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ORCIDNIME 2016: Brisbane, Australia
- 16th International Conference on New Interfaces for Musical Expression, NIME 2016, Griffith University, Brisbane, Australia, July 11-15, 2016. nime.org 2016
- Julián Jaramillo Arango, Daniel Melàn Giraldo:
The Smartphone Ensemble. Exploring mobile computer mediation in collaborative musical performance. 61-64 - Alfonso Balandra, Hironori Mitake, Shoichi Hasegawa:
Haptic Music Player - Synthetic audio-tactile stimuli generation based on the notes' pitch and instruments' envelope mapping. 90-95 - Alex Baldwin, Troels Hammer, Edvinas Pechiulis, Peter Williams, Dan Overholt, Stefania Serafin:
Tromba Moderna: A Digitally Augmented Medieval Instrument. 14-19 - Jan Banas, Razvan Paisa, Iakovos Vogiatzoglou, Francesco Grani, Stefania Serafin:
Design and evaluation of a gesture driven wave field synthesis auditory game. 188-193 - Natasha Barrett, Alexander Refsum Jensenius:
The 'Virtualmonium': an instrument for classical sound diffusion over a virtual loudspeaker orchestra. 55-60 - Mehmet Aydin Baytas, Tilbe Göksun, Oguzhan Özcan:
The Perception of Live-sequenced Electronic Music via Hearing and Sight. 194-199 - Dominic Becking
, Christine Steinmeier, Philipp Kroos:
Drum-Dance-Music-Machine: Construction of a Technical Toolset for Low-Threshold Access to Collaborative Musical Performance. 112-117 - Christopher Benson, Bill Z. Manaris, Seth Stoudenmier, Timothy Ward:
SoundMorpheus: A Myoelectric-Sensor Based Interface for Sound Spatialization and Shaping. 332-337 - Edgar Berdahl, Danny Holmes, Eric Sheffield:
Wireless Vibrotactile Tokens for Audio-Haptic Interaction with Touchscreen Interfaces. 5-6 - Edgar Berdahl, Andrew Pfalz, Stephen David Beck:
Very Slack Strings: A Physical Model and Its Use in the Composition Quartet for Strings. 9-10 - Henning Berg:
Tango: Software for Computer-Human Improvisation. 7-8 - Kirandeep Bhumber, Nancy Lee, Brian Topp:
Pendula: An Interactive Swing Installation and Performance Environment. 277-285 - S. M. Astrid Bin, Nick Bryan-Kinns, Andrew P. McPherson:
Skip the Pre-Concert Demo: How Technical Familiarity and Musical Style Affect Audience Response. 200-205 - John Bowers, John Richards, Tim Shaw, Jim Frize, Ben Freeth, Samantha Topley, Neal Spowage, Steve Jones, Amit Patel, Li Rui, Will Edmondes:
One Knob To Rule Them All: Reductionist Interfaces for Expansionist Research. 433-438 - Oliver Bown, Sam Ferguson:
A Musical Game of Bowls Using the DIADs. 371-372 - Dom Brown, Nathan Renney, Adam Stark, Chris Nash, Tom Mitchell:
Leimu: Gloveless Music Interaction Using a Wrist Mounted Leap Motion. 300-304 - Cem Çakmak, Anil Çamci, Angus G. Forbes:
Networked Virtual Environments as Collaborative Music Spaces. 106-111 - Benedict Carey:
SpectraScore VR: Networkable virtual reality software tools for real-time composition and performance. 3-4 - Benjamin Carey, Andrew Johnston:
Reflection On Action in NIME Research: Two Complementary Perspectives. 377-382 - Antonio Deusany de Carvalho Junior, Sang Won Lee, Georg Essl:
Understanding Cloud Support for the Audience Participation Concert Performance of Crowd in C[loud]. 176-181 - Herbert H. C. Chang, Spencer Topel:
Electromagnetically Actuated Acoustic Amplitude Modulation Synthesis. 8-13 - Juliana Cherston, Ewan Hill, Steven Goldfarb, Joseph A. Paradiso:
Musician and Mega-Machine: Compositions Driven by Real-Time Particle Collision Data from the ATLAS Detector. 78-83 - Matthew Dabin, Terumi Narushima, Stephen Beirne, Christian H. Ritz, Kraig Grady:
3D Modelling and Printing of Microtonal Flutes. 286-290 - Benjamin James Eyes, Laurits Esben Jongejan:
How to Stop Sound: Creating a light instrument and 'Interruption' a piece for the Mimerlaven, Norberg Festival 2015. 373-374 - Esteban Gómez, Javier Jaimovich:
Designing a Flexible Workflow for Complex Real-Time Interactive Performances. 305-309 - Marcelo Gimenes, Pierre-Emmanuel Largeron, Eduardo R. Miranda:
