Schacher........................................................................................................... 629Creating a place as a medium for musical communication using multiple
electroencephalography
Takayuki Hamano, Hidefumi Ohmura, Ryu Nakagawa,
Hiroko Terasawa, Reiko Hoshi-Shiba, Kazuo Okanoya,
Kiyoshi Furukawa.................................................................................................... 637CriticalEd: a tool for assisting with the creation of critical commentaries
Caspar Mølholt Kjellberg, David Meredith................................................................ 643Implementations of the leap motion device in sound synthesis
and live performance
Lamtharn Hantrakul................................................................................................ 648Infrared vs. ultrasonic finger detection on a virtual piano keyboard
Yuri De Pra, Federico Fontana, Fausto Spoto............................................................ 654Leap motion as expressive gestural interface
Martin Ritter, Alyssa Aska........................................................................................ 659Little Drummer Bot: building, testing, and interfacing with a new
expressive mechatronic drum system
Jim Murphy, Dale Carnegie, Ajay Kapur................................................................... 663Mapping motion to timbre: orientation, FM synthesis and spectral filtering
Israel Neuman, Charles Okpala, Cesar Bonezzi......................................................... 671Mechatronic Keyboard Music: design, evaluation, and use of a
new mechatronic harmonium
Jim Murphy, Ajay Kapur, Dale Carnegie................................................................... 678miniAudicle for iPad: touchscreen-based music software programming
Spencer Salazar, Ge Wang....................................................................................... 686MoveOSC - smart watches in mobile music performance
Alex Migicovsky, Jonah Scheinerman, Georg Essl.................................................... 692Multi-touch Interface for acousmatic music spatialization
Gwendal Le Vaillant, Rudi Giot................................................................................. 697Mutor: drone chorus of metrically muted motors
Mo Zareei, Dale Carnegie, Ajay Kapur...................................................................... 704NICO: an open-source interface bridging the gap between musician
and tesla coil
Blake Johnston, Josh Bailey, Dugal McKinnon........................................................... 711NLN-live, an application for live non-linear and interactive
music performances
Than van Nispen Tot Pannerden.............................................................................. 715Organic oscillator: experiments using natural oscillation
sources from audiences
Yuan-Yi Fan............................................................................................................. 719P300 harmonies: a brain-computer musical interface
Zacharias Vamvakousis, Rafael Ramirez................................................................... 725Scaling up live internet performance with the global net orchestra
Roger Dannenberg, Tom Neuendorffer................................................................... 730sculpTon: a malleable tangible interface for sound sculpting
Alberto Boem......................................................................................................... 737Sensors2PD: mobile sensors and WiFi information as input for pure data
Antonio de Carvalho Junior..................................................................................... 744SkipStep: a multi-paradigm touch-screen instrument
Avneesh Sarwate, Jeff Snyder................................................................................. 748Tangibility, presence, materiality, reality in artistic creation
with digital technology
Claude Cadoz, Alexandros Kontogeorgakopoulos, Ioannis Zannos............................ 754TC-data: extending multi-touch interfaces for generalized relational control
Kevin Schlei............................................................................................................ 762The breath engine: challenging biological and technological boundaries
through the use of NK complex adaptive systems
Joe Cantrell, Colin Zyskowski, Drew Ceccato............................................................ 767The feature extraction based hypersampler in Il
grifonelleperlenere: a bridge between player and instrument paradigm
Marco Marinoni...................................................................................................... 772Towards touch screen live instruments with less risk: a gestural approach
Edward Jangwon Lee, WoonSeung Yeo................................................................... 780Turnector: tangible control widgets for capacitive touchscreen devices
Edward Kingsley Rutter, Tom Mitchell, Chris Nash.................................................... 785Unisoner: an interactive interface for derivative chorus creation
from various singing voices on the Web
