Proceedings Archive

This page contains a list of all publications that have been published at the NIME conferences.

Peer review: All papers have been peer-reviewed (most often by three international experts), and only papers that were presented at the conferences (as presentation, poster or demo) are included.
Open access: NIME papers are open access (gold), and the copyright remains with the author(s). This also means that NIME papers can be self-archived without an embargo. The licensing of NIME papers has been changing over the years, so please check the exact license on the bottom left of the first page of each publication. From 2016 the license used is Creative Commons Attribution 4.0 International License (CC BY 4.0).
Public domain: The bibliographic information for NIME, including all BibTeX information and abstracts, is public domain. The list below is generated from a collection of BibTeX files hosted at GitHub using papercite.
PDFs: Individual papers are linked for each entry below. Each paper has its license written at the bottom left of the first page. All papers are also available as ZIP files of each year’s proceedings. All PDFs are archived in Zenodo.
ISSN for the proceedings series: ISSN 2220-4806. Each year’s ISBN is in the BibTeX files and are also listed here.
Impact factor: Academic work should always be considered on its own right (cf. DORA declaration). That said, the NIME proceedings are generally ranked highly in, for example, the Google Scholar ranking.
Ethics: NIME’s Publication ethics and malpractice statement is based on principles of the COPE Code of Conduct and Best Practice Guidelines for Journal Editors and the Code of Conduct for Journal Publishers.
Contact: If you find any errors in the database, please feel free to fork and modify at GitHub, or contact the chair.

NIME publications (in backwards chronological order)

2019

Enrique Tomas, Thomas Gorbach, Hilda Tellioglu, and Martin Kaltenbrunner. 2019. Material embodiments of electroacoustic music: an experimental workshop study. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 1–6.
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This paper reports on a workshop where participants produced physical mock-ups of musical interfaces directly after miming control of short electroacoustic music pieces. Our goal was understanding how people envision and materialize their own sound-producing gestures from spontaneous cognitive mappings. During the workshop, 50 participants from different creative backgrounds modeled more than 180 physical artifacts. Participants were filmed and interviewed for the later analysis of their different multimodal associations about music. Our initial hypothesis was that most of the physical mock-ups would be similar to the sound-producing objects that participants would identify in the musical pieces. Although the majority of artifacts clearly showed correlated design trajectories, our results indicate that a relevant number of participants intuitively decided to engineer alternative solutions emphasizing their personal design preferences. Therefore, in this paper we present and discuss the workshop format, its results and the possible applications for designing new musical interfaces.
```
@inproceedings{Tomas2019,
  author = {Tomas, Enrique and Gorbach, Thomas and Tellioglu, Hilda and Kaltenbrunner, Martin},
  title = {Material embodiments of electroacoustic music: an experimental workshop study},
  pages = {1--6},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper001.pdf}
}
```
Yupu Lu, Yijie Wu, and Shijie Zhu. 2019. Collaborative Musical Performances with Automatic Harp Based on Image Recognition and Force Sensing Resistors. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 7–8.
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In this paper, collaborative performance is defined as the performance of the piano by the performer and accompanied by an automatic harp. The automatic harp can play music based on the electronic score and change its speed according to the speed of the performer. We built a 32-channel automatic harp and designed a layered modular framework integrating both hardware and software, for experimental real-time control protocols. Considering that MIDI keyboard lacking information of force (acceleration) and fingering detection, both of which are important for expression, we designed force-sensor glove and achieved basic image recognition. They are used to accurately detect speed, force (corresponding to velocity in MIDI) and pitch when a performer plays the piano.
```
@inproceedings{Lu2019,
  author = {Lu, Yupu and Wu, Yijie and Zhu, Shijie},
  title = {Collaborative Musical Performances with Automatic Harp Based on Image Recognition and Force Sensing Resistors},
  pages = {7--8},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper002.pdf}
}
```
Lior Arbel, Yoav Y. Schechner, and Noam Amir. 2019. The Symbaline - An Active Wine Glass Instrument with a Liquid Sloshing Vibrato Mechanism. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 9–14.
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The Symbaline is an active instrument comprised of several partly-filled wine glasses excited by electromagnetic coils. This work describes an electromechanical system for incorporating frequency and amplitude modulation to the Symbaline’s sound. A pendulum having a magnetic bob is suspended inside the liquid in the wine glass. The pendulum is put into oscillation by driving infra-sound signals through the coil. The pendulum’s movement causes the liquid in the glass to slosh back and forth. Simultaneously, wine glass sounds are produced by driving audio-range signals through the coil, inducing vibrations in a small magnet attached to the glass surface and exciting glass vibrations. As the glass vibrates, the sloshing liquid periodically changes the glass’s resonance frequencies and dampens the glass, thus modulating both wine glass pitch and sound intensity.
```
@inproceedings{Arbel2019,
  author = {Arbel, Lior and Schechner, Yoav Y. and Amir, Noam},
  title = {The Symbaline - An Active Wine Glass Instrument with a Liquid Sloshing Vibrato Mechanism},
  pages = {9--14},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper003.pdf}
}
```
Helena de Souza Nunes, Federico Visi, Lydia Helena Wohl Coelho, and Rodrigo Schramm. 2019. SIBILIM: A low-cost customizable wireless musical interface. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 15–20.
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This paper presents the SIBILIM, a low-cost musical interface composed of a resonance box made of cardboard containing customised push buttons that interact with a smartphone through its video camera. Each button can be mapped to a set of MIDI notes or control parameters. The sound is generated through synthesis or sample playback and can be amplified with the help of a transducer, which excites the resonance box. An essential contribution of this interface is the possibility of reconfiguration of the buttons layout without the need to hard rewire the system since it uses only the smartphone built-in camera. This features allow for quick instrument customisation for different use cases, such as low cost projects for schools or instrument building workshops. Our case study used the Sibilim for music education, where it was designed to develop the conscious of music perception and to stimulate creativity through exercises of short tonal musical compositions. We conducted a study with a group of twelve participants in an experimental workshop to verify its validity.
```
@inproceedings{de-Souza-Nunes2019,
  author = {de Souza Nunes, Helena and Visi, Federico and Coelho, Lydia Helena Wohl and Schramm, Rodrigo},
  title = {SIBILIM: A low-cost customizable wireless musical interface},
  pages = {15--20},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper004.pdf}
}
```
Jonathan Bell. 2019. The Risset Cycle, Recent Use Cases With SmartVox. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 21–24.
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The combination of graphic/animated scores, acoustic signals (audio-scores) and Head-Mounted Display (HMD) technology offers promising potentials in the context of distributed notation, for live performances and concerts involving voices, instruments and electronics. After an explanation of what SmartVox is technically, and how it is used by composers and performers, this paper explains why this form of technology-aided performance might help musicians for synchronization to an electronic tape and (spectral) tuning. Then, from an exploration of the concepts of distributed notation and networked music performances, it proposes solutions (in conjunction with INScore, BabelScores and the Decibel Score Player) seeking for the expansion of distributed notation practice to a wider community. It finally presents findings relative to the use of SmartVox with HMDs.
```
@inproceedings{Bell2019,
  author = {Bell, Jonathan},
  title = {The Risset Cycle, Recent Use Cases With SmartVox},
  pages = {21--24},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper005.pdf}
}
```
Johnty Wang, Axel Mulder, and Marcelo Wanderley. 2019. Practical Considerations for MIDI over Bluetooth Low Energy as a Wireless Interface. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 25–30.
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This paper documents the key issues of performance and compatibility working with Musical Instrument Digital Interface (MIDI) via Bluetooth Low Energy (BLE) as a wireless interface for sensor or controller data and inter-module communication in the context of building interactive digital systems. An overview of BLE MIDI is presented along with a comparison of the protocol from the perspective of theoretical limits and interoperability, showing its widespread compatibility across platforms compared with other alternatives. Then we perform three complementary tests on BLE MIDI and alternative interfaces using prototype and commercial devices, showing that BLE MIDI has comparable performance with the tested WiFi implementations, with end-to-end (sensor input to audio output) latencies of under 10ms under certain conditions. Overall, BLE MIDI is an ideal choice for controllers and sensor interfaces that are designed to work on a wide variety of platforms.
```
@inproceedings{Wang2019,
  author = {Wang, Johnty and Mulder, Axel and Wanderley, Marcelo},
  title = {Practical Considerations for MIDI over Bluetooth Low Energy as a Wireless Interface},
  pages = {25--30},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper006.pdf}
}
```
Richard Ramchurn, Juan Pablo Martinez-Avila, Sarah Martindale, Alan Chamberlain, Max L Wilson, and Steve Benford. 2019. Improvising a Live Score to an Interactive Brain-Controlled Film. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 31–36.
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We report on the design and deployment of systems for the performance of live score accompaniment to an interactive movie by a Networked Musical Ensemble. In this case, the audio-visual content of the movie is selected in real time based on user input to a Brain-Computer Interface (BCI). Our system supports musical improvisation between human performers and automated systems responding to the BCI. We explore the performers’ roles during two performances when these socio-technical systems were implemented, in terms of coordination, problem-solving, managing uncertainty and musical responses to system constraints. This allows us to consider how features of these systems and practices might be incorporated into a general tool, aimed at any musician, which could scale for use in different performance settings involving interactive media.
```
@inproceedings{Ramchurn2019,
  author = {Ramchurn, Richard and Martinez-Avila, Juan Pablo and Martindale, Sarah and Chamberlain, Alan and Wilson, Max L and Benford, Steve},
  title = {Improvising a Live Score to an Interactive Brain-Controlled Film},
  pages = {31--36},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper007.pdf}
}
```
Ajin Jiji Tom, Harish Jayanth Venkatesan, Ivan Franco, and Marcelo Wanderley. 2019. Rebuilding and Reinterpreting a Digital Musical Instrument - The Sponge. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 37–42.
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Although several Digital Musical Instruments (DMIs) have been presented at NIME, very few of them remain accessible to the community. Rebuilding a DMI is often a necessary step to allow for performance with NIMEs. Rebuilding a DMI exactly similar to its original, however, might not be possible due to technology obsolescence, lack of documentation or other reasons. It might then be interesting to re-interpret a DMI and build an instrument inspired by the original one, creating novel performance opportunities. This paper presents the challenges and approaches involved in rebuilding and re-interpreting an existing DMI, The Sponge by Martin Marier. The rebuilt versions make use of newer/improved technology and customized design aspects like addition of vibrotactile feedback and implementation of different mapping strategies. It also discusses the implications of embedding sound synthesis within the DMI, by using the Prynth framework and further presents a comparison between this approach and the more traditional ground-up approach. As a result of the evaluation and comparison of the two rebuilt DMIs, we present a third version which combines the benefits and discuss performance issues with these devices.
```
@inproceedings{Tom2019,
  author = {Tom, Ajin Jiji and Venkatesan, Harish Jayanth and Franco, Ivan and Wanderley, Marcelo},
  title = {Rebuilding and Reinterpreting a Digital Musical Instrument - The Sponge},
  pages = {37--42},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper008.pdf}
}
```
Kiyu Nishida, Akishige Yuguchi, kazuhiro jo, Paul Modler, and Markus Noisternig. 2019. Border: A Live Performance Based on Web AR and a Gesture-Controlled Virtual Instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 43–46.
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Recent technological advances, such as increased CPU/GPU processing speed, along with the miniaturization of devices and sensors, have created new possibilities for integrating immersive technologies in music and performance art. Virtual and Augmented Reality (VR/AR) have become increasingly interesting as mobile device platforms, such as up-to-date smartphones, with necessary CPU resources entered the consumer market. In combination with recent web technologies, any mobile device can simply connect with a browser to a local server to access the latest technology. The web platform also eases the integration of collaborative situated media in participatory artwork. In this paper, we present the interactive music improvisation piece ‘Border,’ premiered in 2018 at the Beyond Festival at the Center for Art and Media Karlsruhe (ZKM). This piece explores the interaction between a performer and the audience using web-based applications – including AR, real-time 3D audio/video streaming, advanced web audio, and gesture-controlled virtual instruments – on smart mobile devices.
```
@inproceedings{Nishida2019,
  author = {Nishida, Kiyu and Yuguchi, Akishige and kazuhiro jo and Modler, Paul and Noisternig, Markus},
  title = {Border: A Live Performance Based on Web AR and a Gesture-Controlled Virtual Instrument},
  pages = {43--46},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper009.pdf}
}
```
Palle Dahlstedt. 2019. Taming and Tickling the Beast - Multi-Touch Keyboard as Interface for a Physically Modelled Interconnected Resonating Super-Harp. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 47–52.