Frontiers: Expanding Musical Imagination With Audience Participation. 350-354 - Stewart Greenhill, Cathie Travers:
Focal : An Eye-Tracking Musical Expression Controller. 230-235 - Barah Héon-Morissette:
Transdisciplinary Methodology: from Theory to the Stage, Creation for the SICMAP. 253-258 - Abram Hindle:
Hacking NIMEs. 359-364 - Alex Hofmann, Vasileios Chatziioannou, Alexander Mayer, Harry Hartmann:
Development of Fibre Polymer Sensor Reeds for Saxophone and Clarinet. 65-68 - Alex Hofmann, Bernt Isak Wærstad, Kristoffer E. Koch:
Csound Instruments On Stage. 291-294 - Cat Hope, Stuart James, Aaron Wyatt:
Headline grabs for music: The development of the iPad score generator for 'Loaded (NSFW).'. 375-376 - Madeline Huberth, Chryssie Nanou:
Notation for 3D Motion Tracking Controllers: A Gametrak Case Study. 96-105 - Javier Jaimovich:
Emovere: Designing Sound Interactions for Biosignals and Dancers. 316-320 - Kasper Buhl Jakobsen, Marianne Graves Petersen, Majken Kirkegaard Rasmussen, Jens Emil Grønbæk, Jakob Winge, Jeppe Stougaard:
Hitmachine: Collective Musical Expressivity for Novices. 241-246 - Stuart James:
A Multi-Point 2D Interface: Audio-Rate Signals for Controlling Complex Multi-Parametric Sound Synthesis. 401-406 - Kunal Jathal, Tae Hong Park:
The HandSolo: A Hand Drum Controller for Natural Rhythm Entry and Production. 218-223 - Alexander Refsum Jensenius, Michael J. Lyons:
Trends at NIME - Reflections on Editing A NIME Reader. 439-443 - Bridget Johnson, Michael Norris, Ajay Kapur:
speaker.motion: A Mechatronic Loudspeaker System for Live Spatialisation. 41-45 - Sergi Jordà, Daniel Gómez-Marín, Ángel Faraldo, Perfecto Herrera:
Drumming with style: From user needs to a working prototype. 365-370 - Ajay Kapur, Jim W. Murphy, Michael Darling, Eric Heep, Bruce Lott, Ness Morris:
MalletOTon and the Modulets: Modular and Extensible Musical Robots. 69-72 - Rébecca Kleinberger, Akito van Troyer:
Dooremi: a Doorway to Music. 160-161 - Otso Lähdeoja:
Active Acoustic Instruments for Electronic Chamber Music. 132-136 - Jeppe Veirum Larsen, Dan Overholt, Thomas B. Moeslund:
The Prospects of Musical Instruments For People with Physical Disabilities. 327-331 - Tomas Laurenzo:
5500: performance, control, and politics. 36-40 - Sang Won Lee, Georg Essl, Mari Martinez:
Live Writing : Writing as a Real-time Audiovisual Performance. 212-217 - Sasha Leitman, John Granzow:
Music Maker: 3d Printing and Acoustics Curriculum. 118-121 - Anders Lind, Daniel Nylén:
Mapping Everyday Objects to Digital Materiality in The Wheel Quintet: Polytempic Music and Participatory Art. 84-89 - Rikard Lindell, Koray Tahiroglu, Morten Riis, Jennie Schaeffer:
Materiality for Musical Expressions: an Approach to Interdisciplinary Syllabus Development for NIME. 344-349 - Jason Long, Dale A. Carnegie, Ajay Kapur:
The Closed-Loop Robotic Glockenspiel: Improving Musical Robots with Embedded Musical Information Retrieval. 2-7 - Jason Long, Ajay Kapur, Dale A. Carnegie:
An Analogue Interface for Musical Robots. 51-54 - Evan F. Lynch, Joseph A. Paradiso:
SensorChimes: Musical Mapping for Sensor Networks. 137-142 - Andrew P. McPherson, Robert H. Jack, Giulio Moro:
Action-Sound Latency: Are Our Tools Fast Enough? 20-25 - Aidan Meacham, Sanjay Kannan, Ge Wang:
The Laptop Accordion. 236-240 - Romain Michon, Julius Orion Smith III, Matthew Wright, Chris Chafe:
Augmenting the iPad: the BladeAxe. 247-252 - Andrew J. Milne, Steffen A. Herff, David W. Bulger, William A. Sethares, Roger T. Dean:
XronoMorph: Algorithmic Generation of Perfectly Balanced and Well-Formed Rhythms. 388-393 - Yoichi Nagashima:
Multi Rubbing Tactile Instrument. 168-169 - Kyosuke Nakanishi, Paul Haimes, Tetsuaki Baba, Kumiko Kushiyama:
NAKANISYNTH: An Intuitive Freehand Drawing Waveform Synthesiser Application for iOS Devices. 143-145 - Chris Nash:
