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Andrew P. McPherson

Andrew McPherson 0002

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affiliation: Queen Mary University of London, Centre for Digital Music, UK

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Journal Articles

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2021
[j7]
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Giulio Moro, Andrew P. McPherson:
Performer Experience on a Continuous Keyboard Instrument. Comput. Music. J. 44(2-3): 69-91 (2021)
[j6]
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Giacomo Lepri, Andrew P. McPherson:
Embrace the Weirdness: Negotiating Values Inscribed into Music Technology. Comput. Music. J. 45(3): 39-57 (2021)
2019
[j5]
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Csaba Sulyok, Andrew P. McPherson, Christopher Harte:
Evolving the process of a virtual composer. Nat. Comput. 18(1): 47-60 (2019)
2018
[j4]
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Luca Turchet, Andrew P. McPherson, Mathieu Barthet:
Real-Time Hit Classification in a Smart Cajón. Frontiers ICT 5: 16 (2018)
[j3]
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Victor Zappi, Andrew P. McPherson:
Hackable Instruments: Supporting Appropriation and Modification in Digital Musical Interaction. Frontiers ICT 5: 26 (2018)
2015
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Andrew P. McPherson:
Buttons, Handles, and Keys: Advances in Continuous-Control Keyboard Instruments. Comput. Music. J. 39(2): 28-46 (2015)
2012
[j1]
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Andrew P. McPherson, Youngmoo E. Kim:
The Problem of the Second Performer: Building a Community Around an Augmented Piano. Comput. Music. J. 36(4): 10-27 (2012)