Keita Tsuzuki, Tomoyasu Nakano, MasatakaGoto,
Takeshi Yamada, Shoji Makino................................................................................. 790Τactile.motion: an iPad based performance interface for increased
expressivity in diffusion performance
Bridget Johnson, Michael Norris, Ajay Kapur............................................................ 798
Ambisonics user defined opcodes for Csound
Martin Neukom...................................................................................................... 804An agent based approach to interaction and composition
Stephen Pearse, David Moore, Eric Lyon.................................................................. 810ImmLib - A new library for immersive spatial composition
Miguel Negrão........................................................................................................ 815Introducing the zirkonium MK2 system for spatial composition
David Wagner, Ludger Brümmer, Götz Dipper, Jochen Arne Otto............................. 823Orchestrating wall reflections in space by icosahedral
loudspeaker: findings from first artistic research exploration
Gerriet Sharma, Franz Zotter, Matthias Frank.......................................................... 830Spatial and kinematic models for procedural audio in 3D virtual environments
Jose Ignacio Pecino Rodriguez................................................................................ 836Spatial utilization of sensory dissonance and the creation of sonic sculpture
Brian Hansen.......................................................................................................... 844The Future of Spatial Computer Music
Eric Lyon................................................................................................................. 850The HOA library, review and prospects
Anne Sèdes, Pierre Guillot, Elliot Paris..................................................................... 855The SpatDIF library – concepts and practical applications in audio software
Jan Schacher, Chikashi Miyama, Trond Lossius......................................................... 861Towards open 3D sound diffusion systems
Fernando Lopez-Lezcan.......................................................................................... 869
Music and Sound Perception
A paradigm shift for modelling sound sensation
John Mourjopoulos................................................................................................. 878About the different types of listeners for rating the overall listening experience
Michael Schoeffler, Juergen Herre.......................................................................... 886Alarm/will/sound: perception, characterization, acoustic modeling,
and design of modified car alarms
Alexander Sigman, Nicolas Misdariis........................................................................ 893Color and emotion caused by auditory stimuli
Elena Partesotti, Tiago Fernandes Tavares............................................................... 901Evaluating perceptual separation in a pilot system for affective composition
Duncan Williams, Alexis Kirke, Eduardo Miranda, Ian Daly,
Etienne Roesch, James Weaver, SlawomirNasut..................................................... 905Human perception of the soundscape in a metropolis through
the phenomenology of neural networks
Enrica Santucci, Luca Andrea Ludovico..................................................................... 912Loudness Normalization: Paradigm Shift or Placebo for the Use
of Hyper-Compression in Pop Music?
Malachy Ronan, Robert Sazdov, Nicholas Ward........................................................ 920Musical timbre and emotion: the identification of salient timbral features in
sustained musical instrument tones equalized in attack time and spectral centroid
Bin Wu, Andrew Horner, Chung Lee........................................................................ 228muTunes: a study of musicality perception in an evolutionary context
Kirill Sidorov, Robin Hawkins, Andrew Jones, David Marshall.................................... 935Optimal Acoustic Reverberation Evaluation of Byzantine Chanting in Churches
John Mourjopoulos, Charalambos Papadakos, Gavriil Kamaris,
Georgios Chryssochoidis, Georgios Kouroupetroglou................................................ 941Perception of interactive vibrotactilecues on the acoustic grand and upright piano
Federico Fontana, Federico Avanzini, Hanna Järveläinen,
Stefano Papetti, Francesco Zanini, Valerio Zanini...................................................... 948Perceptual characterization of a tactile display for a live-electronics
notification system
Emma Frid, Marcello Giordano, Marlon Schumache, Marcelo Wanderley.................. 954Resolving octave ambiguities: a cross-dataset investigation
Li Su, Hsin-Yu Lai, Li-Fan Yu, Yi-Hsuan Yang............................................................... 962Study of the perceptual and semantic divergence of digital audio
processed by restoration algorithms