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Libration Perturbed is a performance and an improvisation instrument, originally composed and designed for a multi-speaker dome. The performer controls a bank of 64 virtual inter-connected resonating strings, with individual and direct control of tuning and resonance characteristics through a multitouch-enhanced klavier interface (TouchKeys). It is a hybrid acoustic-electronic instrument, as all string vibrations originate from physical vibrations in the klavier and its casing, captured through contact microphones. In addition, there are gestural strings, called ropes, excited by performed musical gestures. All strings and ropes are connected, and inter-resonate together as a ”super-harp”, internally and through the performance space. With strong resonance, strings may go into chaotic motion or emergent quasi-periodic patterns, but custom adaptive leveling mechanisms keep loudness under the musician’s control at all times. The hybrid digital/acoustic approach and the enhanced keyboard provide for an expressive and very physical interaction, and a strong multi-channel immersive experience. The paper describes the aesthetic choices behind the design of the system, as well as the technical implementation, and – primarily – the interaction design, as it emerges from mapping, sound design, physical modeling and integration of the acoustic, the gestural, and the virtual. The work is evaluated based on the experiences from a series of performances.
```
@inproceedings{Dahlstedt2019,
  author = {Dahlstedt, Palle},
  title = {Taming and Tickling the Beast - Multi-Touch Keyboard as Interface for a Physically Modelled Interconnected Resonating Super-Harp},
  pages = {47--52},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper010.pdf}
}
```
Doga Cavdir, Juan Sierra, and Ge Wang. 2019. Taptop, Armtop, Blowtop: Evolving the Physical Laptop Instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 53–58.
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This research represents an evolution and evaluation of the embodied physical laptop instruments. Specifically, these are instruments that are physical in that they use bodily interaction, take advantage of the physical affordances of the laptop. They are embodied in the sense that instruments are played in such ways where the sound is embedded to be close to the instrument. Three distinct laptop instruments, Taptop, Armtop, and Blowtop, are introduced in this paper. We discuss the integrity of the design process with composing for laptop instruments and performing with them. In this process, our aim is to blur the boundaries of the composer and designer/engineer roles. How the physicality is achieved by leveraging musical gestures gained through traditional instrument practice is studied, as well as those inspired by body gestures. We aim to explore how using such interaction methods affects the communication between the ensemble and the audience. An aesthetic-first qualitative evaluation of these interfaces is discussed, through works and performances crafted specifically for these instruments and presented in the concert setting of the laptop orchestra. In so doing, we reflect on how such physical, embodied instrument design practices can inform a different kind of expressive and performance mindset.
```
@inproceedings{Cavdir2019,
  author = {Cavdir, Doga and Sierra, Juan and Wang, Ge},
  title = {Taptop, Armtop, Blowtop: Evolving the Physical Laptop Instrument},
  pages = {53--58},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper011.pdf}
}
```
David Antonio Gómez Jáuregui, Irvin Dongo, and Nadine Couture. 2019. Automatic Recognition of Soundpainting for the Generation of Electronic Music Sounds. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 59–64.
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This work aims to explore the use of a new gesture-based interaction built on automatic recognition of Soundpainting structured gestural language. In the proposed approach, a composer (called Soundpainter) performs Soundpainting gestures facing a Kinect sensor. Then, a gesture recognition system captures gestures that are sent to a sound generator software. The proposed method was used to stage an artistic show in which a Soundpainter had to improvise with 6 different gestures to generate a musical composition from different sounds in real time. The accuracy of the gesture recognition system was evaluated as well as Soundpainter’s user experience. In addition, a user evaluation study for using our proposed system in a learning context was also conducted. Current results open up perspectives for the design of new artistic expressions based on the use of automatic gestural recognition supported by Soundpainting language.
```
@inproceedings{Gomez-Jauregui2019,
  author = {Jáuregui, David Antonio Gómez and Dongo, Irvin and Couture, Nadine},
  title = {Automatic Recognition of Soundpainting for the Generation of Electronic Music Sounds},
  pages = {59--64},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper012.pdf}
}
```
Fabio Morreale, Andrea Guidi, and Andrew P. McPherson. 2019. Magpick: an Augmented Guitar Pick for Nuanced Control. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 65–70.
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This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent magnets in the guitar pickup. The Magpick provides the guitarist with nuanced control of the sound which coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experiences, we outline the innovative features of this technology from the point of view of performance practice. In particular, compared to other augmentations, the high temporal resolution, low latency, and large dynamic range of the Magpick support a highly nuanced control over the sound. Our discussion highlights the utility of having the locus of augmentation coincide with the locus of interaction.
```
@inproceedings{Morreale2019,
  author = {Morreale, Fabio and Guidi, Andrea and McPherson, Andrew P.},
  title = {Magpick: an Augmented Guitar Pick for Nuanced Control},
  pages = {65--70},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper013.pdf}
}
```
Bertrand Petit and manuel serrano. 2019. Composing and executing Interactive music using the HipHop.js language. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 71–76.
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Skini is a platform for composing and producing live performances with audience participating using connected devices (smartphones, tablets, PC, etc.). The music composer creates beforehand musical elements such as melodic patterns, sound patterns, instruments, group of instruments, and a dynamic score that governs the way the basic elements will behave according to events produced by the audience. During the concert or the performance, the audience, by interacting with the system, gives birth to an original music composition. Skini music scores are expressed in terms of constraints that establish relationships between instruments. A constraint maybe instantaneous, for instance one may disable violins while trumpets are playing. A constraint may also be temporal, for instance, the piano cannot play more than 30 consecutive seconds. The Skini platform is implemented in Hop.js and HipHop.js. HipHop.js, a synchronous reactive DLS, is used for implementing the music scores as its elementary constructs consisting of high level operators such as parallel executions, sequences, awaits, synchronization points, etc, form an ideal core language for implementing Skini constraints. This paper presents the Skini platform. It reports about live performances and an educational project. It briefly overviews the use of HipHop.js for representing score.
```
@inproceedings{Petit2019,
  author = {Petit, Bertrand and manuel serrano},
  title = {Composing and executing Interactive music using the HipHop.js language},
  pages = {71--76},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper014.pdf}
}
```
Gabriel Lopes Rocha, João Teixera Araújo, and Flávio Luiz Schiavoni. 2019. Ha Dou Ken Music: Different mappings to play music with joysticks. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 77–78.
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Due to video game controls great presence in popular culture and its ease of access, even people who are not in the habit of playing electronic games possibly interacted with this kind of interface once in a lifetime. Thus, gestures like pressing a sequence of buttons, pressing them simultaneously or sliding your fingers through the control can be mapped for musical creation. This work aims the elaboration of a strategy in which several gestures performed in a joystick control can influence one or several parameters of the sound synthesis, making a mapping denominated many to many. Buttons combinations used to perform game actions that are common in fighting games, like Street Fighter, were mapped to the synthesizer to create a music. Experiments show that this mapping is capable of influencing the musical expression of a DMI making it closer to an acoustic instrument.
```
@inproceedings{Rocha2019,
  author = {Rocha, Gabriel Lopes and Araújo, João Teixera and Schiavoni, Flávio Luiz},
  title = {Ha Dou Ken Music: Different mappings to play music with joysticks},
  pages = {77--78},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper015.pdf}
}
```
Torgrim Rudland Næss and Charles Patrick Martin. 2019. A Physical Intelligent Instrument using Recurrent Neural Networks. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 79–82.
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This paper describes a new intelligent interactive instrument, based on an embedded computing platform, where deep neural networks are applied to interactive music generation. Even though using neural networks for music composition is not uncommon, a lot of these models tend to not support any form of user interaction. We introduce a self-contained intelligent instrument using generative models, with support for real-time interaction where the user can adjust high-level parameters to modify the music generated by the instrument. We describe the technical details of our generative model and discuss the experience of using the system as part of musical performance.
```
@inproceedings{Næss2019,
  author = {Næss, Torgrim Rudland and Martin, Charles Patrick},
  title = {A Physical Intelligent Instrument using Recurrent Neural Networks},
  pages = {79--82},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper016.pdf}
}
```
Angelo Fraietta. 2019. Creating Order and Progress. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 83–88.
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This paper details the mapping strategy of the work Order and Progress: a sonic segue across A Auriverde, a composition based upon the skyscape represented on the Brazilian flag. This work uses the Stellarium planetarium software as a performance interface, blending the political symbology, scientific data and musical mapping of each star represented on the flag as a multimedia performance. The work is interfaced through the Stellar Command module, a Java based program that converts the visible field of view from the Stellarium planetarium interface to astronomical data through the VizieR database of astronomical catalogues. This scientific data is then mapped to musical parameters through a Java based programming environment. I will discuss the strategies employed to create a work that was not only artistically novel, but also visually engaging and scientifically accurate.
```
@inproceedings{Fraietta2019,
  author = {Fraietta, Angelo},
  title = {Creating Order and Progress},
  pages = {83--88},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper017.pdf}
}
```
João Nogueira Tragtenberg, Filipe Calegario, Giordano Cabral, and Geber L. Ramalho. 2019. Towards the Concept of Digital Dance and Music Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 89–94.
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This paper discusses the creation of instruments in which music is intentionally generated by dance. We introduce the conceptual framework of Digital Dance and Music Instruments (DDMI). Several DDMI have already been created, but they have been developed isolatedly, and there is still a lack of a common process of ideation and development. Knowledge about Digital Musical Instruments (DMIs) and Interactive Dance Systems (IDSs) can contribute to the design of DDMI, but the former brings few contributions to the body’s expressiveness, and the latter brings few references to an instrumental relationship with music. Because of those different premises, the integration between both paradigms can be an arduous task for the designer of DDMI. The conceptual framework of DDMI can also serve as a bridge between DMIs and IDSs, serving as a lingua franca between both communities and facilitating the exchange of knowledge. The conceptual framework has shown to be a promising analytical tool for the design, development, and evaluation of new digital dance and music instrument.
```
@inproceedings{Tragtenberg2019,
  author = {Tragtenberg, João Nogueira and Calegario, Filipe and Cabral, Giordano and Ramalho, Geber L.},
  title = {Towards the Concept of Digital Dance and Music Instruments},
  pages = {89--94},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper018.pdf}
}
```
Maros Suran Bomba and Palle Dahlstedt. 2019. Somacoustics: Interactive Body-as-Instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 95–100.
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Visitors interact with a blindfolded artist’s body, the motions of which are tracked and translated into synthesized four-channel sound, surrounding the participants. Through social-physical and aural interactions, they play his instrument-body, in a mutual dance. Crucial for this work has been the motion-to-sound mapping design, and the investigations of bodily interaction with normal lay-people and with professional contact-improvisation dancers. The extra layer of social-physical interaction both constrains and inspires the participant-artist relation and the sonic exploration, and through this, his body is transformed into an instrument, and physical space is transformed into a sound-space. The project aims to explore the experience of interaction between human and technology and its impact on one’s bodily perception and embodiment, as well as the relation between body and space, departing from a set of existing theories on embodiment. In the paper, its underlying aesthetics are described and discussed, as well as the sensitive motion research process behind it, and the technical implementation of the work. It is evaluated based on participant behavior and experiences and analysis of its premiere exhibition in 2018.
```
@inproceedings{Bomba2019,
  author = {Bomba, Maros Suran and Dahlstedt, Palle},
  title = {Somacoustics: Interactive Body-as-Instrument},
  pages = {95--100},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper019.pdf}
}
```
Nathan Turczan and Ajay Kapur. 2019. The Scale Navigator: A System for Networked Algorithmic Harmony. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 101–104.
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The Scale Navigator is a graphical interface implementation of Dmitri Tymoczko’s scale network designed to help generate algorithmic harmony and harmonically synchronize performers in a laptop or electro-acoustic orchestra. The user manipulates the Scale Navigator to direct harmony on a chord-to-chord level and on a scale-to-scale level. In a live performance setting, the interface broadcasts control data, MIDI, and real-time notation to an ensemble of live electronic performers, sight-reading improvisers, and musical generative algorithms.
```
@inproceedings{Turczan2019,
  author = {Turczan, Nathan and Kapur, Ajay},
  title = {The Scale Navigator: A System for Networked Algorithmic Harmony},
  pages = {101--104},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper020.pdf}
}
```
Alex Michael Lucas, Miguel Ortiz, and Dr. Franziska Schroeder. 2019. Bespoke Design for Inclusive Music: The Challenges of Evaluation. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 105–109.