Conference and Workshop Papers

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2023
[c86]
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Jianing Zheng, Andrew McPherson, Nick Bryan-Kinns:
When Materials Meet Sound: Discovering the Meaning of Deformable Materials in Musical Interaction. Conference on Designing Interactive Systems 2023: 312-325
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Charlotte Nordmoen, Andrew P. McPherson:
What the Sensor Knows: More-Than-Human Knowledge Co-Production in Wood Carving. Conference on Designing Interactive Systems 2023: 779-789
[c84]
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Franco Caspe, Andrew P. McPherson, Mark B. Sandler:
FM Tone Transfer with Envelope Learning. Audio Mostly Conference 2023: 116-123
[c83]
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Courtney N. Reed, Paul Strohmeier, Andrew P. McPherson:
Negotiating Experience and Communicating Information Through Abstract Metaphor. CHI 2023: 185:1-185:16
[c82]
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Andrea Martelloni, Andrew P. McPherson, Mathieu Barthet:
Real-Time Percussive Technique Recognition and Embedding Learning for the Acoustic Guitar. ISMIR 2023: 121-128
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Courtney N. Reed, Andrew P. McPherson:
The Body as Sound: Unpacking Vocal Embodiment through Auditory Biofeedback. TEI 2023: 7:1-7:15
2022
[c80]
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Charlotte Nordmoen, Andrew P. McPherson:
Making space for material entanglements: A diffractive analysis of woodwork and the practice of making an interactive system. Conference on Designing Interactive Systems 2022: 415-423
[c79]
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Jianing Zheng, Nick Bryan-Kinns, Andrew P. McPherson:
Material Matters: Exploring Materiality in Digital Musical Instruments Design. Conference on Designing Interactive Systems 2022: 976-986
[c78]
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Jonathan Pigrem, Andrew P. McPherson, Nick Bryan-Kinns, Robert H. Jack:
Sound -> Object -> Gesture: Physical Affordances of Virtual Materials. Audio Mostly Conference 2022: 59-66
[c77]
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Courtney N. Reed, Sophie Skach, Paul Strohmeier, Andrew P. McPherson:
Singing Knit: Soft Knit Biosensing for Augmenting Vocal Performances. AHs 2022: 170-183
[c76]
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Lia Mice, Andrew P. McPherson:
Super Size Me: Interface Size, Identity and Embodiment in Digital Musical Instrument Design. CHI 2022: 221:1-221:15
[c75]
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Franco Caspe, Andrew McPherson, Mark Sandler:
DDX7: Differentiable FM Synthesis of Musical Instrument Sounds. ISMIR 2022: 608-616
[c74]
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  - conf/nime/Guidi022
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Andrea Guidi, Andrew McPherson:
Quantitative evaluation of aspects of embodiment in new digital musical instruments. NIME 2022
[c73]
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Giacomo Lepri, John Bowers, Samantha Topley, Paul Stapleton, Peter Bennett, Kristina Andersen, Andrew McPherson:
The 10, 000 Instruments Workshop - (Im)practical Research for Critical Speculation. NIME 2022
[c72]
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Lia Mice, Andrew McPherson:
The M in NIME: Motivic analysis and the case for a musicology of NIME performances. NIME 2022
[c71]
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Courtney N. Reed, Charlotte Nordmoen, Andrea Martelloni, Giacomo Lepri, Nicole Robson, Eevee Zayas-Garin, Kelsey Cotton, Lia Mice, Andrew McPherson:
Exploring Experiences with New Musical Instruments through Micro-phenomenology. NIME 2022
[c70]
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Nicole Robson, Andrew McPherson, Nick Bryan-Kinns:
Being With The Waves: An Ultrasonic Art Installation Enabling Rich Interaction Without Sensors. NIME 2022
[c69]
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Eevee Zayas-Garin, Andrew McPherson:
Dialogic Design of Accessible Digital Musical Instruments: Investigating Performer Experience. NIME 2022
2021
[c68]
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  - conf/audio/TempranoM21
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Adan L. Benito Temprano, Andrew McPherson:
A TMR Angle Sensor for Gesture Acquisition and Disambiguation on the Electric Guitar. Audio Mostly Conference 2021: 256-263
[c67]
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Andrea Martelloni, Andrew McPherson, Mathieu Barthet:
Guitar augmentation for Percussive Fingerstyle: Combining self-reflexive practice and user-centred design. NIME 2021
[c66]
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Luis Zayas-Garin, Jacob Harrison, Robert Jack, Andrew McPherson:
DMI Apprenticeship: Sharing and Replicating Musical Artefacts. NIME 2021
[c65]
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Courtney N. Reed, Andrew P. McPherson:
Surface Electromyography for Sensing Performance Intention and Musical Imagery in Vocalists. TEI 2021: 22:1-22:11
2020
[c64]
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Giacomo Lepri, Andrew P. McPherson, John Bowers:
Useless, not Worthless: Absurd Making as Critical Practice. Conference on Designing Interactive Systems 2020: 1887-1899
[c63]
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Giulio Moro, Andrew P. McPherson:
A platform for low-latency continuous keyboard sensing and sound generation. NIME 2020: 97-102
[c62]
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Andrea Guidi, Fabio Morreale, Andrew P. McPherson:
Design for auditory imagery: altering instruments to explore performer fluency. NIME 2020: 103-108
[c61]
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Fabio Morreale, S. M. Astrid Bin, Andrew P. McPherson, Paul Stapleton, Marcelo M. Wanderley:
A NIME Of The Times: Developing an Outward-Looking Political Agenda For This Community. NIME 2020: 160-165
[c60]
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Andrew P. McPherson, Giacomo Lepri:
Beholden to our tools: negotiating with technology while sketching digital instruments. NIME 2020: 434-439