Sonia Cenceschi, Giorgio Klauer............................................................................... 967Test Methods for Score-Based Interactive Music Systems
Clément Poncelet Sanchez, Florent Jacquemard...................................................... 974Timbre features and music emotion in plucked string, mallet percussion,
and keyboard tones
Chuck-jee Chau, Bin Wu, Andrew Horner................................................................ 982
Computational Musicology
Algebraic Mozart by tree synthesis
Keiji Hirata, Satoshi Tojo, Masatoshi Hamanaka........................................................ 991Algorithmic cross-mixing and rhythmic derangement
Zlatko Baracskai...................................................................................................... 998An idiom-independent representation of chords for computational music
analysis and generation
Emilios Cambouropoulos, Maximos Kaliakatsos-Papakostas, Costas Tsougras......... 1002Analysis of the simultaneity, voice/layer balance and rhythmic phrasing
in works for guitar by, Rodrigo, Brouwer and Villa-Lobos
Sérgio Freire, Lucas Nézio, Anderson Reis.............................................................. 1010AutoChorus Creator: four-part chorus generator with musical feature control,
using search spaces constructed from rules of music theory
Benjamin Evans, Satoru Fukayama, MasatakaGoto,
NagisaMunekata, Tetsuo Ono............................................................................... 1016Computing musical meter – an approach to an integrated formal description
Bernd Härpfer....................................................................................................... 1024Corpora for music information research in Indian art music
Ajay Srinivasamurthy, Gopala Krishna Koduri, Sankalp Gulati,
Vignesh Ishwar, Xavier Serra................................................................................. 1029Fine-tuned control of concatenative synthesis with CataRT using
the Bach Library for Max
Aaron Einbond, Christopher Trapani, Andrea Agostini,
Daniele Ghisi, Diemo Schwarz................................................................................ 1037FugueGenerator - collaborative melody composition
based on a generative approach for conveying emotion in music
NiklasKlügel, Gerhard Hagerer, Georg Groh........................................................... 1043Improving accompanied flamenco singing voice transcription
by combining vocal detection and predominant melody extraction
Nadine Kroher, Emilia Gómez................................................................................ 1051Interval scale as group generators
Tsubasa Tanaka, Kiyoshi Furukawa......................................................................... 1057Landmark detection in hindustani music melodies
Sankalp Gulati, Joan Serrà, Kaustuv Ganguli, Xavier Serra....................................... 1062Modality
Marije Baalman, Till Bovermann, Alberto de Campo, Miguel Nergão....................... 1069Modulus p rhythmic tiling canons and some implementations in
OpenMusic visual programming language
Hélianthe Caure, Carlos Agon, Moreno Andreatta.................................................. 1077Probabilistic harmonization with fixed intermediate chord constraints
Maximos Kaliakatsos-Papakostas, Emilios Cambouropoulos................................... 1083Real time tempo canons with Antescofo
Christopher Trapani, José Echeveste...................................................................... 1091Sampling the extrema from statistical models of music with variable,
neighbourhood search
Dorien Herremans, Kenneth Sörensen, Darrell Conklin........................................... 1096Some perspectives in the artistic rendering of music scores
Gianpaolo Evangelista........................................................................................... 1104Spatial transformations in simplicial chord spaces
Luis Bigo, Daniele Ghisi, Antoine Spicher, Moreno Andreatta.................................. 1112Spatialization symbolic music notation at ICST
Emile Ellberger, Germán Toro Perez, Johannes Schuett,
Giorgio Zoia, Linda Cavaliero.................................................................................. 1120The counterpoint game: rules constraints and computational spaces
Mattia Samory, Marcella Mandanici, Sergio Canazza, Enoch Pesericop.................... 1126The notion of Ethos in Arabic music: computational modeling of
Al-Urmawi's modes (13th Century) in Csound
Raed Belhassen..................................................................................................... 1134
Music Information Retrieval
A history of emerging paradigms in EEG for music
Kameron Christopher, Ajay Kapur, Dale Carnegie, Gina Grimshaw.......................1112A study on cross-cultural and cross-dataset generalizability of music
mood regression models
Xiao Hu, Yi-Hsuan Yang......................................................................................... 1149An experimental classification of the programing patterns for scheduling
in computer musicprogramming