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In this paper, the authors describe the evaluation of a collection of bespoke knob cap designs intended to improve the ease in which a specific musician with dyskinetic cerebral palsy can operate rotary controls in a musical context. The authors highlight the importance of the performers perspective when using design as a means for overcoming access barriers to music. Also, while the authors were not able to find an ideal solution for the musician within the confines of this study, several useful observations on the process of evaluating bespoke assistive music technology are described; observations which may prove useful to digital musical instrument designers working within the field of inclusive music.
```
@inproceedings{Lucas2019,
  author = {Lucas, Alex Michael and Ortiz, Miguel and Schroeder, Dr. Franziska},
  title = {Bespoke Design for Inclusive Music: The Challenges of Evaluation},
  pages = {105--109},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper021.pdf}
}
```
Xiao Xiao, Grégoire Locqueville, Christophe d’Alessandro, and Boris Doval. 2019. T-Voks: the Singing and Speaking Theremin. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 110–115.
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T-Voks is an augmented theremin that controls Voks, a performative singing synthesizer. Originally developed for control with a graphic tablet interface, Voks allows for real-time pitch and time scaling, vocal effort modification and syllable sequencing for pre-recorded voice utterances. For T-Voks the theremin’s frequency antenna modifies the output pitch of the target utterance while the amplitude antenna controls not only volume as usual but also voice quality and vocal effort. Syllabic sequencing is handled by an additional pressure sensor attached to the player’s volume-control hand. This paper presents the system architecture of T-Voks, the preparation procedure for a song, playing gestures, and practice techniques, along with musical and poetic examples across four different languages and styles.
```
@inproceedings{Xiao2019,
  author = {Xiao, Xiao and Locqueville, Grégoire and d'Alessandro, Christophe and Doval, Boris},
  title = {T-Voks: the Singing and Speaking Theremin},
  pages = {110--115},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper022.pdf}
}
```
Hunter Brown and spencer topel. 2019. DRMMR: An Augmented Percussion Implement. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 116–121.
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Recent developments in music technology have enabled novel timbres to be acoustically synthesized using various actuation and excitation methods. Utilizing recent work in nonlinear acoustic synthesis, we propose a transducer based augmented percussion implement entitled DRMMR. This design enables the user to sustain computer sequencer-like drum rolls at faster speeds while also enabling the user to achieve nonlinear acoustic synthesis effects. Our acoustic evaluation shows drum rolls executed by DRMMR easily exhibit greater levels of regularity, speed, and precision than comparable transducer and electromagnetic-based actuation methods. DRMMR’s nonlinear acoustic synthesis functionality also presents possibilities for new kinds of sonic interactions on the surface of drum membranes.
```
@inproceedings{Brown2019,
  author = {Brown, Hunter and spencer topel},
  title = {DRMMR: An Augmented Percussion Implement},
  pages = {116--121},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper023.pdf}
}
```
Giacomo Lepri and Andrew P. McPherson. 2019. Fictional instruments, real values: discovering musical backgrounds with non-functional prototypes. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 122–127.
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The emergence of a new technology can be considered as the result of social, cultural and technical process. Instrument designs are particularly influenced by cultural and aesthetic values linked to the specific contexts and communities that produced them. In previous work, we ran a design fiction workshop in which musicians created non-functional instrument mockups. In the current paper, we report on an online survey in which music technologists were asked to speculate on the background of the musicians who designed particular instruments. Our results showed several cues for the interpretation of the artefacts’ origins, including physical features, body-instrument interactions, use of language and references to established music practices and tools. Tacit musical and cultural values were also identified based on intuitive and holistic judgments. Our discussion highlights the importance of cultural awareness and context-dependent values on the design and use of interactive musical systems.
```
@inproceedings{Lepri2019,
  author = {Lepri, Giacomo and McPherson, Andrew P.},
  title = {Fictional instruments, real values: discovering musical backgrounds with non-functional prototypes},
  pages = {122--127},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper024.pdf}
}
```
Christopher Dewey and Jonathan P. Wakefield. 2019. Exploring the Container Metaphor for Equalisation Manipulation. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 128–129.
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This paper presents the first stage in the design and evaluation of a novel container metaphor interface for equalisation control. The prototype system harnesses the Pepper’s Ghost illusion to project mid-air a holographic data visualisation of an audio track’s long-term average and real-time frequency content as a deformable shape manipulated directly via hand gestures. The system uses HTML 5, JavaScript and the Web Audio API in conjunction with a Leap Motion controller and bespoke low budget projection system. During subjective evaluation users commented that the novel system was simpler and more intuitive to use than commercially established equalisation interface paradigms and most suited to creative, expressive and explorative equalisation tasks.
```
@inproceedings{Dewey2019,
  author = {Dewey, Christopher and Wakefield, Jonathan P.},
  title = {Exploring the Container Metaphor for Equalisation Manipulation},
  pages = {128--129},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper025.pdf}
}
```
Alex Hofmann, Vasileios Chatziioannou, Sebastian Schmutzhard, Gökberk Erdogan, and Alexander Mayer. 2019. The Half-Physler: An oscillating real-time interface to a tube resonator model. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 130–133.
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Physics-based sound synthesis allows to shape the sound by modifying parameters that reference to real world properties of acoustic instruments. This paper presents a hybrid physical modeling single reed instrument, where a virtual tube is coupled to a real mouthpiece with a sensor-equipped clarinet reed. The tube model is provided as an opcode for Csound which is running on the low-latency embedded audio-platform Bela. An actuator is connected to the audio output and the sensor-reed signal is fed back into the input of Bela. The performer can control the coupling between reed and actuator, and is also provided with a 3D-printed slider/knob interface to change parameters of the tube model in real-time.
```
@inproceedings{Hofmann2019,
  author = {Hofmann, Alex and Chatziioannou, Vasileios and Schmutzhard, Sebastian and Erdogan, Gökberk and Mayer, Alexander},
  title = {The Half-Physler: An oscillating real-time interface to a tube resonator model},
  pages = {130--133},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper026.pdf}
}
```
Peter Bussigel, Stephan Moore, and Scott Smallwood. 2019. Reanimating the Readymade. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 134–139.
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There is rich history of using found or “readymade” objects in music performances and sound installations. John Cage’s Water Walk, Carolee Schneeman’s Noise Bodies, and David Tudor’s Rainforest all lean on both the sonic and cultural affordances of found objects. Today, composers and sound artists continue to look at the everyday, combining readymades with microcontrollers and homemade electronics and repurposing known interfaces for their latent sonic potential. This paper gives a historical overview of work at the intersection of music and the readymade and then describes three recent sound installations/performances by the authors that further explore this space. The emphasis is on processes involved in working with found objects–the complex, practical, and playful explorations into sound and material culture.
```
@inproceedings{Bussigel2019,
  author = {Bussigel, Peter and Moore, Stephan and Smallwood, Scott},
  title = {Reanimating the Readymade},
  pages = {134--139},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper027.pdf}
}
```
Yian Zhang, Yinmiao Li, Daniel Chin, and Gus Xia. 2019. Adaptive Multimodal Music Learning via Interactive Haptic Instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 140–145.
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Haptic interfaces have untapped the sense of touch to assist multimodal music learning. We have recently seen various improvements of interface design on tactile feedback and force guidance aiming to make instrument learning more effective. However, most interfaces are still quite static; they cannot yet sense the learning progress and adjust the tutoring strategy accordingly. To solve this problem, we contribute an adaptive haptic interface based on the latest design of haptic flute. We first adopted a clutch mechanism to enable the interface to turn on and off the haptic control flexibly in real time. The interactive tutor is then able to follow human performances and apply the “teacher force” only when the software instructs so. Finally, we incorporated the adaptive interface with a step-by-step dynamic learning strategy. Experimental results showed that dynamic learning dramatically outperforms static learning, which boosts the learning rate by 45.3% and shrinks the forgetting chance by 86%.
```
@inproceedings{Zhang2019,
  author = {Zhang, Yian and Li, Yinmiao and Chin, Daniel and Xia, Gus},
  title = {Adaptive Multimodal Music Learning via Interactive Haptic Instrument},
  pages = {140--145},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper028.pdf}
}
```
Fabián Sguiglia, Pauli Coton, and Fernando Toth. 2019. El mapa no es el territorio: Sensor mapping for audiovisual performances. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 146–149.
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We present El mapa no es el territorio (MNT), a set of open source tools that facilitate the design of visual and musical mappings for interactive installations and performance pieces. MNT is being developed by a multidisciplinary group that explores gestural control of audio-visual environments and virtual instruments. Along with these tools, this paper will present two projects in which they were used -interactive installation Memorias Migrantes and stage performance Recorte de Jorge Cárdenas Cayendo-, showing how MNT allows us to develop collaborative artworks that articulate body movement and generative audiovisual systems, and how its current version was influenced by these successive implementations.
```
@inproceedings{Sguiglia2019,
  author = {Sguiglia, Fabián and Coton, Pauli and Toth, Fernando},
  title = {El mapa no es el territorio: Sensor mapping for audiovisual performances},
  pages = {146--149},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper029.pdf}
}
```
Vanessa Yaremchuk, Carolina Brum Medeiros, and Marcelo Wanderley. 2019. Small Dynamic Neural Networks for Gesture Classification with The Rulers (a Digital Musical Instrument). Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 150–155.
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The Rulers is a Digital Musical Instrument with 7 metal beams, each of which is fixed at one end. It uses infrared sensors, Hall sensors, and strain gauges to estimate deflection. These sensors each perform better or worse depending on the class of gesture the user is making, motivating sensor fusion practices. Residuals between Kalman filters and sensor output are calculated and used as input to a recurrent neural network which outputs a classification that determines which processing parameters and sensor measurements are employed. Multiple instances (30) of layer recurrent neural networks with a single hidden layer varying in size from 1 to 10 processing units were trained, and tested on previously unseen data. The best performing neural network has only 3 hidden units and has a sufficiently low error rate to be good candidate for gesture classification. This paper demonstrates that: dynamic networks out-perform feedforward networks for this type of gesture classification, a small network can handle a problem of this level of complexity, recurrent networks of this size are fast enough for real-time applications of this type, and the importance of training multiple instances of each network architecture and selecting the best performing one from within that set.
```
@inproceedings{Yaremchuk2019,
  author = {Yaremchuk, Vanessa and Medeiros, Carolina Brum and Wanderley, Marcelo},
  title = {Small Dynamic Neural Networks for Gesture Classification with The Rulers (a Digital Musical Instrument)},
  pages = {150--155},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper030.pdf}
}
```
Palle Dahlstedt and Ami Skånberg Dahlstedt. 2019. OtoKin: Mapping for Sound Space Exploration through Dance Improvisation. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 156–161.
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We present a work where a space of realtime synthesized sounds is explored through ear (Oto) and movement (Kinesis) by one or two dancers. Movement is tracked and mapped through extensive pre-processing to a high-dimensional acoustic space, using a many-to-many mapping, so that every small body movement matters. Designed for improvised exploration, it works as both performance and installation. Through this re-translation of bodily action, position, and posture into infinite-dimensional sound texture and timbre, the performers are invited to re-think and re-learn position and posture as sound, effort as gesture, and timbre as a bodily construction. The sound space can be shared by two people, with added modes of presence, proximity and interaction. The aesthetic background and technical implementation of the system are described, and the system is evaluated based on a number of performances, workshops and installation exhibits. Finally, the aesthetic and choreographic motivations behind the performance narrative are explained, and discussed in the light of the design of the sonification.
```
@inproceedings{Dahlstedt-b2019,
  author = {Dahlstedt, Palle and Dahlstedt, Ami Skånberg},
  title = {OtoKin: Mapping for Sound Space Exploration through Dance Improvisation},
  pages = {156--161},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper031.pdf}
}
```
Joe Wright and James Dooley. 2019. On the Inclusivity of Constraint: Creative Appropriation in Instruments for Neurodiverse Children and Young People. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 162–167.
