| A Bayesian Approach to Drum Tracking |
Robertson, A. |
| A COMPARISON OF PERCEPTUAL RATINGS AND COMPUTED AUDIO FEATURES |
Friberg, A., & Hedblad A. |
| A Learning Interface for Novice Guitar Players using Vibrotactile Stimulation |
Giordano, M., & Wanderley M. |
| A Rule-Based Generative Music System Controlled by Desired Valence and Arousal |
Wallis, I., Ingalls T., Campana E., & Goodman J. |
| A Survey of Raaga Recognition Techniques and Improvements to the State-of-the-Art |
Gopala-Krishna, K., Gulati S., & Rao P. |
| A toolbox for storing and streaming music-related data |
Nymoen, K., & Jensenius A. R. |
| Active preservation of electrophone musical instruments. The case of the "Liettizzatore" of "Studio di Fonologia Musicale" (RAI, Milano) |
Canazza, S., Rodà A., Novati M., & Avanzini F. |
| An Adaptive Classification Algorithm For Semiotic Musical Gestures |
Gillian, N., Knapp B. R., & O'Modhrain S. |
| An analog I/O interface board for Audio Arduino open sound card system |
Dimitrov, S., & Serafin S. |
| AN EXPLORATION ON THE INFLUENCE OF VIBROTACTILE CUES DURING DIGITAL PIANO PLAYING |
Fontana, F., Papetti S., Bello V. D., Civolani M., & Bank B. |
| AN INTERACTIVE MUSIC COMPOSITION SYSTEM BASED ON AUTONOMOUS MAINTENANCE OF MUSICAL CONSISTENCY |
Kitahara, T., Fukayama S., Sagayama S., Katayose H., & Nagata N. |
| An Interactive Surface Realisation of Henri Pousseur's `Scambi' |
Fencott, R., & Dack J. |
| Analysis of Social Interaction in Music Performance with Score-Independent Audio Features |
Volpe, G., Varni G., Mazzarino B., Pisano S., & Camurri A. |
| Applications of Synchronization in Sound Synthesis |
Neukom, M. |
| Audio Physical Computing |
Valle, A. |
| Auditory feedback in a multimodal balancing task: walking on a virtual rope |
Serafin, S., Turchet L., & Nordahl R. |
| Automatic Creation of Mood Playlists in the Thayer Plane: a Methodology and a Comparative Study |
Panda, R., & Paiva R. P. |
| Automatic Multitrack Mixing Using Linear Dynamical Systems |
Scott, J., Prockup M., Schmidt E., & Kim Y. |
| Automatically detecting key modulations in J.S. Bach chorale recordings |
Mearns, L., Benetos E., & Dixon S. |
| BeatLED - The Social Gaming Partyshirt |
Nies, T. D., Vervust T., Demey M., Walle R. V. D., Vanfleteren J., & Leman M. |
| C. Elegans Meets Data Sonification: Can We Hear its Elegant Movement? |
Terasawa, H., Takahashi Y., Hirota K., Hamano T., Yamada T., Fukamizu A., et al. |
| Comparing Inertial and Optical MoCap Technologies for Synthesis Control |
Skogstad, S. A., Nymoen K., & Høvin M. |
| DANCEREPRODUCER: AN AUTOMATIC MASHUP MUSIC VIDEO GENERATION SYSTEM BY REUSING DANCE VIDEO CLIPS ON THE WEB |
Nakano, T., Murofushi S., Goto M., & Morishima S. |
| Demetrio Stratos rethinks voice techniques: a historical investigation at ISTC in Padova |
Ceolin, E., Tisato G., & Zattra L. |
| Design and Applications of a Multi-Touch Musical Keyboard |
Mcpherson, A., & Kim Y. |
| Designing an Expressive Virtual Percussive Instrument |
Dolhansky, B., Mcpherson A., & Kim Y. |
| Distance Mapping for Corpus-Based Concatenative Synthesis |
Schwarz, D. |
| DYNAMIC INTERMEDIATE MODELS FOR AUDIOGRAPHIC SYNTHESIS |
Goudard, V., Genevois H., Doval B., & Ghomi É. |
| Emotional response to major mode musical pieces: score-dependent perceptual and acoustic analysis |
Canazza, S., Roda' A., & Poli G. D. |
| Ensemble: Implementing a Musical Multiagent System Framework |
Thomaz, L., & Queiroz M. |
| Evaluating of sensor technologies for The Rulers, a kalimba-like Digital Musical Instrument |
Medeiros, C. B., & Wanderley M. M. |
| Explaining musical expression as a mixture of basis functions |
Grachten, M., & Widmer G. |
| Exploring the design space: prototyping "The Throat v3" for the Elephant Man opera |
Elblaus, L., Hansen K. F., & Unander-Scharin C. |
| Extraction of sound localization cue utilizing pitch cue for modelling auditory system |
Okuno, T., Mcginnity T. M., & Maguire L. P. |
| Foley Sounds vs Real Sounds |
Trento, S., & de Gotzen A. |
| from snow [to space to movement] to sound |
Kontogeorgakopoulos, A., Kotsifa O., & Erichsen M. |
| Functional Signal Processing with Pure and Faust using the LLVM Toolkit |
Gräf, A. |
| Generating Musical Accompaniment through Functional Scaffolding |
Hoover, A. K., Szerlip P. A., & Stanley K. O. |
| GESTURAL CONTROL OF THE SPEECH SYNTHESIS IN LUNA PARK |
Beller, G. |