Hiroki Nishino........................................................................................................ 1156Automatic singer identification for improvisational styles based
on vibrato timbre and statistical performance descriptors
Nadine Kroher, Emilia Gómez.............................................................................. 1160Distance in pitch sensitive time-span tree
Masaki Matsubara, Keiji Hirata, Satoshi Tojo...................................................... 1166Estimation of Vocal Duration in Monaural Mixtures
Anders Elowsson, Ragnar Schön, Matts Höglund,
Elias Zea, Anders Friberg..................................................................................... 1172Instantaneous detection and classification of impact sounds:
turning simple objects into powerful musical control interfaces
Nikolaos Stefanakis, Yannis Mastorakis, Athanasios Mouchtari........................ 1178Merged-output hidden Markov model for score following of MIDI
performance with ornaments desynchronized voices, repeats and skips
Eita Nakamura, Yasuyuki Saito, Nobutaka Ono, Shigeki Sagayama..................... 1185Method to detect GTTM local grouping boundaries based on
clustering and statistical learning
KouheiKanamori, Masatoshi Hamanaka................................................................ 1193Power-scaled spectral flux and peak-valley group-delay methods
for robust musical onset detection
Li Su, Yi-Hsuan Yang............................................................................................... 1198Short-term and long-term evaluations of melody editing method
based on melodic outline
Tetsuro Kitahara, Yuichi Tsuchiya........................................................................... 1204Teaching robots to conduct: automatic extraction of conducting
information from sheet music
Andrea Salgian, Laurence Agina, Teresa Nakra....................................................... 1212Towards Soundscape Information Retrieval (SIR)
Tae Hong Park, Jun Hee Lee, Jaeseong You............................................................ 1218Transient analysis for music and moving images: considerations
for television advertising
Andrew Rogers, Ian Gibson................................................................................... 1226Violin fingering estimation according to skill level based on
hidden Markov model
Wakana Nagata, Shinji Sako, Tadashi Kitamura....................................................... 1233
Artificial Intelligence Systems
A multi-agent Interactive composing system for creating “expressive”
accompaniment
Michael Spicer....................................................................................................... 1240An automatic singing impression estimation method using factor
analysis and multiple regression
Ai Kanato, Tomoyasu Nakano, MasatakaGoto, Hideaki Kikuchi............................... 1244Automatic competency assessment of rhythm performances of
ninth-grade and tenth-grade pupils
Jakob Abesser, Johannes Hasselhorn, Sascha Grollmisch,
Christian Dittmar, Andreas Lehmann...................................................................... 1252HMM-based automatic arrangement for guitars with transposition
and its implementation
Gen Hori, Shigeki Sagayama................................................................................... 1257Intelligent exploration of sound spaces using decision trees and
evolutionary approach
Gordan Kreković, Davor Petrinović......................................................................... 1263Laminae: a stochastic modeling-based autonomous performance rendering
system that elucidates performer characteristics
Kenta Okumura, Shinji Sako, Tadashi Kitamura....................................................... 1271Machine improvisation with formal specifications
Alexandre Donze, Rafael Valle, Sophie Libkind, Ilge Akkaya,
Sanjit Seshia, David Wessel.................................................................................... 1277ML.* machine learning library as a musical partner in the
computer-acoustic composition flight
Benjamin Smith, Scott Deal.................................................................................... 1285Planning human-computer improvisation
Jérôme Nika, José Echeveste, Marc Chemillier, Jean-Louis Giavitto......................... 1290Tempo prediction model for accompaniment system
Shizuka Wada, Yasuo Horiuchi, Shingo Kuroiwa...................................................... 1298
Sound Analysis, Synthesis and Processing
A bowed string physical model including finite-width thermal friction
and hair dynamics
Esteban Maestre, Carlos Spa, Julius Smith.............................................................. 1305A flexible and modular crosslingual voice conversion system
Anderson Machado, Marcelo Queiroz.................................................................... 1312A framework for music analysis/resynthesis based on matrix factorization
Juan Jose Burred................................................................................................... 1320A research of automatic composition and singing voice synthesis