The 'E' in QWERTY: Musical Expression with Old Computer Interfaces. 224-229 - Carl Jörgen Normark, Peter Parnes, Robert Ek, Harald Andersson:
The extended clarinet. 162-167 - Doug Van Nort, Ian Jarvis, Michael Palumbo:
Towards a Mappable Database of Emergent Gestural Meaning. 46-50 - Cárthach Ó Nuanáin, Sergi Jordà, Perfecto Herrera:
An Interactive Software Instrument for Real-time Rhythmic Concatenative Synthesis. 383-387 - Reid Oda, Rebecca Fiebrink:
The Global Metronome: Absolute Tempo Sync For Networked Musical Performance. 26-31 - Ireti Olowe, Giulio Moro, Mathieu Barthet:
residUUm: user mapping and performance strategies for multilayered live audiovisual generation. 271-276 - Ben Olson:
Transforming 8-Bit Video Games into Musical Interfaces via Reverse Engineering and Augmentation. 73-77 - Gorkem Ozdemir, Anil Çamci, Angus G. Forbes:
PORTAL: An Audiovisual Laser Performance System. 338-343 - Garth Paine:
Now. 425-426 - Sarah Reid, Ryan Gaston, Colin Honigman, Ajay Kapur:
Minimally Invasive Gesture Sensing Interface (MIGSI) for Trumpet. 419-424 - Thomas Resch, Stefan Bilbao:
Controlling complex virtuel instruments - A setup with note for Max and prepared piano sound synthesis. 295-299 - Alexandra Rieger, Spencer Topel:
Driftwood: Redefining Sound Sculpture Controllers. 158-159 - Ene Alicia Söderberg, Rasmus Emil Odgaard, Sarah Bitsch, Oliver Høeg-Jensen, Nikolaj Schildt Christensen, Søren Dahl Poulsen, Steven Gelineck:
Music Aid - Towards a Collaborative Experience for Deaf and Hearing People in Creating Music. 321-326 - Kevin Schlei, Christopher Burns, Aidan Menuge:
PourOver: A Sensor-Driven Generative Music Platform. 355-358 - Dominik Schlienger:
Acoustic Localisation for Spatial Reproduction of Moving Sound Source: Application Scenarios & Proof of Concept. 407-412 - Jacob T. Sello:
The Hexenkessel: A Hybrid Musical Instrument for Multimedia Performances. 122-131 - R. Benjamin Shapiro, Rebecca Fiebrink, Matthew P. Ahrens, Annie Kelly:
BlockyTalky: A Physical and Distributed Computer Music Toolkit for Kids. 427-432 - Tim Shaw, Simon J. Bowen, John Bowers:
Unfoldings: Multiple Explorations of Sound and Space. 152-157 - Eric Sheffield, Edgar Berdahl, Andrew Pfalz:
The Haptic Capstans: Rotational Force Feedback for Music using a FireFader Derivative Device. 1-2 - Scott Smallwood:
Coronium 3500: A Solarsonic Installation for Caramoor. 32-35 - Sean Soraghan, Alain Renaud, Ben Supper:
Towards a perceptual framework for interface design in digital environments for timbre manipulation. 413-418 - Koray Tahiroglu, Juan Carlos Vasquez, Johan Kildal:
Non-intrusive Counter-actions: Maintaining Progressively Engaging Interactions for Music Performance. 444-449 - Lindsay Vickery:
Rhizomatic approaches to screen-based music notation. 394-400 - Richard Vindriis, Dale A. Carnegie:
StrumBot - An Overview of a Strumming Guitar Robot. 146-151 - Christina Volioti, Sotiris Manitsaris, Eleni Katsouli, Athanasios Manitsaris:
x2Gesture: how machines could learn expressive gesture variations of expert musicians. 310-315 - Si Waite:
Church Belles: An Interactive System and Composition Using Real-World Metaphors. 265-270 - Ge Wang:
Game Design for Expressive Mobile Music. 182-187 - Jiayue Cecilia Wu, Madeline Huberth, Yoo Hsiu Yeh, Matthew Wright:
Evaluating the Audience's Perception of Real-time Gestural Control and Mapping Mechanisms in Electroacoustic Vocal Performance. 206-211 - Xiao Xiao, Donald Derek Haddad, Thomas Sanchez, Akito van Troyer, Rébecca Kleinberger, Penny Webb, Joe A. Paradiso, Tod Machover, Hiroshi Ishii:
Kinéphone: Exploring the Musical Potential of an Actuated Pin-Based Shape Display. 259-264 - Leshao Zhang, Yongmeng Wu, Mathieu Barthet:
A Web Application for Audience Participation in Live Music Performance: The Open Symphony Use Case. 170-175
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last updated on 2024-09-29 00:11 CEST by the dblp team
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