| HUMANITIES, ART AND SCIENCE IN THE CONTEXT OF INTERACTIVE SONIC SYSTEMS – SOME CONSIDERATIONS ON A CUMBERSOME RELATIONSHIP |
Polotti, P. |
| Improved Sinusoidal Parameter Estimation through Iterative Linear Programming Schemes |
Shiv, V. L. |
| IMPROVING PERFORMERS’ MUSICALITY THROUGH LIVE INTERACTION WITH HAPTIC FEEDBACK: A CASE STUDY |
Michailidis, T., & Bullock J. |
| Improving tempo-sensitive and tempo-robust descriptors for rhythmic similarity |
Holzapfel, A., Flexer A., & Widmer G. |
| Improving the Efficiency of Open Sound Control with Compressed Address Strings |
Kleimola, J., & Mcglynn P. J. |
| Investigation of the relationships between audio features and induced emotions in Contemporary Western music |
Trochidis, K., Delbé C., & Bigand E. |
| Isomorphic Tessellations for Musical Keyboards |
Maupin, S., Gerhard D., & Park B. |
| Leech: BitTorrent and Music Piracy Sonification |
Mckinney, C., & Renaud A. |
| Limits of Control |
Rutz, H. H. |
| Ljudskrapan/The Soundscraper: Sound exploration for children with complex needs, accommodating hearing aids and cochlear implants |
Hansen, K. F., Dravins C., & Bresin R. |
| MARCO STROPPA’S COMPOSITIONAL PROCESS AND SCIENTIFIC KNOWLEDGE BETWEEN 1980-1991 |
Tiffon, V., & Sprenger-Ohana N. |
| Melody Harmonization in Evolutionary Music using Multiobjective Genetic Algorithms |
Freitas, A., & Guimarães F. |
| Multiple-Instrument Polyphonic Music Transcription using a Convolutive Probabilistic Model |
Benetos, E., & Dixon S. |
| On Computing Morphological Similarity of Audio Signals |
Gasser, M., Flexer A., & Grill T. |
| On the Creative use of Score Following and its Impact on Research |
Cont, A. |
| Parametric Trombone Synthesis by Coupling Dynamic Lip Valve and Instrument Models |
Smyth, T., & Scott F. |
| PERSONALITY AND COMPUTER MUSIC |
Garrido, S., Schubert E., Kreutz G., & Halpern A. |
| PHYSICAL MODELING MEETS MACHINE LEARNING: TEACHING BOW CONTROL TO A VIRTUAL VIOLINIST |
Percival, G., Bailey N., & Tzanetakis G. |
| Prioritized Contig Combining to Segregate Voices in Polyphonic Music |
Ishigaki, A., Matsubara M., & Saito H. |
| RaPScoM - A Framework for Rapid Prototyping of Semantically Enhanced Score Music |
Rubisch, J., Doppler J., & Raffaseder H. |
| REAL-TIME UNSUPERVISED MUSIC STRUCTURAL SEGMENTATION USING DYNAMIC DESCRIPTORS |
Pires, A. S., & Queiroz M. |
| Rencon Workshop 2011 (SMC-Rencon): Performance Rendering Contest for Computer Systems |
Hashida, M., Hirata K., & Katayose H. |
| Robotic piano player making pianos talk |
Ritsch, W. |
| Sonic Gestures as Input in Human-Computer Interaction: Towards a Systematic Approach |
Jylhä, A. |
| SONIK SPRING |
Henriques, T. |
| SOUND SPATIALIZATION CONTROL BY MEANS OF ACOUSTIC SOURCE LOCALIZATION SYSTEM |
Salvati, D., Canazza S., & Roda' A. |
| SOUND SPHERES: A DESIGN STUDY OF THE ARTICULACY OF A NON-CONTACT FINGER TRACKING VIRTUAL MUSICAL INSTRUMENT |
Hughes, C., Wermelinger M., & Holland S. |
| SoundScape: A music composition environment designed to facilitate collaborative creativity in the classroom |
Truman, S. |
| Spatio-temporal unfolding of sound sequences |
Rocchesso, D., & Monache S. D. |
| Support for Learning Synthesiser Programming |
Dykiert, M., & Gold N. |
| The Closure-based Cueing Model: Cognitively-Inspired Learning and Generation of Musical Sequences |
Maxwell, J., Pasquier P., & Eigenfeldt A. |
| The EyeHarp: An Eye-Tracking-Based Musical Instrument |
Vamvakousis, Z., & Ramirez R. |
| The plurality of melodic similarity |
Marsden, A. |
| The VowelWorm: Real-time Mapping and Visualisation of Sung Vowels in Music |
Frostel, H., Arzt A., & Widmer G. |
| Towards a Generative Electronica: Human-Informed Machine Transcription and Analysis in MaxMSP |
Eigenfeldt, A., & Pasquier P. |
| TOWARDS A PERSONALIZED TECHNICAL EAR TRAINING PROGRAM: AN INVESTIGATION OF THE EFFECT OF ADAPTIVE FEEDBACK |
Kaniwa, T., Kim S., Terasawa H., Ikeda M., Yamada T., & Makino S. |
| Using Physical Models is Necessary to Guarantee Stable Analog Haptic Feedback Control for New Media |
Edgar Berdahl, Florens J. - L., & Cadoz C. |
| Version Detection for Historical Music Boxes |
Niedermayer, B., Widmer G., & Reuter C. |
| When sound teaches |
Zanolla, S., Canazza S., Rodà A., Romano F., Scattolin F., & Foresti G. L. |
| Where do you want your ears? Comparing performance quality as a function of listening position in a virtual jazz band |
Olmos, A., Rushka P., Ko D., Foote G., Woszczyk W., & Cooperstock J. R. |