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Taking inspiration from research into deliberately constrained musical technologies and the emergence of neurodiverse, child-led musical groups such as the Artism Ensemble, the interplay between design-constraints, inclusivity and appro- priation is explored. A small scale review covers systems from two prominent UK-based companies, and two itera- tions of a new prototype system that were developed in collaboration with a small group of young people on the autistic spectrum. Amongst these technologies, the aspects of musical experience that are made accessible differ with re- spect to the extent and nature of each system’s constraints. It is argued that the design-constraints of the new prototype system facilitated the diverse playing styles and techniques observed during its development. Based on these obser- vations, we propose that deliberately constrained musical instruments may be one way of providing more opportuni- ties for the emergence of personal practices and preferences in neurodiverse groups of children and young people, and that this is a fitting subject for further research.
```
@inproceedings{Wright2019,
  author = {Wright, Joe and Dooley, James},
  title = {On the Inclusivity of Constraint: Creative Appropriation in Instruments for Neurodiverse Children and Young People},
  pages = {162--167},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper032.pdf}
}
```
Isabela Corintha Almeida, Giordano Cabral, and Professor Gilberto Bernardes Almeida. 2019. AMIGO: An Assistive Musical Instrument to Engage, Create and Learn Music. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 168–169.
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We present AMIGO, a real-time computer music system that assists novice users in the composition process through guided musical improvisation. The system consists of 1) a computational analysis-generation algorithm, which not only formalizes musical principles from examples, but also guides the user in selecting note sequences; 2) a MIDI keyboard controller with an integrated LED stripe, which provides visual feedback to the user; and 3) a real-time music notation, which displays the generated output. Ultimately, AMIGO allows the intuitive creation of new musical structures and the acquisition of Western music formalisms, such as musical notation.
```
@inproceedings{Almeida2019,
  author = {Almeida, Isabela Corintha and Cabral, Giordano and Almeida, Professor Gilberto Bernardes},
  title = {AMIGO: An Assistive Musical Instrument to Engage, Create and Learn Music},
  pages = {168--169},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper033.pdf}
}
```
Cristiano Figueiró, Guilherme Soares, and Bruno Rohde. 2019. ESMERIL - An interactive audio player and composition system for collaborative experimental music netlabels. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 170–173.
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ESMERIL is an application developed for Android with a toolchain based on Puredata and OpenFrameworks (with Ofelia library). The application enables music creation in a specific expanded format: four separate mono tracks, each one able to manipulate up to eight audio samples per channel. It works also as a performance instrument that stimulates collaborative remixings from compositions of scored interaction gestures called “scenes”. The interface also aims to be a platform to exchange those sample packs as artistic releases, a format similar to the popular idea of an “album”, but prepared to those four channel packs of samples and scores of interaction. It uses an adaptive audio slicing mechanism and it is based on interaction design for multi-touch screen features. A timing sequencer enhances the interaction between pre-set sequences (the “scenes”) and screen manipulation scratching, expanding and moving graphic sound waves. This paper describes the graphical interface features, some development decisions up to now and perspectives to its continuity.
```
@inproceedings{Figueiró2019,
  author = {Figueiró, Cristiano and Soares, Guilherme and Rohde, Bruno},
  title = {ESMERIL - An interactive audio player and composition system for collaborative experimental music netlabels},
  pages = {170--173},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper034.pdf}
}
```
Aline Weber, Lucas Nunes Alegre, Jim Torresen, and Bruno C. da Silva. 2019. Parameterized Melody Generation with Autoencoders and Temporally-Consistent Noise. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 174–179.
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We introduce a machine learning technique to autonomously generate novel melodies that are variations of an arbitrary base melody. These are produced by a neural network that ensures that (with high probability) the melodic and rhythmic structure of the new melody is consistent with a given set of sample songs. We train a Variational Autoencoder network to identify a low-dimensional set of variables that allows for the compression and representation of sample songs. By perturbing these variables with Perlin Noise—a temporally-consistent parameterized noise function—it is possible to generate smoothly-changing novel melodies. We show that (1) by regulating the amount of noise, one can specify how much of the base song will be preserved; and (2) there is a direct correlation between the noise signal and the differences between the statistical properties of novel melodies and the original one. Users can interpret the controllable noise as a type of "creativity knob": the higher it is, the more leeway the network has to generate significantly different melodies. We present a physical prototype that allows musicians to use a keyboard to provide base melodies and to adjust the network’s "creativity knobs" to regulate in real-time the process that proposes new melody ideas.
```
@inproceedings{Weber2019,
  author = {Weber, Aline and Alegre, Lucas Nunes and Torresen, Jim and da Silva, Bruno C.},
  title = {Parameterized Melody Generation with Autoencoders and Temporally-Consistent Noise},
  pages = {174--179},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper035.pdf}
}
```
Atau Tanaka, Balandino Di Donato, Michael Zbyszynski, and Geert Roks. 2019. Designing Gestures for Continuous Sonic Interaction. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 180–185.
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This paper presents a system that allows users to quickly try different ways to train neural networks and temporal modeling techniques to associate arm gestures with time varying sound. We created a software framework for this, and designed three interactive sounds and presented them to participants in a workshop based study. We build upon previous work in sound-tracing and mapping-by-demonstration to ask the participants to design gestures with which to perform the given sounds using a multimodal, inertial measurement (IMU) and muscle sensing (EMG) device. We presented the user with four techniques for associating sensor input to synthesizer parameter output. Two were classical techniques from the literature, and two proposed different ways to capture dynamic gesture in a neural network. These four techniques were: 1.) A Static Position regression training procedure, 2.) A Hidden Markov based temporal modeler, 3.) Whole Gesture capture to a neural network, and 4.) a Windowed method using the position-based procedure on the fly during the performance of a dynamic gesture. Our results show trade-offs between accurate, predictable reproduction of the source sounds and exploration of the gesture-sound space. Several of the users were attracted to our new windowed method for capturing gesture anchor points on the fly as training data for neural network based regression. This paper will be of interest to musicians interested in going from sound design to gesture design and offers a workflow for quickly trying different mapping-by-demonstration techniques.
```
@inproceedings{Tanaka2019,
  author = {Tanaka, Atau and Di Donato, Balandino and Zbyszynski, Michael and Roks, Geert},
  title = {Designing Gestures for Continuous Sonic Interaction},
  pages = {180--185},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper036.pdf}
}
```
Cagri Erdem, Katja Henriksen Schia, and Alexander Refsum Jensenius. 2019. Vrengt: A Shared Body-Machine Instrument for Music-Dance Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 186–191.
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This paper describes the process of developing a shared instrument for music–dance performance, with a particular focus on exploring the boundaries between standstill vs motion, and silence vs sound. The piece Vrengt grew from the idea of enabling a true partnership between a musician and a dancer, developing an instrument that would allow for active co-performance. Using a participatory design approach, we worked with sonification as a tool for systematically exploring the dancer’s bodily expressions. The exploration used a "spatiotemporal matrix," with a particular focus on sonic microinteraction. In the final performance, two Myo armbands were used for capturing muscle activity of the arm and leg of the dancer, together with a wireless headset microphone capturing the sound of breathing. In the paper we reflect on multi-user instrument paradigms, discuss our approach to creating a shared instrument using sonification as a tool for the sound design, and reflect on the performers’ subjective evaluation of the instrument.
```
@inproceedings{Erdem2019,
  author = {Erdem, Cagri and Schia, Katja Henriksen and Jensenius, Alexander Refsum},
  title = {Vrengt: A Shared Body-Machine Instrument for Music-Dance Performance},
  pages = {186--191},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper037.pdf}
}
```
Samuel Thompson Parke-Wolfe, Hugo Scurto, and Rebecca Fiebrink. 2019. Sound Control: Supporting Custom Musical Interface Design for Children with Disabilities. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 192–197.
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We have built a new software toolkit that enables music therapists and teachers to create custom digital musical interfaces for children with diverse disabilities. It was designed in collaboration with music therapists, teachers, and children. It uses interactive machine learning to create new sensor- and vision-based musical interfaces using demonstrations of actions and sound, making interface building fast and accessible to people without programming or engineering expertise. Interviews with two music therapy and education professionals who have used the software extensively illustrate how richly customised, sensor-based interfaces can be used in music therapy contexts; they also reveal how properties of input devices, music-making approaches, and mapping techniques can support a variety of interaction styles and therapy goals.
```
@inproceedings{Parke-Wolfe2019,
  author = {Parke-Wolfe, Samuel Thompson and Scurto, Hugo and Fiebrink, Rebecca},
  title = {Sound Control: Supporting Custom Musical Interface Design for Children with Disabilities},
  pages = {192--197},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper038.pdf}
}
```
Oliver Hödl. 2019. ’Blending Dimensions’ when Composing for DMI and Symphonic Orchestra. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 198–203.
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With a new digital music instrument (DMI), the interface itself, the sound generation, the composition, and the performance are often closely related and even intrinsically linked with each other. Similarly, the instrument designer, composer, and performer are often the same person. The Academic Festival Overture is a new piece of music for the DMI Trombosonic and symphonic orchestra written by a composer who had no prior experience with the instrument. The piece underwent the phases of a composition competition, rehearsals, a music video production, and a public live performance. This whole process was evaluated reflecting on the experience of three involved key stakeholder: the composer, the conductor, and the instrument designer as performer. ‘Blending dimensions’ of these stakeholder and decoupling the composition from the instrument designer inspired the newly involved composer to completely rethink the DMI’s interaction and sound concept. Thus, to deliberately avoid an early collaboration between a DMI designer and a composer bears the potential for new inspiration and at the same time the challenge to seek such a collaboration in the need of clarifying possible misunderstandings and improvement.
```
@inproceedings{Hödl2019,
  author = {Hödl, Oliver},
  title = {'Blending Dimensions' when Composing for DMI and Symphonic Orchestra},
  pages = {198--203},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper039.pdf}
}
```
behzad haki and Sergi Jorda. 2019. A Bassline Generation System Based on Sequence-to-Sequence Learning. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 204–209.
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This paper presents a detailed explanation of a system generating basslines that are stylistically and rhythmically interlocked with a provided audio drum loop. The proposed system is based on a natural language processing technique: word-based sequence-to-sequence learning using LSTM units. The novelty of the proposed method lies in the fact that the system is not reliant on a voice-by-voice transcription of drums; instead, in this method, a drum representation is used as an input sequence from which a translated bassline is obtained at the output. The drum representation consists of fixed size sequences of onsets detected from a 2-bar audio drum loop in eight different frequency bands. The basslines generated by this method consist of pitched notes with different duration. The proposed system was trained on two distinct datasets compiled for this project by the authors. Each dataset contains a variety of 2-bar drum loops with annotated basslines from two different styles of dance music: House and Soca. A listening experiment designed based on the system revealed that the proposed system is capable of generating basslines that are interesting and are well rhythmically interlocked with the drum loops from which they were generated.
```
@inproceedings{haki2019,
  author = {behzad haki and Jorda, Sergi},
  title = {A Bassline Generation System Based on Sequence-to-Sequence Learning},
  pages = {204--209},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper040.pdf}
}
```
Lloyd May and spencer topel. 2019. BLIKSEM: An Acoustic Synthesis Fuzz Pedal. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 210–215.
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This paper presents a novel physical fuzz pedal effect system named BLIKSEM. Our approach applies previous work in nonlinear acoustic synthesis via a driven cantilever soundboard configuration for the purpose of generating fuzz pedal-like effects as well as a variety of novel audio effects. Following a presentation of our pedal design, we compare the performance of our system with various various classic and contemporary fuzz pedals using an electric guitar. Our results show that BLIKSEM is capable of generating signals that approximate the timbre and dynamic behaviors of conventional fuzz pedals, as well as offer new mechanisms for expressive interactions and a range of new effects in different configurations.
```
@inproceedings{May2019,
  author = {May, Lloyd and spencer topel},
  title = {BLIKSEM: An Acoustic Synthesis Fuzz Pedal},
  pages = {210--215},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper041.pdf}
}
```
Anna Xambó, Sigurd Saue, Alexander Refsum Jensenius, Robin Støckert, and Oeyvind Brandtsegg. 2019. NIME Prototyping in Teams: A Participatory Approach to Teaching Physical Computing. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 216–221.
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In this paper, we present a workshop of physical computing applied to NIME design based on science, technology, engineering, arts, and mathematics (STEAM) education. The workshop is designed for master students with multidisciplinary backgrounds. They are encouraged to work in teams from two university campuses remotely connected through a portal space. The components of the workshop are prototyping, music improvisation and reflective practice. We report the results of this course, which show a positive impact on the students’ confidence in prototyping and intention to continue in STEM fields. We also present the challenges and lessons learned on how to improve the teaching of hybrid technologies and programming skills in an interdisciplinary context across two locations, with the aim of satisfying both beginners and experts. We conclude with a broader discussion on how these new pedagogical perspectives can improve NIME-related courses.