[c59]
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Andrea Martelloni, Andrew P. McPherson, Mathieu Barthet:
Percussive Fingerstyle Guitar through the Lens of NIME: an Interview Study. NIME 2020: 440-445
[c58]
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Robert H. Jack, Jacob Harrison, Andrew P. McPherson:
Digital Musical Instruments as Research Products. NIME 2020: 446-451
[c57]
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Courtney N. Reed, Andrew P. McPherson:
Surface Electromyography for Direct Vocal Control. NIME 2020: 458-463
[c56]
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  - conf/nime/Martinez-AvilaT20
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Juan Pablo Martinez-Avila, Vasiliki Tsaknaki, Pavel Karpashevich, Charles Windlin, Niklas Valenti, Kristina Höök, Andrew P. McPherson, Steve Benford:
Soma Design for NIME. NIME 2020: 489-494
[c55]
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Lia Mice, Andrew P. McPherson:
From miming to NIMEing: the development of idiomatic gestural language on large scale DMIs. NIME 2020: 570-575
2019
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Giacomo Lepri, Andrew P. McPherson:
Making Up Instruments: Design Fiction for Value Discovery in Communities of Musical Practice. Conference on Designing Interactive Systems 2019: 113-126
[c53]
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Charlotte Nordmoen, Jack Armitage, Fabio Morreale, Rebecca Stewart, Andrew P. McPherson:
Making Sense of Sensors: Discovery Through Craft Practice With an Open-Ended Sensor Material. Conference on Designing Interactive Systems 2019: 135-146
[c52]
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Jack Armitage, Andrew P. McPherson:
Bricolage in a hybrid digital lutherie context: a workshop study. Audio Mostly Conference 2019: 82-89
[c51]
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Jacob Harrison, Alan Chamberlain, Andrew P. McPherson:
Accessible Instruments in the Wild: Engaging with a Community of Learning-Disabled Musicians. CHI Extended Abstracts 2019
[c50]
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Adrian Hazzard, Chris Greenhalgh, Maria Kallionpää, Steve Benford, Anne Veinberg, Zubin Kanga, Andrew P. McPherson:
Failing with Style: Designing for Aesthetic Failure in Interactive Performance. CHI 2019: 30
[c49]
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Lia Mice, Andrew P. McPherson:
Embodied Cognition in Performers of Large Acoustic Instruments as a Method of Designing New Large Digital Musical Instruments. CMMR 2019: 577-590
[c48]
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Fabio Morreale, Andrea Guidi, Andrew P. McPherson:
Magpick: an Augmented Guitar Pick for Nuanced Control. NIME 2019: 65-70
[c47]
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Giacomo Lepri, Andrew P. McPherson:
Fictional instruments, real values: discovering musical backgrounds with non-functional prototypes. NIME 2019: 122-127
[c46]
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Laurel Pardue, Kurijn Buys, Dan Overholt, Andrew P. McPherson, Michael Edinger:
Separating sound from source: sonic transformation of the violin through electrodynamic pickups and acoustic actuation. NIME 2019: 278-283
2018
[c45]
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S. M. Astrid Bin, Nick Bryan-Kinns, Andrew P. McPherson:
Risky business: Disfluency as a design strategy. NIME 2018: 45-50
[c44]
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Fabio Morreale, Andrew P. McPherson, Marcelo M. Wanderley:
NIME Identity from the Performer's Perspective. NIME 2018: 168-173
[c43]
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Robert H. Jack, Jacob Harrison, Fabio Morreale, Andrew P. McPherson:
Democratising DMIs: the relationship of expertise and control intimacy. NIME 2018: 184-189
[c42]
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Jack Armitage, Andrew P. McPherson:
Crafting Digital Musical Instruments: An Exploratory Workshop Study. NIME 2018: 281-286
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Jacob Harrison, Robert H. Jack, Fabio Morreale, Andrew P. McPherson:
When is a Guitar not a Guitar? Cultural Form, Input Modality and Expertise. NIME 2018: 299-304
[c40]
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Giacomo Lepri, Andrew P. McPherson:
Mirroring the past, from typewriting to interactive art: an approach to the re-design of a vintage technology. NIME 2018: 328-333
[c39]
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Jon Pigrem, Andrew P. McPherson:
Do We Speak Sensor? Cultural Constraints of Embodied Interaction . NIME 2018: 382-385
2017
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Fabio Morreale, Giulio Moro, Alan Chamberlain, Steve Benford, Andrew P. McPherson:
Building a Maker Community Around an Open Hardware Platform. CHI 2017: 6948-6959
[c37]
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Fabio Morreale, Raul Masu, Andrew P. McPherson:
Constraining Control in Mixed-Initiative Musical Interfaces. MICI@CHI 2017
[c36]
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S. M. Astrid Bin, Nick Bryan-Kinns, Andrew P. McPherson:
Hands where we can see them! Investigating the impact of gesture size on audience perception. ICMC 2017
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S. M. Astrid Bin, Fabio Morreale, Nick Bryan-Kinns, Andrew P. McPherson:
In-the-moment and Beyond: Combining Post-hoc and Real-Time Data for the Study of Audience Perception of Electronic Music Performance. INTERACT (1) 2017: 263-281
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Robert H. Jack, Tony Stockman, Andrew P. McPherson:
Rich gesture, reduced control: the influence of constrained mappings on performance technique. MOCO 2017: 15:1-15:8
[c33]
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Fabio Morreale, Andrew P. McPherson:
Design for longevity: ongoing use of instruments from nime 2010-14. NIME 2017: 192-197
[c32]
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Beici Liang, György Fazekas, Andrew P. McPherson, Mark B. Sandler:
Piano pedaller: a measurement system for classification and visualisation of piano pedalling techniques. NIME 2017: 325-329
