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ORCID15th NIME 2015: Baton Rouge, Louisiana, USA
- Edgar Berdahl, Jesse T. Allison:
15th International Conference on New Interfaces for Musical Expression, NIME 2015, Baton Rouge, Louisiana, USA, May 31 - June 3, 2015. nime.org 2015 - Javier Jaimovich, R. Benjamin Knapp:
Creating biosignal algorithms for musical applications from an extensive physiological database. 1-4 - Courtney Brown, Sharif Razzaque, Garth Paine:
Rawr! a study in sonic skulls: embodied natural history. 5-10 - Eric Sheffield, Michael Gurevich:
Distributed mechanical actuation of percussion instruments. 11-15 - Alexander Refsum Jensenius:
Microinteraction in music/dance performance. 16-19 - Andreas Bergsland, Robert Wechsler:
Composing interactive dance pieces for the motioncomposer, a device for persons with disabilities. 20-23 - Brendan McCloskey, Brian Bridges, Frank Lyons:
Accessibility and dimensionalty: enhanced real-time creative independence for digital musicians with quadriplegic cerebral palsy. 24-27 - Andrew Mercer-Taylor, Jaan Altosaar:
Sonification of fish movement using pitch mesh pairs. 28-29 - Rébecca Kleinberger, Gershon Dublon, Joseph A. Paradiso, Tod Machover:
Phox ears: a parabolic, head-mounted, orientable, extrasensory listening device. 30-31 - Edgar Berdahl, Denis Huber:
The haptic hand. 32-33 - Tommy Feldt, Sarah Freilich, Shaun Mendonsa, Daniel Molin, Andreas Rau:
Puff, puff, play: a sip-and-puff remote control for music playback. 34-35 - Mikkel Helleberg Jørgensen, Aske Sønderby Knudsen, Thomas Michael Wilmot, Kasper Duemose Lund, Stefania Serafin, Hendrik Purwins:
A mobile music museum experience for children. 36-37 - Hsin-Ming Lin, Chin-Ming Lin:
Harmonic intonation trainer: an open implementation in pure data. 38-39 - Antonio Deusany de Carvalho Junior:
Indoor localization during installations using wifi. 40-41 - Dianne Verdonk:
Visible excitation methods: energy and expressiveness in electronic music performance. 42-43 - Brennon Bortz, Javier Jaimovich, R. Benjamin Knapp:
Emotion in motion: a reimagined framework for biomusical/emotional interaction. 44-49 - Duncan Menzies, Andrew P. McPherson:
Highland piping ornament recognition using dynamic time warping. 50-53 - Dario Cazzani:
Posture identification of musicians using non-intrusive low-cost resistive pressure sensors. 54-57 - Masami Hirabayashi, Kazuomi Eshima:
Sense of space: the audience participation music performance with high-frequency sound id. 58-60 - Asbjørn Blokkum Flø, Hans Wilmers:
Doppelgänger: a solenoid-based large scale sound installation. 61-64 - Sang Won Lee, Georg Essl:
Web-based temporal typography for musical expression and performance. 65-69 - Jiffer Harriman:
Start 'em young: digital music instrument for education. 70-73 - Arvid Jense, Hans Leeuw:
Wambam: a case study in design for an electronic musical instrument for severely intellectually disabled users. 74-77 - Rhushabh Bhandari, Avinash Parnandi, Eva Shipp, Beena Ahmed, Ricardo Gutierrez-Osuna:
Music-based respiratory biofeedback in visually-demanding tasks. 78-82 - Warren Enström, Joshua Dennis, Brian Lynch, Kevin Schlei:
Musical notation for multi-touch interfaces. 83-86 - Aura Pon, Johnty Wang, Laurie Radford, Sheelagh Carpendale:
Womba: a musical instrument for an unborn child. 87-90 - J. Cecilia Wu, Yoo Hsiu Yeh, Romain Michon, Nathan Weitzner, Jonathan S. Abel, Matthew Wright:
Tibetan singing prayer wheel: a hybrid musical- spiritual instrument using gestural control. 91-94 - Dan Ringwalt, Roger B. Dannenberg, Andrew Russell:
Optical music recognition for interactive score display. 95-98 - Özgür Izmirli:
Framework for exploration of performance space. 99-102 - Ricky Graham, Brian Bridges:
Managing musical complexity with embodied metaphors. 103-106 - Sair Sinan Kestelli:
Motor imagery: what does it offer for new digital musical instruments? 107-110 - Benjamin Knichel, Holger Reckter, Peter Kiefer:
Resonate - a social musical installation which integrates tangible multiuser interaction. 111-115 - Florent Berthaut, Diego Martínez Plasencia, Martin Hachet, Sriram Subramanian:
Reflets: combining and revealing spaces for musical performances. 116-120 - Abram Hindle:
Orchestrating your cloud orchestra. 121-125 - Charles Roberts, Matthew Wright, JoAnn Kuchera-Morin:
Beyond editing: extended interaction with textual code fragments. 126-131 - Koray Tahiroglu, Thomas Svedström, Valtteri Wikström:
Musical engagement that is predicated on intentional activity of the performer with noisa instruments. 132-135 - Beste F. Yuksel, Daniel Afergan, Evan M. Peck, Garth Griffin, Lane Harrison, Nick W. B. Chen, Remco Chang, Robert J. K. Jacob:
Braahms: a novel adaptive musical interface based on users' cognitive state. 136-139 - William Marley, Nicholas Ward:
Gestroviser: toward collaborative agency in digital musical instruments. 140-143 - Muhammad Hafiz Wan Rosli, Karl Yerkes, Matthew Wright, Timothy Wood, Hannah Wolfe, Charlie Roberts, Anis Haron, Fernando Rincón Estrada:
Ensemble feedback instruments. 144-149 - James Leonard, Claude Cadoz:
Physical modelling concepts for a collection of multisensory virtual musical instruments. 150-155 - Jerônimo Barbosa, Joseph W. Malloch
, Marcelo M. Wanderley, Stéphane Huot:
What does 'evaluation' mean for the nime community? 156-161 - Andrew P. McPherson, Victor Zappi:
Exposing the scaffolding of digital instruments with hardware-software feedback loops. 162-167 - Si Waite:
Reimagining the computer keyboard as a musical interface. 168-169 - Alberto Novello, Antony Raijekoff:
A prototype for pitched gestural sonification of surfaces using two contact microphones. 170-173 - Simon Alexander-Adams, Michael Gurevich:
A flexible platform for tangible graphic scores. 174-175 - Peter D. Bennett, Jarrod Knibbe, Florent Berthaut, Kirsten Cater:
Resonant bits: controlling digital musical instruments with resonance and the ideomotor effect. 176-177 - Jiffer Harriman:
Feedback lapsteel : exploring tactile transducers as string actuators. 178-179 - Matthew Blessing, Edgar Berdahl:
Textural crossfader. 180-181 - Mikko Myllykoski, Kai Tuuri, Esa Viirret, Jukka Louhivuori:
Prototyping hand-based wearable music education technology. 182-183 - Jeff Snyder, Ryan Luke Johns, Charlie Avis, Gene Kogan, Axel Kilian:
Machine yearning: an industrial robotic arm as a performance instrument. 184-186 - Jingyin He, Ajay Kapur, Dale A. Carnegie:
Developing a physical gesture acquisition system for guqin performance. 187-190 - Natasha Barrett:
Creating tangible spatial-musical images from physical performance gestures. 191-194 - Jérôme Villeneuve, Claude Cadoz, Nicolas Castagné:
Visual representation in genesis as a tool for physical modeling, sound synthesis and musical composition. 195-200 - Ian Hattwick, Marcelo M. Wanderley:
Interactive lighting in the pearl: considerations and implementation. 201-204 - Kazuhiko Yamamoto, Takeo Igarashi:
Livo: sing a song with a vowel keyboard. 205-208 - Robin Hayward:
The hayward tuning vine: an interface for just intonation. 209-214 - Kristian Nymoen, Mari Romarheim Haugen, Alexander Refsum Jensenius:
Mumyo - evaluating and exploring the myo armband for musical interaction. 215-218 - Rhys Duindam, Diemo Schwarz, Hans Leeuw:
Tingle: a digital music controller re-capturing the acoustic instrument experience. 219-222 - Ivan Franco, Marcelo M. Wanderley:
Pratical evaluation of synthesis performance on the beaglebone black. 223-226 - Andrew Piepenbrink, Matthew Wright:
The bistable resonator cymbal: an actuated acoustic instrument displaying physical audio effects. 227-230 - Eric Sheffield, Sile O'Modhrain, Michael Gould, R. Brent Gillespie:
The pneumatic practice pad. 231-234 - Stefano Papetti, Sébastien Schiesser, Martin Fröhlich:
Multi-point vibrotactile feedback for an expressive musical interface. 235-240 - Richard Graham, John Harding:
Septar: audio breakout design for multichannel guitar. 241-244 - Ali Momeni:
Caress: an electro-acoustic percussive instrument for caressing sounds. 245-250 - David B. Ramsay, Joseph A. Paradiso:
Grouploop: a collaborative, network-enabled audio feedback instrument. 251-254 - Nicolas D'Alessandro, Joëlle Tilmanne, Ambroise Moreau, Antonin Puleo:
Airpiano: a multi-touch keyboard with hovering control. 255-258 - Guangyu Xia, Roger B. Dannenberg:
Duet interaction: learning musicianship for automatic accompaniment. 259-264 - Jamie Bullock, Ali Momeni:
Ml.lib: robust, cross-platform, open-source machine learning for max and pure data. 265-270 - Palle Dahlstedt:
Mapping strategies and sound engine design for an augmented hybrid piano. 271-276 - Jerônimo Barbosa, Filipe Calegario, João Tragtenberg, Giordano Cabral, Geber L. Ramalho, Marcelo M. Wanderley:
Designing dmis for popular music in the brazilian northeast: lessons learned. 277-280 - Tim Shaw, Sébastien Piquemal, John Bowers:
Fields: an exploration into the use of mobile devices as a medium for sound diffusion. 281-284 - Basheer Tome, Donald Derek Haddad, Tod Machover, Joseph A. Paradiso:
Mmodm: massively multipler online drum machine. 285-288 - Timothy J. Barraclough, Dale A. Carnegie, Ajay Kapur:
Musical instrument design process for mobile technology. 289-292 - Zeyu Jin, Reid Oda, Adam Finkelstein, Rebecca Fiebrink:
Mallo: a distributed synchronized musical instrument designed for internet performance. 293-298 - Lauren Hayes:
Enacting musical worlds: common approaches to using nimes within both performance and person-centred arts practices. 299-302 - Steve Benford, Adrian Hazzard, Alan Chamberlain, Liming Xu:
Augmenting a guitar with its digital footprint. 303-306 - Adnan Marquez-Borbon, Paul Stapleton:
Fourteen years of nime: the value and meaning of 'community' in interactive music research. 307-312 - Mohammad Akbari, Howard Cheng:
Clavision: visual automatic piano music transcription. 313-314 - Roger B. Dannenberg, Andrew Russell:
Arrangements: flexibly adapting music data for live performance. 315-316 - Palle Dahlstedt, Per Anders Nilsson, Gino Robair:
The bucket system - a computer mediated signalling system for group improvisation. 317-318 - Nuno N. Correia, Atau Tanaka:
Prototyping audiovisual performance tools: a hackathon approach. 319-321 - Chris Korda:
Chordease: a midi remapper for intuitive performance of non-modal music. 322-324 - Ethan Benjamin, Jaan Altosaar:
Musicmapper: interactive 2d representations of music samples for in-browser remixing and exploration. 325-326 - Jeff Gregorio, David S. Rosen, Michael N. Caro, Youngmoo E. Kim:
Descriptors for perception of quality in jazz piano improvisation. 327-328 - Robert Van Rooyen, Andrew Schloss, George Tzanetakis:
Snare drum motion capture dataset. 329-330 - Jiffer Harriman:
Pd poems and teaching tools. 331-334 - Adnan Marquez-Borbon:
But does it float? reflections on a sound art ecological intervention. 335-338 - Robert Van Rooyen, George Tzanetakis:
Pragmatic drum motion capture system. 339-342 - Steven Gelineck, Dannie Korsgaard, Morten Büchert:
Stage- vs. channel-strip metaphor - comparing performance when adjusting volume and panning of a single channel in a stereo mix. 343-346 - Jan C. Schacher, Chikashi Miyama, Daniel Bisig:
Gestural electronic music using machine learning as generative device. 347-350 - Simon Waloschek, Aristotelis Hadjakos:
Sensors on stage: conquering the requirements of artistic experiments and live performances. 351-354 - Andrés Cabrera:
Serverless and peer-to-peer distributed interfaces for musical control. 355-358 - Charles Martin, Henry J. Gardner, Ben Swift:
Tracking ensemble performance on touch-screens with gesture classification and transition matrices. 359-364 - Hans Anderson, Kin Wah Edward Lin, Natalie Agus, Simon Lui:
Major thirds: a better way to tune your ipad. 365-368 - Qi Yang, Georg Essl:
Representation-plurality in multi-touch mobile visual programming for music. 369-373 - Simon Lui:
Generate expressive music from picture with a handmade multi-touch music table. 374-377 - Adrian Hazzard, Steve Benford, Alan Chamberlain, Chris Greenhalgh:
Considering musical structure in location-based experiences. 378-381 - Florent Berthaut, David Coyle, James W. Moore, Hannah Limerick:
Liveness through the lens of agency and causality. 382-386 - Ajit Nath, Samson Young:
Vesball: a ball-shaped instrument for music therapy. 387-391 - Thomas Resch:
Rwa - a game engine for real world audio games. 392-395 - Romain Michon, Julius O. Smith III, Yann Orlarey:
Mobilefaust: a set of tools to make musical mobile applications with the faust programming language. 396-399 - Michael Krzyzaniak, Garth Paine:
Realtime classification of hand-drum strokes. 400-403 - Jason Long, Jim W. Murphy, Ajay Kapur, Dale A. Carnegie:
A methodology for evaluating robotic striking mechanisms for musical contexts. 404-407 - Troy Rogers, Steven T. Kemper, Scott Barton:
Marie: monochord-aerophone robotic instrument ensemble. 408-411
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last updated on 2024-09-21 01:31 CEST by the dblp team
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