```
@inproceedings{Xambó2019,
  author = {Xambó, Anna and Saue, Sigurd and Jensenius, Alexander Refsum and Støckert, Robin and Brandtsegg, Oeyvind},
  title = {NIME Prototyping in Teams: A Participatory Approach to Teaching Physical Computing},
  pages = {216--221},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper042.pdf}
}
```
Eduardo Meneses, Johnty Wang, Sergio Freire, and Marcelo Wanderley. 2019. A Comparison of Open-Source Linux Frameworks for an Augmented Musical Instrument Implementation. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 222–227.
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The increasing availability of accessible sensor technologies, single board computers, and prototyping platforms have resulted in a growing number of frameworks explicitly geared towards the design and construction of Digital and Augmented Musical Instruments. Developing such instruments can be facilitated by choosing the most suitable framework for each project. In the process of selecting a framework for implementing an augmented guitar instrument, we have tested three Linux-based open-source platforms that have been designed for real-time sensor interfacing, audio processing, and synthesis. Factors such as acquisition latency, workload measurements, documentation, and software implementation are compared and discussed to determine the suitability of each environment for our particular project.
```
@inproceedings{Meneses2019,
  author = {Meneses, Eduardo and Wang, Johnty and Freire, Sergio and Wanderley, Marcelo},
  title = {A Comparison of Open-Source Linux Frameworks for an Augmented Musical Instrument Implementation},
  pages = {222--227},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper043.pdf}
}
```
Martin Matus Lerner. 2019. Latin American NIMEs: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 228–233.
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During the twentieth century several Latin American nations (such as Argentina, Brazil, Chile, Cuba and Mexico) have originated relevant antecedents in the NIME field. Their innovative authors have interrelated musical composition, lutherie, electronics and computing. This paper provides a panoramic view of their original electronic instruments and experimental sound practices, as well as a perspective of them regarding other inventions around the World.
```
@inproceedings{Matus-Lerner2019,
  author = {Lerner, Martin Matus},
  title = {Latin American NIMEs: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century},
  pages = {228--233},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper044.pdf}
}
```
Sarah Reid, Ryan Gaston, and Ajay Kapur. 2019. Perspectives on Time: performance practice, mapping strategies, & composition with MIGSI . Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 234–239.
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This paper presents four years of development in performance and compositional practice on an electronically augmented trumpet called MIGSI. Discussion is focused on conceptual and technical approaches to data mapping, sonic interaction, and composition that are inspired by philosophical questions of time: what is now? Is time linear or multi-directional? Can we operate in multiple modes of temporal perception simultaneously? A number of mapping strategies are presented which explore these ideas through the manipulation of temporal separation between user input and sonic output. In addition to presenting technical progress, this paper will introduce a body of original repertoire composed for MIGSI, in order to illustrate how these tools and approaches have been utilized in live performance and how they may find use in other creative applications.
```
@inproceedings{Reid2019,
  author = {Reid, Sarah and Gaston, Ryan and Kapur, Ajay},
  title = { Perspectives on Time: performance practice, mapping strategies, & composition with MIGSI },
  pages = {234--239},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper045.pdf}
}
```
Natacha Lamounier, Luiz Naveda, and Adriana Bicalho. 2019. The design of technological interfaces for interactions between music, dance and garment movements. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 240–245.
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The present work explores the design of multimodal interfaces that capture hand gestures and promote interactions between dance, music and wearable technologic garment. We aim at studying the design strategies used to interface music to other domains of the performance, in special, the application of wearable technologies into music performances. The project describes the development of the music and wearable interfaces, which comprise a hand interface and a mechanical actuator attached to the dancer’s dress. The performance resulted from the study is inspired in the butoh dances and attempts to add a technological poetic as music-dance-wearable interactions to the traditional dialogue between dance and music.
```
@inproceedings{Lamounier2019,
  author = {Lamounier, Natacha and Naveda, Luiz and Bicalho, Adriana},
  title = {The design of technological interfaces for interactions between music, dance and garment movements},
  pages = {240--245},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper046.pdf}
}
```
Ximena Alarcon Diaz, Victor Evaristo Gonzalez Sanchez, and Cagri Erdem. 2019. INTIMAL: Walking to Find Place, Breathing to Feel Presence. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 246–249.
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INTIMAL is a physical virtual embodied system for relational listening that integrates body movement, oral archives, and voice expression through telematic improvisatory performance in migratory contexts. It has been informed by nine Colombian migrant women who express their migratory journeys through free body movement, voice and spoken word improvisation. These improvisations have been recorded using Motion Capture, in order to develop interfaces for co-located and telematic interactions for the sharing of narratives of migration. In this paper, using data from the Motion Capture experiments, we are exploring two specific movements from improvisers: displacements on space (walking, rotating), and breathing data. Here we envision how co-relations between walking and breathing, might be further studied to implement interfaces that help the making of connections between place, and the feeling of presence for people in-between distant locations.
```
@inproceedings{Alarcon-Diaz2019,
  author = {Diaz, Ximena Alarcon and Sanchez, Victor Evaristo Gonzalez and Erdem, Cagri},
  title = {INTIMAL: Walking to Find Place, Breathing to Feel Presence},
  pages = {246--249},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper047.pdf}
}
```
Disha Sardana, Woohun Joo, Ivica Ico Bukvic, and Greg Earle. 2019. Introducing Locus: a NIME for Immersive Exocentric Aural Environments. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 250–255.
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Locus is a NIME designed specifically for an interactive, immersive high density loudspeaker array environment. The system is based on a pointing mechanism to interact with a sound scene comprising 128 speakers. Users can point anywhere to interact with the system, and the spatial interaction utilizes motion capture, so it does not require a screen. Instead, it is completely controlled via hand gestures using a glove that is populated with motion-tracking markers. The main purpose of this system is to offer intuitive physical interaction with the perimeter-based spatial sound sources. Further, its goal is to minimize user-worn technology and thereby enhance freedom of motion by utilizing environmental sensing devices, such as motion capture cameras or infrared sensors. The ensuing creativity enabling technology is applicable to a broad array of possible scenarios, from researching limits of human spatial hearing perception to facilitating learning and artistic performances, including dance. In this paper, we describe our NIME design and implementation, its preliminary assessment, and offer a Unity-based toolkit to facilitate its broader deployment and adoption.
```
@inproceedings{Sardana2019,
  author = {Sardana, Disha and Joo, Woohun and Bukvic, Ivica Ico and Earle, Greg},
  title = {Introducing Locus: a NIME for Immersive Exocentric Aural Environments},
  pages = {250--255},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper048.pdf}
}
```
Echo Ho, Prof. Dr. Phil. Alberto de Campo, and Hannes Hoelzl. 2019. The SlowQin: An Interdisciplinary Approach to reinventing the Guqin. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 256–259.
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This paper presents an ongoing process of examining and reinventing the Guqin, to forge a contemporary engagement with this unique traditional Chinese string instrument. The SlowQin is both a hybrid resemblance of the Guqin and a fully functioning wireless interface to interact with computer software. It has been developed and performed during the last decade. Instead of aiming for virtuosic perfection of playing the instrument, SlowQin emphasizes the openness for continuously rethinking and reinventing the Guqin’s possibilities. Through a combination of conceptual work and practical production, Echo Ho’s SlowQin project works as an experimental twist on Historically Informed Performance, with the motivation of conveying artistic gestures that tackle philosophical, ideological, and socio-political subjects embedded in our living environment in globalised conditions. In particular, this paper touches the history of the Guqin, gives an overview of the technical design concepts of the instrument, and discusses the aesthetical approaches of the SlowQin performances that have been realised so far.
```
@inproceedings{Ho2019,
  author = {Ho, Echo and de Campo, Prof. Dr. Phil. Alberto and Hoelzl, Hannes},
  title = {The SlowQin: An Interdisciplinary Approach to reinventing the Guqin},
  pages = {256--259},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper049.pdf}
}
```
Charles Patrick Martin and Jim Torresen. 2019. An Interactive Musical Prediction System with Mixture Density Recurrent Neural Networks. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 260–265.
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This paper is about creating digital musical instruments where a predictive neural network model is integrated into the interactive system. Rather than predicting symbolic music (e.g., MIDI notes), we suggest that predicting future control data from the user and precise temporal information can lead to new and interesting interactive possibilities. We propose that a mixture density recurrent neural network (MDRNN) is an appropriate model for this task. The predictions can be used to fill-in control data when the user stops performing, or as a kind of filter on the user’s own input. We present an interactive MDRNN prediction server that allows rapid prototyping of new NIMEs featuring predictive musical interaction by recording datasets, training MDRNN models, and experimenting with interaction modes. We illustrate our system with several example NIMEs applying this idea. Our evaluation shows that real-time predictive interaction is viable even on single-board computers and that small models are appropriate for small datasets.
```
@inproceedings{Martin2019,
  author = {Martin, Charles Patrick and Torresen, Jim},
  title = {An Interactive Musical Prediction System with Mixture Density Recurrent Neural Networks},
  pages = {260--265},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper050.pdf}
}
```
Nicolas Bazoge, Ronan Gaugne, Florian Nouviale, Valérie Gouranton, and Bruno Bossis. 2019. Expressive potentials of motion capture in musical performance. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 266–271.
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The paper presents the electronic music performance project Vis Insita implementing the design of experimental instrumental interfaces based on optical motion capture technology with passive infrared markers (MoCap), and the analysis of their use in a real scenic presentation context. Because of MoCap’s predisposition to capture the movements of the body, a lot of research and musical applications in the performing arts concern dance or the sonification of gesture. For our research, we wanted to move away from the capture of the human body to analyse the possibilities of a kinetic object handled by a performer, both in terms of musical expression, but also in the broader context of a multimodal scenic interpretation.
```
@inproceedings{Bazoge2019,
  author = {Bazoge, Nicolas and Gaugne, Ronan and Nouviale, Florian and Gouranton, Valérie and Bossis, Bruno},
  title = {Expressive potentials of motion capture in musical performance},
  pages = {266--271},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper051.pdf}
}
```
Akito Van Troyer and Rebecca Kleinberger. 2019. From Mondrian to Modular Synth: Rendering NIME using Generative Adversarial Networks. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 272–277.
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This paper explores the potential of image-to-image translation techniques in aiding the design of new hardware-based musical interfaces such as MIDI keyboard, grid-based controller, drum machine, and analog modular synthesizers. We collected an extensive image database of such interfaces and implemented image-to-image translation techniques using variants of Generative Adversarial Networks. The created models learn the mapping between input and output images using a training set of either paired or unpaired images. We qualitatively assess the visual outcomes based on three image-to-image translation models: reconstructing interfaces from edge maps, and collection style transfers based on two image sets: visuals of mosaic tile patterns and geometric abstract two-dimensional arts. This paper aims to demonstrate that synthesizing interface layouts based on image-to-image translation techniques can yield insights for researchers, musicians, music technology industrial designers, and the broader NIME community.
```
@inproceedings{Van-Troyer2019,
  author = {Troyer, Akito Van and Kleinberger, Rebecca},
  title = {From Mondrian to Modular Synth: Rendering NIME using Generative Adversarial Networks},
  pages = {272--277},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper052.pdf}
}
```
Laurel Pardue, Kurijn Buys, Dan Overholt, Andrew P. McPherson, and Michael Edinger. 2019. Separating sound from source: sonic transformation of the violin through electrodynamic pickups and acoustic actuation. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 278–283.
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When designing an augmented acoustic instrument, it is often of interest to retain an instrument’s sound quality and nuanced response while leveraging the richness of digital synthesis. Digital audio has traditionally been generated through speakers, separating sound generation from the instrument itself, or by adding an actuator within the instrument’s resonating body, imparting new sounds along with the original. We offer a third option, isolating the playing interface from the actuated resonating body, allowing us to rewrite the relationship between performance action and sound result while retaining the general form and feel of the acoustic instrument. We present a hybrid acoustic-electronic violin based on a stick-body electric violin and an electrodynamic polyphonic pick-up capturing individual string displacements. A conventional violin body acts as the resonator, actuated using digitally altered audio of the string inputs. By attaching the electric violin above the body with acoustic isolation, we retain the physical playing experience of a normal violin along with some of the acoustic filtering and radiation of a traditional build. We propose the use of the hybrid instrument with digitally automated pitch and tone correction to make an easy violin for use as a potential motivational tool for beginning violinists.