system for Taiwanese popular songs
Chih-Fang Huang, Wei-Gang Hong, Min-Hsuan Li, Wei-Po Nien............................... 1326A Method of Timbre-Shape Synthesis Based On Summation of Spherical
Curves
Lance Putnam......................................................................................................... 1332ATK reaper: The ambisonic toolkit as JSFX plugins
Trond Lossius, Joseph Anderson............................................................................ 1338Audio signal visualisation and measurement
Robin Gareus, Chris Goddard................................................................................ 1346Audio-rate modulation of physical model parameters
Edgar Berdahl........................................................................................................ 1353Detection of random spectral alterations of sustained musical
instrument tones in repeated note contexts
Chung Lee, Andrew Horner................................................................................... 1361Effects of different bow stroke styles on body movements of a viola player:
an exploratory study
Federico Visi, Esther Coorevits, Eduardo Miranda, Marc Leman.............................. 1368Evaluating HRTF similarity through subjective assessments:
factors that can affect judgment
Areti Andreopoulou, Agnieszka Roginska............................................................... 1375Gamma: a C++ sound synthesis library further abstracting
the unit generator
Lance Putnam....................................................................................................... 1382Gene expression synthesis
Alo Allik................................................................................................................. 1389Modular physical modeling synthesis environments on GPU
Stefan Bilbao, Alberto Torin, Paul Graham, James Perry, Gordon Delap.................. 1396Musical audio denoising assuming symmetric a-stable noise
Nikoletta Bassiou, Constantine Kotropoulos.......................................................... 1404Musical audio synthesis using autoencoding neural nets
Andy Sarroff, Michael Casey.................................................................................. 1411On the playing of monodic pitch in digital music instrument
Vincent Goudard, Hugues Genevois, Lionel Feugère.............................................. 1418Parameter estimation of virtual musical instrument synthesizers
Katsutoshi Itoyama, Hiroshi Okuno........................................................................ 1426Sonification of controlled quantum dynamics
Alexandros Kontogeorgakopoulos, Daniel Burgarth................................................ 1432Sound shapes and spatial texture: frequency-space morphology
Stuart James......................................................................................................... 1437The sound effect of ancient Greek theatrical masks
Fotios Kontomichos, Thanos Vovolis, Eleftheria Georganti,
John Mourjopoulos............................................................................................... 1444The TR-808 cymbal: a physically-informed, circuit-bendable, digital model
Kurt James Werner, Jonathan S. Abel, Julius O. Smith............................................. 1453Timbre-invariant audio features for style analysis of classical music
Christof Weiss, Matthias Mauch, Simon Dixon........................................................ 1461Touchpoint: dynamically re-routable effects processing as a
multi-touch tablet instrument
Nicholas Suda, Owen Vallis.................................................................................... 1469Toward real-time estimation of tonehole configuration
Tamara Smyth, Cheng-i Wang................................................................................ 1477Towards a dynamic model of the palm mute guitar technique
based on capturing pressure profiles between the guitar strings
Julien Biral, Nicolas D'Alessandro, Adrian Freed...................................................... 1483Understanding and tuning mass-interaction networks through
their modal representation
Jerome Villeneuve, Claude Cadoz.......................................................................... 1490Visualization and manipulation of stereophonic audio signals
by means of IID and IPD
Giorgio Presti, Davide Andrea Mauro, Goffredo Haus............................................. 1497ΗarmonyMixer: mixing the character of chords among polyphonic audio
Satoru Fukayama, Masataka Goto......................................................................... 1503
Computer Environments and Languages for Sound and Music Processing
A Protocol for creating multiagent systems in ensemble with pure data
Pedro Bruel, Marcelo Queiroz................................................................................ 1512Audio rendering/processing and control ubiquity? a solution built using
Faust dynamic compiler and JACK/NetJack
Stephane Letz, Sarah Denoux, Yann Orlarey........................................................... 1518Comparing models of symbolic music using probabilistic grammars and