[c31]
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Jack Armitage, Fabio Morreale, Andrew P. McPherson:
The finer the musician, the smaller the details: nimecraft under the microscope. NIME 2017: 393-398
[c30]
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Jacob Harrison, Andrew P. McPherson:
An adapted bass guitar for one-handed playing. NIME 2017: 507-508
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Robert H. Jack, Tony Stockman, Andrew P. McPherson:
Maintaining and Constraining Performer Touch in the Design of Digital Musical Instruments. TEI 2017: 717-720
2016
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Andrew P. McPherson, Alan Chamberlain, Adrian Hazzard, Sean McGrath, Steve Benford:
Designing for Exploratory Play with a Hackable Digital Musical Instrument. Conference on Designing Interactive Systems 2016: 1233-1245
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Robert H. Jack, Tony Stockman, Andrew P. McPherson:
Effect of latency on performer interaction and subjective quality assessment of a digital musical instrument. Audio Mostly Conference 2016: 116-123
[c26]
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Simon Holland, Andrew P. McPherson, Wendy E. Mackay, Marcelo M. Wanderley, Michael D. Gurevich, Tom W. Mudd, Sile O'Modhrain, Katie L. Wilkie, Joseph W. Malloch, Jérémie Garcia, Andrew Johnston:
Music and HCI. CHI Extended Abstracts 2016: 3339-3346
[c25]
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Andrew P. McPherson, Robert H. Jack, Giulio Moro:
Action-Sound Latency: Are Our Tools Fast Enough? NIME 2016: 20-25
[c24]
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S. M. Astrid Bin, Nick Bryan-Kinns, Andrew P. McPherson:
Skip the Pre-Concert Demo: How Technical Familiarity and Musical Style Affect Audience Response. NIME 2016: 200-205
[c23]
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Robert H. Jack, Tony Stockman, Andrew P. McPherson:
Navigation of Pitch Space on a Digital Musical Instrument with Dynamic Tactile Feedback. TEI 2016: 3-11
[c22]
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Christian Heinrichs, Andrew P. McPherson:
Performance-Led Design of Computationally Generated Audio for Interactive Applications. TEI 2016: 697-700
2015
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Csaba Sulyok, Andrew P. McPherson, Christopher Harte:
Corpus-taught Evolutionary Music Composition. ECAL 2015: 587-594
[c20]
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Duncan Menzies, Andrew P. McPherson:
Highland piping ornament recognition using dynamic time warping. NIME 2015: 50-53
[c19]
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Andrew P. McPherson, Victor Zappi:
Exposing the scaffolding of digital instruments with hardware-software feedback loops. NIME 2015: 162-167
2014
[c18]
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Laurel Pardue, Dongjuan Nian, Christopher Harte, Andrew P. McPherson:
Low-Latency Audio Pitch Tracking: A Multi-Modal Sensor-Assisted Approach. NIME 2014: 54-59
[c17]
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Janis Sokolovskis, Andrew P. McPherson:
Optical Measurement of Acoustic Drum Strike Locations. NIME 2014: 70-73
[c16]
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Daniel Gábana Arellano, Andrew P. McPherson:
Radear: A Tangible Spinning Music Sequencer. NIME 2014: 84-85
[c15]
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Liam Donovan, Andrew P. McPherson:
The Talking Guitar: Headstock Tracking and Mapping Strategies. NIME 2014: 351-354
[c14]
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Victor Zappi, Andrew P. McPherson:
Dimensionality and Appropriation in Digital Musical Instrument Design. NIME 2014: 455-460
[c13]
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Christian Heinrichs, Andrew P. McPherson:
Mapping and interaction strategies for performing environmental sound. SIVE@VR 2014: 25-30
2013
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Andrew P. McPherson, Adrian Gierakowski, Adam M. Stark:
The space between the notes: adding expressive pitch control to the piano keyboard. CHI 2013: 2195-2204
[c11]
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Andrew P. McPherson:
Portable Measurement and Mapping of Continuous Piano Gesture. NIME 2013: 152-157
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Laurel Pardue, Andrew P. McPherson:
Near-Field Optical Reflective Sensing for Bow Tracking. NIME 2013: 363-368
2012
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Christian Heinrichs, Andrew P. McPherson:
Recreating the parallax effect associated with Fishtank VR in a Real-Time telepresence system using head-tracking and a robotic camera. ISMAR 2012: 283-284
[c8]
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N. Cameron Britt, Jeff Snyder, Andrew P. McPherson:
The EMvibe: An Electromagnetically Actuated Vibraphone. NIME 2012
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Andrew P. McPherson:
TouchKeys: Capacitive Multi-Touch Sensing on a Physical Keyboard. NIME 2012
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Andrew P. McPherson:
Techniques and Circuits for Electromagnetic Instrument Actuation. NIME 2012
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Duncan Menzies, Andrew P. McPherson:
An Electronic Bagpipe Chanter for Automatic Recognition of Highland Piping Ornamentation. NIME 2012
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Jeff Snyder, Andrew P. McPherson:
The JD-1: an Implementation of a Hybrid Keyboard/Sequencer Controller for Analog Synthesizers. NIME 2012
2011
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Andrew P. McPherson, Youngmoo E. Kim:
Multidimensional gesture sensing at the piano keyboard. CHI 2011: 2789-2798
2010
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Andrew P. McPherson, Youngmoo E. Kim:
Toward a computationally-enhanced acoustic grand piano. CHI Extended Abstracts 2010: 4141-4146
[c1]
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Andrew P. McPherson, Youngmoo E. Kim:
Augmenting the Acoustic Piano with Electromagnetic String Actuation and Continuous Key Position Sensing. NIME 2010: 217-222