```
@inproceedings{Pardue2019,
  author = {Pardue, Laurel and Buys, Kurijn and Overholt, Dan and McPherson, Andrew P. and Edinger, Michael},
  title = {Separating sound from source: sonic transformation of the violin through electrodynamic pickups and acoustic actuation},
  pages = {278--283},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper053.pdf}
}
```
Gabriela Bila Advincula, Don Derek Haddad, and Kent Larson. 2019. Grain Prism: Hieroglyphic Interface for Granular Sampling. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 284–285.
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This paper introduces the Grain Prism, a hybrid of a granular synthesizer and sampler that, through a capacitive sensing interface presented in obscure glyphs, invites users to create experimental sound textures with their own recorded voice. The capacitive sensing system, activated through skin contact over single glyphs or a combination of them, instigates the user to decipher the hidden sonic messages. The mysterious interface open space to aleatoricism in the act of conjuring sound, and therefore new discoveries. The users, when forced to abandon preconceived ways of playing a synthesizer, look at themselves in a different light, as their voice is the source material.
```
@inproceedings{Advincula2019,
  author = {Advincula, Gabriela Bila and Haddad, Don Derek and Larson, Kent},
  title = {Grain Prism: Hieroglyphic Interface for Granular Sampling},
  pages = {284--285},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper054.pdf}
}
```
Oliver Bown, Angelo Fraietta, Sam Ferguson, Lian Loke, and Liam Bray. 2019. Facilitating Creative Exploratory Search with Multiple Networked Audio Devices Using HappyBrackets. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 286–291.
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We present an audio-focused creative coding toolkit for deploying music programs to remote networked devices. It is designed to support efficient creative exploratory search in the context of the Internet of Things (IoT), where one or more devices must be configured, programmed and interact over a network, with applications in digital musical instruments, networked music performance and other digital experiences. Users can easily monitor and hack what multiple devices are doing on the fly, enhancing their ability to perform “exploratory search” in a creative workflow. We present two creative case studies using the system: the creation of a dance performance and the creation of a distributed musical installation. Analysing different activities within the production process, with a particular focus on the trade-off between more creative exploratory tasks and more standard configuring and problem-solving tasks, we show how the system supports creative exploratory search for multiple networked devices.
```
@inproceedings{Bown2019,
  author = {Bown, Oliver and Fraietta, Angelo and Ferguson, Sam and Loke, Lian and Bray, Liam},
  title = {Facilitating Creative Exploratory Search with Multiple Networked Audio Devices Using HappyBrackets},
  pages = {286--291},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper055.pdf}
}
```
Thais Fernandes Santos. 2019. The reciprocity between ancillary gesture and music structure performed by expert musicians. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 292–297.
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During the musical performance, expert musicians consciously manipulate acoustical parameters expressing their interpretative choices. Also, players make physical motions and, in many cases, these gestures are related to the musicians’ artistic intentions. However, it’s not clear if the sound manipulation reflects in physical motions. The understanding of the musical structure of the work being performed in its many levels may impact the projection of artistic intentions, and performers alter it in micro and macro-sections, such as in musical motifs, phrases and sessions. Therefore, this paper investigates the timing manipulation and how such variations may reflect in physical gestures. The study involved musicians (flute, clarinet, and bassoon players) performing a unison excerpt by G. Rossini. We analyzed the relationship between timing variation (the Inter Onsets Interval deviations) and physical motion based on the traveled distance of the flute under different conditions. The flutists were asked to play the musical excerpt in three experimental conditions: (1) playing solo and playing in duets with previous recordings by other instrumentalists, (2) clarinetist and (3) bassoonist. The finding suggests that: 1) the movements, which seem to be related to the sense of pulse, are recurrent and stable, 2) the timing variability in micro or macro sections reflects in gestures’ amplitude performed by flutists.
```
@inproceedings{Fernandes-Santos2019,
  author = {Santos, Thais Fernandes},
  title = {The reciprocity between ancillary gesture and music structure performed by expert musicians},
  pages = {292--297},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper056.pdf}
}
```
Razvan Paisa and Dan Overholt. 2019. Enhancing the Expressivity of the Sensel Morph via Audio-rate Sensing. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 298–302.
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This project describes a novel approach to hybrid electro-acoustical instruments by augmenting the Sensel Morph, with real-time audio sensing capabilities. The actual action-sounds are captured with a piezoelectric transducer and processed in Max 8 to extend the sonic range existing in the acoustical domain alone. The control parameters are captured by the Morph and mapped to audio algorithm proprieties like filter cutoff frequency, frequency shift or overdrive. The instrument opens up the possibility for a large selection of different interaction techniques that have a direct impact on the output sound. The instrument is evaluated from a sound designer’s perspective, encouraging exploration in the materials used as well as techniques. The contribution are two-fold. First, the use of a piezo transducer to augment the Sensel Morph affords an extra dimension of control on top of the offerings. Second, the use of acoustic sounds from physical interactions as a source for excitation and manipulation of an audio processing system offers a large variety of new sounds to be discovered. The methodology involved an exploratory process of iterative instrument making, interspersed with observations gathered via improvisatory trials, focusing on the new interactions made possible through the fusion of audio-rate inputs with the Morph’s default interaction methods.
```
@inproceedings{Paisa2019,
  author = {Paisa, Razvan and Overholt, Dan},
  title = {Enhancing the Expressivity of the Sensel Morph via Audio-rate Sensing},
  pages = {298--302},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper057.pdf}
}
```
Juan Mariano Ramos. 2019. Eolos: a wireless MIDI wind controller. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 303–306.
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This paper presents a description of the design and usage of Eolos, a wireless MIDI wind controller. The main goal of Eolos is to provide an interface that facilitates the production of music for any individual, regardless of their playing skills or previous musical knowledge. Its features are: open design, lower cost than commercial alternatives, wireless MIDI operation, rechargeable battery power, graphical user interface, tactile keys, sensitivity to air pressure, left-right reversible design and two FSR sensors. There is also a mention about its participation in the 1st Collaborative Concert over the Internet between Argentina and Cuba "Tradición y Nuevas Sonoridades".
```
@inproceedings{Ramos2019,
  author = {Ramos, Juan Mariano},
  title = {Eolos: a wireless MIDI wind controller},
  pages = {303--306},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper058.pdf}
}
```
Ruihan Yang, Tianyao Chen, Yiyi Zhang, and gus xia. 2019. Inspecting and Interacting with Meaningful Music Representations using VAE. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 307–312.
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Variational Autoencoder has already achieved great results on image generation and recently made promising progress on music sequence generation. However, the model is still quite difficult to control in the sense that the learned latent representations lack meaningful music semantics. What users really need is to interact with certain music features, such as rhythm and pitch contour, in the creation process so that they can easily test different composition ideas. In this paper, we propose a disentanglement by augmentation method to inspect the pitch and rhythm interpretations of the latent representations. Based on the interpretable representations, an intuitive graphical user interface demo is designed for users to better direct the music creation process by manipulating the pitch contours and rhythmic complexity.
```
@inproceedings{Yang2019,
  author = {Yang, Ruihan and Chen, Tianyao and Zhang, Yiyi and gus xia},
  title = {Inspecting and Interacting with Meaningful Music Representations using VAE},
  pages = {307--312},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper059.pdf}
}
```
Gerard Roma, Owen Green, and Pierre Alexandre Tremblay. 2019. Adaptive Mapping of Sound Collections for Data-driven Musical Interfaces. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 313–318.
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Descriptor spaces have become an ubiquitous interaction paradigm for music based on collections of audio samples. However, most systems rely on a small predefined set of descriptors, which the user is often required to understand and choose from. There is no guarantee that the chosen descriptors are relevant for a given collection. In addition, this method does not scale to longer samples that require higher-dimensional descriptions, which biases systems towards the use of short samples. In this paper we propose novel framework for automatic creation of interactive sound spaces from sound collections using feature learning and dimensionality reduction. The framework is implemented as a software library using the SuperCollider language. We compare several algorithms and describe some example interfaces for interacting with the resulting spaces. Our experiments signal the potential of unsupervised algorithms for creating data-driven musical interfaces.
```
@inproceedings{Roma2019,
  author = {Roma, Gerard and Green, Owen and Tremblay, Pierre Alexandre},
  title = {Adaptive Mapping of Sound Collections for Data-driven Musical Interfaces},
  pages = {313--318},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper060.pdf}
}
```
Vesa Petri Norilo. 2019. Veneer: Visual and Touch-based Programming for Audio. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 319–324.
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This paper presents Veneer, a visual, touch-ready programming interface for the Kronos programming language. The challenges of representing high-level data flow abstractions, including higher order functions, are described. The tension between abstraction and spontaneity in programming is addressed, and gradual abstraction in live programming is proposed as a potential solution. Several novel user interactions for patching on a touch device are shown. In addition, the paper describes some of the current issues of web audio music applications and offers strategies for integrating a web-based presentation layer with a low-latency native processing backend.
```
@inproceedings{Norilo2019,
  author = {Norilo, Vesa Petri},
  title = {Veneer: Visual and Touch-based Programming for Audio},
  pages = {319--324},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper061.pdf}
}
```
Andrei Faitas, Synne Engdahl Baumann, Torgrim Rudland Næss, Jim Torresen, and Charles Patrick Martin. 2019. Generating Convincing Harmony Parts with Simple Long Short-Term Memory Networks. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 325–330.
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Generating convincing music via deep neural networks is a challenging problem that shows promise for many applications including interactive musical creation. One part of this challenge is the problem of generating convincing accompaniment parts to a given melody, as could be used in an automatic accompaniment system. Despite much progress in this area, systems that can automatically learn to generate interesting sounding, as well as harmonically plausible, accompanying melodies remain somewhat elusive. In this paper we explore the problem of sequence to sequence music generation where a human user provides a sequence of notes, and a neural network model responds with a harmonically suitable sequence of equal length. We consider two sequence-to-sequence models; one featuring standard unidirectional long short-term memory (LSTM) architecture, and the other featuring bidirectional LSTM, both successfully trained to produce a sequence based on the given input. Both of these are fairly dated models, as part of the investigation is to see what can be achieved with such models. These are evaluated and compared via a qualitative study that features 106 respondents listening to eight random samples from our set of generated music, as well as two human samples. From the results we see a preference for the sequences generated by the bidirectional model as well as an indication that these sequences sound more human.
```
@inproceedings{Faitas2019,
  author = {Faitas, Andrei and Baumann, Synne Engdahl and Næss, Torgrim Rudland and Torresen, Jim and Martin, Charles Patrick},
  title = {Generating Convincing Harmony Parts with Simple Long Short-Term Memory Networks},
  pages = {325--330},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper062.pdf}
}
```
Anthony T. Marasco, Edgar Berdahl, and Jesse Allison. 2019. Bendit_I/O: A System for Networked Performance of Circuit-Bent Devices. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 331–334.
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Bendit_I/O is a system that allows for wireless, networked performance of circuit-bent devices, giving artists a new outlet for performing with repurposed technology. In a typical setup, a user pre-bends a device using the Bendit_I/O board as an intermediary, replacing physical switches and potentiometers with the board’s reed relays, motor driver, and digital potentiometer signals. Bendit_I/O brings the networking techniques of distributed music performances to the hardware hacking realm, opening the door for creative implementation of multiple circuit-bent devices in audiovisual experiences. Consisting of a Wi-Fi- enabled I/O board and a Node-based server, the system provides performers with a variety of interaction and control possibilities between connected users and hacked devices. Moreover, it is user-friendly, low-cost, and modular, making it a flexible toolset for artists of diverse experience levels.
```
@inproceedings{Marasco2019,
  author = {Marasco, Anthony T. and Berdahl, Edgar and Allison, Jesse},
  title = {Bendit_I/O: A System for Networked Performance of Circuit-Bent Devices},
  pages = {331--334},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper063.pdf}
}
```
McLean J Macionis and Ajay Kapur. 2019. Where Is The Quiet: Immersive Experience Design Using the Brain, Mechatronics, and Machine Learning. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 335–338.