probabilistic programming
Samer Abdallah, Nicolas Gold................................................................................ 1524Connecting SUM with computer-assisted composition in PWGL: recreating
the graphic scores of, AnestisLogothetis
Sara Adhitya, Mika Kuuskankare............................................................................ 1532DIMI-6000: an early musical microcomputer by Erkki Kurenniemi
Kai Lassfolk, Jari Suominen, Mikko Ojanen............................................................. 1538Extending Aura with Csound opcodes
Steven Yi, Roger Dannenberg, Victor Lazzarini, John Fitch....................................... 1542Flocking: a framework for declarative music-making on the Web
Colin Clark, Adam Tindale...................................................................................... 1550GenoMeMeMusic: a memetic-based framework for discovering the
musical genome
Valerio Velardo, Mauro Vallati............................................................................... 1558LC: a new computer music programming language with three core features
Hiroki Nishino, Naotoshi Osaka, Ryohei Nakatsu..................................................... 1565Model-view-controller separation in Max using Jamoma
Trond Lossius, Theo de la Hogue, Pascal Baltazar, Tim Place,
Nathan Wolek, Julien Rabin................................................................................... 1573Mostly-strongly-timed programming in LC
Hiroki Nishino, Ryohei Nakatsu.............................................................................. 1581New tools for aspect-oriented programming in music and media
programming environments
John MacCallum, Adrian Freed, David Wessel........................................................ 1587o.io: A unified communications framework for music, intermedia
and cloud interaction
Adrian Freed, Rama Gottfried, John MacCallum, Jeff Lubow,
Derek Razo, David Wessel..................................................................................... 1592Programmation and control of Faust sound processing in OpenMusic
Dimitri Bouche, Jean Bresson, Stéphane Letz......................................................... 1598Representation of Musical Computer Processes
Dominique Fober, Yann Orlarey, Stéphane Letz..................................................... 1604SoDA: A sound design accelerator for the automatic generation
of soundscapes from an ontologically annotated sound library
Andrea Valle, Paolo Armao, Matteo Casu, Marinos Koutsomichalis......................... 1610Sound processes: a new computer music framework
Hanns Holger Rutz................................................................................................. 1618Using natural language to specify sound parameters
Jan-Torsten Milde................................................................................................. 1627Vuza: a functional language for creative applications
Carmine-EmanueleCella........................................................................................ 1631
Interaction Design
3DMIN – Challenges and interventions in design development and
dissemination of new musical instruments
Till Bovermann, HaukeEgermann, Alexander Foerstel, Sarah-Indriyati Hardjowirogo,Amelie Hinrichsen, Dominik Hildebrand Marques Lopes,
Andreas Pysiewicz, Stefan Weinzierl, Alberto de CampoHMI.................................. 1637A design exploration on the effectiveness of vocal imitations
Stefano DelleMonache, Stefano Baldan, Davide Andrea Mauro,
Davide Rocchesso................................................................................................. 1642A Recursive Mapping System for Motion and Sound in a Robot between
Human Interaction Design
Sinan Bokesoy....................................................................................................... 1649Ambient culture: Coping musically with the environment
Marcus Maeder.................................................................................................... 1655Association of Sound movements in space to Takete and Maluma
Amalia de Götzen.................................................................................................. 1662Augmented exercise biking with virtual environments for elderly users:
considerations on the use of auditory feedback
Jon Ram Bruun-Pedersen, Stefania Serafin, Lise Busk Kofoed................................. 1665Data Auditorio: Towards Intense Interaction, an Interactive Hyper-Directional
Sound for Play and Ubiquity
Daichi Misawa, Kiyomitsu Odai............................................................................... 1669Ecologically grounded multimodal design: the Palafito 1.0 study
Damián Keller, Joseph Timoney, Leandro Constalonga, AriadnaCapasso,
Patricia Tinajero, Victor Lazzarini, Marcelo Soares Pimenta,
Maria Helena de Lima, Marcelo Johann.................................................................. 1677Ethos in sound design for brand advertisement