Parts in Books or Collections

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2019
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Simon Holland, Tom Mudd, Katie Wilkie-McKenna, Andrew P. McPherson, Marcelo M. Wanderley:
Understanding Music Interaction, and Why It Matters. New Directions in Music and Human-Computer Interaction 2019: 1-20
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Andrew P. McPherson, Bill Verplank:
The Poetry of Strange Connections: An Interview with Bill Verplank. New Directions in Music and Human-Computer Interaction 2019: 61-70
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Andrew P. McPherson, Fabio Morreale, Jacob Harrison:
Musical Instruments for Novices: Comparing NIME, HCI and Crowdfunding Approaches. New Directions in Music and Human-Computer Interaction 2019: 179-212
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Andrew P. McPherson, Steve Benford:
Music, Design and Ethnography: An Interview with Steve Benford. New Directions in Music and Human-Computer Interaction 2019: 213-220
2013
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Andrew P. McPherson, Youngmoo E. Kim:
Piano Technique as a Case Study in Expressive Gestural Interaction. Music and Human-Computer Interaction 2013: 123-138

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2019
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Simon Holland, Tom Mudd, Katie Wilkie-McKenna, Andrew P. McPherson, Marcelo M. Wanderley:
New Directions in Music and Human-Computer Interaction. Springer 2019, ISBN 978-3-319-92068-9 [contents]

Informal and Other Publications

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2023
[i7]
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Teresa Pelinski, Rodrigo Diaz, Adan L. Benito Temprano, Andrew P. McPherson:
Pipeline for recording datasets and running neural networks on the Bela embedded hardware platform. CoRR abs/2306.11389 (2023)
[i6]
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Andrea Martelloni, Andrew P. McPherson, Mathieu Barthet:
Real-time Percussive Technique Recognition and Embedding Learning for the Acoustic Guitar. CoRR abs/2307.07426 (2023)
[i5]
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Ben Hayes, Jordie Shier, György Fazekas, Andrew P. McPherson, Charalampos Saitis:
A Review of Differentiable Digital Signal Processing for Music & Speech Synthesis. CoRR abs/2308.15422 (2023)
[i4]
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Jordie Shier, Franco Caspe, Andrew Robertson, Mark Sandler, Charalampos Saitis, Andrew P. McPherson:
Differentiable Modelling of Percussive Audio with Transient and Spectral Synthesis. CoRR abs/2309.06649 (2023)
[i3]
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Franco Caspe, Andrew P. McPherson, Mark Sandler:
FM Tone Transfer with Envelope Learning. CoRR abs/2310.04811 (2023)
2022
[i2]
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Franco Caspe, Andrew McPherson, Mark Sandler:
DDX7: Differentiable FM Synthesis of Musical Instrument Sounds. CoRR abs/2208.06169 (2022)
2021
[i1]
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  - journals/corr/abs-2101-06795
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Michael Clayton, Lin Wang, Andrew McPherson, Andrea Cavallaro:
An embedded multichannel sound acquisition system for drone audition. CoRR abs/2101.06795 (2021)

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