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’Where Is The Quiet?’ is a mixed-media installation that utilizes immersive experience design, mechatronics, and machine learning in order to enhance wellness and increase connectivity to the natural world. Individuals interact with the installation by wearing a brainwave interface that measures the strength of the alpha wave signal. The interface then transmits the data to a computer that uses it in order to determine the individual’s overall state of relaxation. As the individual achieves higher states of relaxation, mechatronic instruments respond and provide feedback. This feedback not only encourages self-awareness but also it motivates the individual to relax further. Visitors without the headset experience the installation by watching a film and listening to an original musical score. Through the novel arrangement of technologies and features, ’Where Is The Quiet?’ demonstrates that mediated technological experiences are capable of evoking meditative states of consciousness, facilitating individual and group connectivity, and deepening awareness of the natural world. As such, this installation opens the door to future research regarding the possibility of immersive experiences supporting humanitarian needs.
```
@inproceedings{Macionis2019,
  author = {Macionis, McLean J and Kapur, Ajay},
  title = {Where Is The Quiet: Immersive Experience Design Using the Brain, Mechatronics, and Machine Learning},
  pages = {335--338},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper064.pdf}
}
```
Tate Carson. 2019. Mesh Garden: A creative-based musical game for participatory musical performance . Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 339–342.
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Mesh Garden explores participatory music-making with smart- phones using an audio sequencer game made up of a distributed smartphone speaker system. The piece allows a group of people in a relaxed situation to create a piece of ambient music using their smartphones networked through the internet. The players’ interactions with the music are derived from the orientations of their phones. The work also has a gameplay aspect; if two players’ phones match in orientation, one player has the option to take the other player’s note, building up a bank of notes that will be used to form a melody.
```
@inproceedings{Carson2019,
  author = {Carson, Tate},
  title = {Mesh Garden: A creative-based musical game for participatory musical performance },
  pages = {339--342},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper065.pdf}
}
```
Beat Rossmy and Alexander Wiethoff. 2019. The Modular Backward Evolution - Why to Use Outdated Technologies. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 343–348.
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In this paper we draw a picture that captures the increasing interest in the format of modular synthesizers today. We therefore provide a historical summary, which includes the origins, the fall and the rediscovery of that technology. Further an empirical analysis is performed based on statements given by artists and manufacturers taken from published interviews. These statements were aggregated, objectified and later reviewed by an expert group consisting of modular synthesizer vendors. Their responses provide the basis for the discussion on how emerging trends in synthesizer interface design reveal challenges and opportunities for the NIME community.
```
@inproceedings{Rossmy2019,
  author = {Rossmy, Beat and Wiethoff, Alexander},
  title = {The Modular Backward Evolution - Why to Use Outdated Technologies},
  pages = {343--348},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper066.pdf}
}
```
Vincent Goudard. 2019. Ephemeral instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 349–354.
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This article questions the notion of ephemerality of digital musical instruments (DMI). Longevity is generally regarded as a valuable quality that good design criteria should help to achieve. However, the nature of the tools, of the performance conditions and of the music itself may lead to think of ephemerality as an intrinsic modality of the existence of DMIs. In particular, the conditions of contemporary musical production suggest that contextual adaptations of instrumental devices beyond the monolithic unity of classical instruments should be considered. The first two parts of this article analyse various reasons to reassess the issue of longevity and ephemerality. The last two sections attempt to propose an articulation of these two aspects to inform both the design of the DMI and their learning.
```
@inproceedings{Goudard2019,
  author = {Goudard, Vincent},
  title = {Ephemeral instruments},
  pages = {349--354},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper067.pdf}
}
```
Julian Jaramillo and Fernando Iazzetta. 2019. PICO: A portable audio effect box for traditional plucked-string instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 355–360.
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This paper reports the conception, design, implementation and evaluation processes of PICO, a portable audio effect system created with Pure Data and the Raspberry Pi, which augments traditional plucked string instruments such as the Brazilian Cavaquinho, the Venezuelan Cuatro, the Colombian Tiple and the Peruvian/Bolivian Charango. A fabric soft case fixed to the instrument‘s body holds the PICO modules: the touchscreen, the single board computer, the sound card, the speaker system and the DC power bank. The device audio specifications arose from musicological insights about the social role of performers in their musical contexts and the instruments’ playing techniques. They were taken as design challenges in the creation process of PICO‘s first prototype, which was submitted to a short evaluation. Along with the construction of PICO, we reflected over the design of an interactive audio interface as a mode of research. Therefore, the paper will also discuss methodological aspects of audio hardware design.
```
@inproceedings{Jaramillo2019,
  author = {Jaramillo, Julian and Iazzetta, Fernando},
  title = {PICO: A portable audio effect box for traditional plucked-string instruments},
  pages = {355--360},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper068.pdf}
}
```
Guilherme Bertissolo. 2019. Composing Understandings: music, motion, gesture and embodied cognition. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 361–364.
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This paper focuses on ongoing research in music composition based on the study of cognitive research in musical meaning. As a method and result at the same time, we propose the creation of experiments related to key issues in composition and music cognition, such as music and movement, memory, expectation and metaphor in creative process. The theoretical reference approached is linked to the embodied cognition, with unfolding related to the cognitive semantics and the enactivist current of cognitive sciences, among other domains of contemporary sciences of mind and neuroscience. The experiments involve the relationship between music and movement, based on prior research using as a reference context in which it is not possible to establish a clear distinction between them: the Capoeira. Finally, we proposes a discussion about the application of the theoretical approach in two compositions: Boreal IV, for Steel Drums and real time electronics, and Converse, collaborative multimedia piece for piano, real-time audio (Puredata) and video processing (GEM and live video) and a dancer.
```
@inproceedings{Bertissolo2019,
  author = {Bertissolo, Guilherme},
  title = {Composing Understandings: music, motion, gesture and embodied cognition},
  pages = {361--364},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper069.pdf}
}
```
Cristohper Ramos Flores, Jim Murphy, and Michael Norris. 2019. HypeSax: Saxophone acoustic augmentation. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 365–370.
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New interfaces allow performers to access new possibilities of musical expression. Even though interfaces are often designed to be adaptable to different software, most of them rely on external speakers or similar transducers. This often results on disembodiment and acoustic disengagement from the interface, and in the case of augmented instruments, from the instruments themselves. This paper describes a project in which a hybrid system allows an acoustic integration between the sound of acoustic saxophone and electronics.
```
@inproceedings{Ramos-Flores2019,
  author = {Flores, Cristohper Ramos and Murphy, Jim and Norris, Michael},
  title = {HypeSax: Saxophone acoustic augmentation},
  pages = {365--370},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper070.pdf}
}
```
Patrick Chwalek and Joe Paradiso. 2019. CD-Synth: a Rotating, Untethered, Digital Synthesizer. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 371–374.
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We describe the design of an untethered digital synthesizer that can be held and manipulated while broadcasting audio data to a receiving off-the-shelf Bluetooth receiver. The synthesizer allows the user to freely rotate and reorient the instrument while exploiting non-contact light sensing for a truly expressive performance. The system consists of a suite of sensors that convert rotation, orientation, touch, and user proximity into various audio filters and effects operated on preset wave tables, while offering a persistence of vision display for input visualization. This paper discusses the design of the system, including the circuit, mechanics, and software layout, as well as how this device may be incorporated into a performance.
```
@inproceedings{Chwalek2019,
  author = {Chwalek, Patrick and Paradiso, Joe},
  title = {CD-Synth: a Rotating, Untethered, Digital Synthesizer},
  pages = {371--374},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper071.pdf}
}
```
Niccolò Granieri and James Dooley. 2019. Reach: a keyboard-based gesture recognition system for live piano sound modulation. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 375–376.
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This paper presents Reach, a keyboard-based gesture recog- nition system for live piano sound modulation. Reach is a system built using the Leap Motion Orion SDK, Pure Data and a custom C++ OSC mapper1. It provides control over the sound modulation of an acoustic piano using the pi- anist’s ancillary gestures. The system was developed using an iterative design pro- cess, incorporating research findings from two user studies and several case studies. The results that emerged show the potential of recognising and utilising the pianist’s existing technique when designing keyboard-based DMIs, reducing the requirement to learn additional techniques.
```
@inproceedings{Granieri2019,
  author = {Granieri, Niccolò and Dooley, James},
  title = {Reach: a keyboard-based gesture recognition system for live piano sound modulation},
  pages = {375--376},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper072.pdf}
}
```
margaret schedel, Jocelyn Ho, and Matthew Blessing. 2019. Women’s Labor: Creating NIMEs from Domestic Tools . Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 377–380.
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This paper describes the creation of a NIME created from an iron and wooden ironing board. The ironing board acts as a resonator for the system which includes sensors embedded in the iron such as pressure, and piezo microphones. The iron has LEDs wired to the sides and at either end of the board are CCDs; using machine learning we can identify what kind of fabric is being ironed, and the position of the iron along the x and y-axes as well as its rotation and tilt. This instrument is part of a larger project, Women’s Labor, that juxtaposes traditional musical instruments such as spinets and virginals designated for “ladies” with new interfaces for musical expression that repurpose older tools of women’s work. Using embedded technologies, we reimagine domestic tools as musical interfaces, creating expressive instruments from the appliances of women’s chores.
```
@inproceedings{schedel2019,
  author = {margaret schedel and Ho, Jocelyn and Blessing, Matthew},
  title = {Women's Labor: Creating NIMEs from Domestic Tools },
  pages = {377--380},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper073.pdf}
}
```
Andre Rauber Du Bois and Rodrigo Geraldo Ribeiro. 2019. HMusic: A domain specific language for music programming and live coding. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 381–386.
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This paper presents HMusic, a domain specific language based on music patterns that can be used to write music and live coding. The main abstractions provided by the language are patterns and tracks. Code written in HMusic looks like patterns and multi-tracks available in music sequencers and drum machines. HMusic provides primitives to design and compose patterns generating new patterns. The basic abstractions provided by the language have an inductive definition and HMusic is embedded in the Haskell functional programming language, programmers can design functions to manipulate music on the fly.
```
@inproceedings{Rauber-Du-Bois2019,
  author = {Bois, Andre Rauber Du and Ribeiro, Rodrigo Geraldo},
  title = {HMusic: A domain specific language for music programming and live coding},
  pages = {381--386},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper074.pdf}
}
```
Angelo Fraietta. 2019. Stellar Command: a planetarium software based cosmic performance interface. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 387–392.
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This paper presents the use of Stellarium planetarium software coupled with the VizieR database of astronomical catalogues as an interface mechanism for creating astronomy based multimedia performances, and as a music composition interface. The celestial display from Stellarium is used to query VizieR, which then obtains scientic astronomical data from the stars displayed–including colour, celestial position, magnitude and distance–and sends it as input data for music composition or performance. Stellarium and VizieR are controlled through Stellar Command, a software library that couples the two systems and can be used as both a standalone command line utility using Open Sound Control, and as a software library.
```
@inproceedings{Fraietta-b2019,
  author = {Fraietta, Angelo},
  title = {Stellar Command: a planetarium software based cosmic performance interface},
  pages = {387--392},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper075.pdf}
}
```
Patrick Müller and Johannes Michael Schuett. 2019. Towards a Telematic Dimension Space. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 393–400.
Download PDF

Telematic performances connect two or more locations so that participants are able to interact in real time. Such practices blend a variety of dimensions, insofar as the representation of remote performers on a local stage intrinsically occurs on auditory, as well as visual and scenic, levels. Due to their multimodal nature, the analysis or creation of such performances can quickly descend into a house of mirrors wherein certain intensely interdependent dimensions come to the fore, while others are multiplied, seem hidden or are made invisible. In order to have a better understanding of such performances, Dimension Space Analysis, with its capacity to review multifaceted components of a system, can be applied to telematic performances, understood here as (a bundle of) NIMEs. In the second part of the paper, some telematic works from the practices of the authors are described with the toolset developed.
```
@inproceedings{Müller2019,
  author = {Müller, Patrick and Schuett, Johannes Michael},
  title = {Towards a Telematic Dimension Space},
  pages = {393--400},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper076.pdf}
}
```
Pedro Pablo Lucas. 2019. A MIDI Controller Mapper for the Built-in Audio Mixer in the Unity Game Engine. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 401–404.
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Unity is one of the most used engines in the game industry and several extensions have been implemented to increase its features in order to create multimedia products in a more effective and efficient way. From the point of view of audio development, Unity has included an Audio Mixer from version 5 which facilitates the organization of sounds, effects, and the mixing process in general; however, this module can be manipulated only through its graphical interface. This work describes the design and implementation of an extension tool to map parameters from the Audio Mixer to MIDI external devices, like controllers with sliders and knobs, such way the developer can easily mix a game with the feeling of a physical interface.