Elio Toppano, Alessandro Toppano........................................................................ 1685Implementation and evaluation of real-time interactive user interface
design in self-learning singing pitch training apps
Kin Wah Edward Lin, Hans Anderson, Hamzeen Hameem, Simon Lui....................... 1693Modes of sonic interaction in circus: three proofs of concept
Ludvig lblaus, Maurizio Goina, Marie-Andrée Robitaille, Roberto Bresin.................. 1698N-gon waves – audio applications of the geometry of regular polygons
in the time domain
Dominik Chapman, Mick Grierson.......................................................................... 1707PheroMusic: navigating a flexible space of active music
Kristian Nymoen, Arjun Chandra, KyrreGlette, Jim Torresen,
Alexander Refsum Jensenius, ArveVoldsund......................................................... 1715POLISphone: Creating and performing with a flexible soundmaps
Filipe Lopes, Paulo Rodriguez................................................................................. 1719Sonic scenography - equalized structure-borne sound for aurally
active set design
Otso Lähdeoja, Aki Haapaniemi, Vesa Välimäki....................................................... 1725SoundScapeTK: a platform for mobile soundscapes
Thomas Stoll, Teri Rueb......................................................................................... 1731Takt: a read-eval-play-loop interpreter for a structural/procedural
score language
Satoshi Nishimura................................................................................................. 1736Optimizing Melodic Extraction Algorithm for Jazz Guitar Recordings Using
Genetic Algorithms
Sergio Giraldo, Rafael Ramirez .................................................................................. 1742DSRmarimba: low-cost, open source actuated acoustic marimba framework
Shawn Trail, Leonardo Jenkins, Peter Driessen .......................................................... 1748
Computers and Music Education
Learning musical contour on a tabletop
Andrea Franceschini, Robin Laney, Chris Dobbyn.................................................... 1755Music technology’s influence on flute pedagogy: a survey of their interaction
Diana Siwiak, Ajay Kapur, Dale Carnegie................................................................. 1763Recommending music to groups in fitness classes
Berardina De Carolis, Stefano Ferilli, Nicola Orio..................................................... 1771The "Harmonic Walk": an interactive educational environment to discover
musical chords
Marcella Mandanici, Antonio Rodà, Sergio Canazza................................................ 1778The Effectiveness of visual feedback singing vocal technology in Greek
elementary school
Sofia Stavropoulou, Anastasia Georgaki, Fotis Moschos.......................................... 1786The use of apprenticeship learning via inverse reinforcement
learning for musical composition
Orry Messer, Pravesh Ranchod.............................................................................. 1793
Part C: Demos and Studio Reports
Demos
Mobile Instruments Made Easy: Creating Musical Mobile Apps with
LIBPD and iOS, No Experience Necessary
Danny Holmes........................................................................................................ 1800Demo: Using Jamama’s MVC features to design an audio effect interface
Trond Lossius, Theo de la Hogue, Pascal Baltazar,
Nathan Wolek, and Julien Rabin............................................................................. 1804SYSTab: A proactive real-time expert system for ancient Greek music
theory and notation
Martin Carlé.......................................................................................................... 1808Making People Move: Dynamic musical notations
Richard Hoadley.................................................................................................... 1813Listening otherwise: Playing with sound vibration
Pascale Criton.......................................................................................................... 1817Spinphony
Mark Nilsen.......................................................................................................... 1821i-score, an Interactive Sequencer for the Intermedia Arts
Pascal Baltazar, Theo de la Hogue, Myriam Desainte-Catherine......................... 1826
Sound and Music Computing at Aalborg University in Copenhagen
Stefania Serafin, Sofia Dahl, Amalia de Gotzen, Cumhur Erkut,
Dan Overholt, Hendrik Purwins, and Bob Sturm................................................... 1830The Centre Iannis Xenakis’s establishment at the University of Rouen
Cyrille Delhaye, Rodolphe Bourotte, and Sharon Kanach...................................... 1834CeMFI and Earquake: (Epi-)Centers for Experimental Music,
Media and Research
Aristotelis Hadjakos, Steffen Bock, and Fabien Levy............................................ 1840University of Helsinki Music Research Laboratory and Electronic
Music Studio – The first 50 years and beyond
Kai Lassfolk and Mikko Ojanen........................................................................... 1844