```
@inproceedings{Lucas-b2019,
  author = {Lucas, Pedro Pablo},
  title = {A MIDI Controller Mapper for the Built-in Audio Mixer in the Unity Game Engine},
  pages = {401--404},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper077.pdf}
}
```
Pedro Pablo Lucas. 2019. AuSynthAR: A simple low-cost modular synthesizer based on Augmented Reality. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 405–406.
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AuSynthAR is a digital instrument based on Augmented Reality (AR), which allows sound synthesis modules to create simple sound networks. It only requires a mobile device, a set of tokens, a sound output device and, optionally, a MIDI controller, which makes it an affordable instrument. An application running on the device generates the sounds and the graphical augmentations over the tokens.
```
@inproceedings{Lucas-c2019,
  author = {Lucas, Pedro Pablo},
  title = {AuSynthAR: A simple low-cost modular synthesizer based on Augmented Reality},
  pages = {405--406},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper078.pdf}
}
```
Don Derek Haddad and Joe Paradiso. 2019. The World Wide Web in an Analog Patchbay. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 407–410.
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This paper introduces a versatile module for Eurorack synthesizers that allows multiple modular synthesizers to be patched together remotely through the world wide web. The module is configured from a read-eval-print-loop environment running in the web browser, that can be used to send signals to the modular synthesizer from a live coding interface or from various data sources on the internet.
```
@inproceedings{Haddad2019,
  author = {Haddad, Don Derek and Paradiso, Joe},
  title = {The World Wide Web in an Analog Patchbay},
  pages = {407--410},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper079.pdf}
}
```
Fou Yoshimura and kazuhiro jo. 2019. A "voice" instrument based on vocal tract models by using soft material for a 3D printer and an electrolarynx. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 411–412.
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In this paper, we propose a “voice” instrument based on vocal tract models with a soft material for a 3D printer and an electrolarynx. In our practice, we explore the incongruity of the voice instrument through the accompanying music production and performance. With the instrument, we aim to return to the fact that the “Machine speaks out.” With the production of a song “Vocalise (Incomplete),” and performances, we reveal how the instrument could work with the audiences and explore the uncultivated field of voices.
```
@inproceedings{Yoshimura2019,
  author = {Yoshimura, Fou and kazuhiro jo},
  title = {A "voice" instrument based on vocal tract models by using soft material for a 3D printer and an electrolarynx},
  pages = {411--412},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper080.pdf}
}
```
Juan Pablo Yepez Placencia, Jim Murphy, and Dale Carnegie. 2019. Exploring Dynamic Variations for Expressive Mechatronic Chordophones. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 413–418.
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Mechatronic chordophones have become increasingly common in mechatronic music. As expressive instruments, they offer multiple techniques to create and manipulate sounds using their actuation mechanisms. Chordophone designs have taken multiple forms, from frames that play a guitar-like instrument, to machines that integrate strings and actuators as part of their frame. However, few of these instruments have taken advantage of dynamics, which have been largely unexplored. This paper details the design and construction of a new picking mechanism prototype which enables expressive techniques through fast and precise movement and actuation. We have adopted iterative design and rapid prototyping strategies to develop and refine a compact picker capable of creating dynamic variations reliably. Finally, a quantitative evaluation process demonstrates that this system offers the speed and consistency of previously existing picking mechanisms, while providing increased control over musical dynamics and articulations.
```
@inproceedings{Yepez-Placencia2019,
  author = {Placencia, Juan Pablo Yepez and Murphy, Jim and Carnegie, Dale},
  title = {Exploring Dynamic Variations for Expressive Mechatronic Chordophones},
  pages = {413--418},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper081.pdf}
}
```
Dhruv Chauhan and Peter Bennett. 2019. Searching for the Perfect Instrument: Increased Telepresence through Interactive Evolutionary Instrument Design. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 419–422.
Download PDF

In this paper, we introduce and explore a novel Virtual Reality musical interaction system (named REVOLVE) that utilises a user-guided evolutionary algorithm to personalise musical instruments to users’ individual preferences. REVOLVE is designed towards being an ‘endlessly entertaining’ experience through the potentially infinite number of sounds that can be produced. Our hypothesis is that using evolutionary algorithms with VR for musical interactions will lead to increased user telepresence. In addition to this, REVOLVE was designed to inform novel research into this unexplored area. Think aloud trials and thematic analysis revealed 5 main themes: control, comparison to the real world, immersion, general usability and limitations, in addition to practical improvements. Overall, it was found that this combination of technologies did improve telepresence levels, proving the original hypothesis correct.
```
@inproceedings{Chauhan2019,
  author = {Chauhan, Dhruv and Bennett, Peter},
  title = {Searching for the Perfect Instrument: Increased Telepresence through Interactive Evolutionary Instrument Design},
  pages = {419--422},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper082.pdf}
}
```
Richard J Savery, Benjamin Genchel, Jason Brent Smith, Anthony Caulkins, Molly E Jones, and Anna Savery. 2019. Learning from History: Recreating and Repurposing Harriet Padberg’s Computer Composed Canon and Free Fugue. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 423–428.
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Harriet Padberg wrote Computer-Composed Canon and Free Fugue as part of her 1964 dissertation in Mathematics and Music at Saint Louis University. This program is one of the earliest examples of text-to-music software and algorithmic composition, which are areas of great interest in the present-day field of music technology. This paper aims to analyze the technological innovation, aesthetic design process, and impact of Harriet Padberg’s original 1964 thesis as well as the design of a modern recreation and utilization, in order to gain insight to the nature of revisiting older works. Here, we present our open source recreation of Padberg’s program with a modern interface and, through its use as an artistic tool by three composers, show how historical works can be effectively used for new creative purposes in contemporary contexts. Not Even One by Molly Jones draws on the historical and social significance of Harriet Padberg through using her program in a piece about the lack of representation of women judges in composition competitions. Brevity by Anna Savery utilizes the original software design as a composition tool, and The Padberg Piano by Anthony Caulkins uses the melodic generation of the original to create a software instrument.
```
@inproceedings{Savery2019,
  author = {Savery, Richard J and Genchel, Benjamin and Smith, Jason Brent and Caulkins, Anthony and Jones, Molly E and Savery, Anna},
  title = {Learning from History: Recreating and Repurposing Harriet Padberg's Computer Composed Canon and Free Fugue},
  pages = {423--428},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper083.pdf}
}
```
Edgar Berdahl, Austin Franklin, and Eric Sheffield. 2019. A Spatially Distributed Vibrotactile Actuator Array for the Fingertips. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 429–430.
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The design of a Spatially Distributed Vibrotactile Actuator Array (SDVAA) for the fingertips is presented. It provides high-fidelity vibrotactile stimulation at the audio sampling rate. Prior works are discussed, and the system is demonstrated using two music compositions by the authors.
```
@inproceedings{Berdahl2019,
  author = {Berdahl, Edgar and Franklin, Austin and Sheffield, Eric},
  title = {A Spatially Distributed Vibrotactile Actuator Array for the Fingertips},
  pages = {429--430},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper084.pdf}
}
```
Jeff Gregorio and Youngmoo Kim. 2019. Augmenting Parametric Synthesis with Learned Timbral Controllers. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 431–436.
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Feature-based synthesis applies machine learning and signal processing methods to the development of alternative interfaces for controlling parametric synthesis algorithms. One approach, geared toward real-time control, uses low dimensional gestural controllers and learned mappings from control spaces to parameter spaces, making use of an intermediate latent timbre distribution, such that the control space affords a spatially-intuitive arrangement of sonic possibilities. Whereas many existing systems present alternatives to the traditional parametric interfaces, the proposed system explores ways in which feature-based synthesis can augment one-to-one parameter control, made possible by fully invertible mappings between control and parameter spaces.
```
@inproceedings{Gregorio2019,
  author = {Gregorio, Jeff and Kim, Youngmoo},
  title = {Augmenting Parametric Synthesis with Learned Timbral Controllers},
  pages = {431--436},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper085.pdf}
}
```
Sang-won Leigh, Abhinandan Jain, and Pattie Maes. 2019. Exploring Human-Machine Synergy and Interaction on a Robotic Instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 437–442.
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This paper introduces studies conducted with musicians that aim to understand modes of human-robot interaction, situated between automation and human augmentation. Our robotic guitar system used for the study consists of various sound generating mechanisms, either driven by software or by a musician directly. The control mechanism allows the musician to have a varying degree of agency over the overall musical direction. We present interviews and discussions on open-ended experiments conducted with music students and musicians. The outcome of this research includes new modes of playing the guitar given the robotic capabilities, and an understanding of how automation can be integrated into instrument-playing processes. The results present insights into how a human-machine hybrid system can increase the efficacy of training or exploration, without compromising human engagement with a task.
```
@inproceedings{Leigh2019,
  author = {Leigh, Sang-won and Jain, Abhinandan and Maes, Pattie},
  title = {Exploring Human-Machine Synergy and Interaction on a Robotic Instrument},
  pages = {437--442},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper086.pdf}
}
```
Sang Won Lee. 2019. Show Them My Screen: Mirroring a Laptop Screen as an Expressive and Communicative Means in Computer Music. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 443–448.
Download PDF

Modern computer music performances often involve a musical instrument that is primarily digital; software runs on a computer, and the physical form of the instrument is the computer. In such a practice, the performance interface is rendered on a computer screen for the performer. There has been a concern in using a laptop as a musical instrument from the audience’s perspective, in that having “a laptop performer sitting behind the screen” makes it difficult for the audience to understand how the performer is creating music. Mirroring a computer screen on a projection screen has been one way to address the concern and reveal the performer’s instrument. This paper introduces and discusses the author’s computer music practice, in which a performer actively considers screen mirroring as an essential part of the performance, beyond visualization of music. In this case, screen mirroring is not complementary, but inevitable from the inception of the performance. The related works listed within explore various roles of screen mirroring in computer music performance and helps us understand empirical and logistical findings in such practices.
```
@inproceedings{Lee2019,
  author = {Lee, Sang Won},
  title = {Show Them My Screen: Mirroring a Laptop Screen as an Expressive and Communicative Means in Computer Music},
  pages = {443--448},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper087.pdf}
}
```
Josh Urban Davis. 2019. IllumiWear: A Fiber-Optic eTextile for MultiMedia Interactions. Proceedings of the International Conference on New Interfaces for Musical Expression, UFRGS, pp. 449–454.
Download PDF

We present IllumiWear, a novel eTextile prototype that uses fiber optics as interactive input and visual output. Fiber optic cables are separated into bundles and then woven like a basket into a bendable glowing fabric. By equipping light emitting diodes to one side of these bundles and photodiode light intensity sensors to the other, loss of light intensity can be measured when the fabric is bent. The sensing technique of IllumiWear is not only able to discriminate between discreet touch, slight bends, and harsh bends, but also recover the location of deformation. In this way, our computational fabric prototype uses its intrinsic means of visual output (light) as a tool for interactive input. We provide design and implementation details for our prototype as well as a technical evaluation of its effectiveness and limitations as an interactive computational textile. In addition, we examine the potential of this prototype’s interactive capabilities by extending our eTextile to create a tangible user interface for audio and visual manipulation.
```
@inproceedings{Davis2019,
  author = {Davis, Josh Urban},
  title = {IllumiWear: A Fiber-Optic eTextile for MultiMedia Interactions},
  pages = {449--454},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Queiroz, Marcelo and Sedó, Anna Xambó},
  year = {2019},
  month = jun,
  publisher = {UFRGS},
  address = {Porto Alegre, Brazil},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2019/nime2019_paper088.pdf}
}
```

2018

Oeyvind Brandtsegg, Trond Engum, and Bernt Isak Wærstad. 2018. Working methods and instrument design for cross-adaptive sessions. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 1–6.
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This paper explores working methods and instrument design for musical performance sessions (studio and live) where cross-adaptive techniques for audio processing are utilized. Cross-adaptive processing uses feature extraction methods and digital processing to allow the actions of one acoustic instrument to influence the timbre of another. Even though the physical interface for the musician is the familiar acoustic instrument, the musical dimensions controlled with the actions on the instrument have been expanded radically. For this reason, and when used in live performance, the cross-adaptive methods constitute new interfaces for musical expression. Not only do the musician control his or her own instrumental expression, but the instrumental actions directly influence the timbre of another instrument in the ensemble, while their own instrument’s sound is modified by the actions of other musicians. In the present paper we illustrate and discuss some design issues relating to the configuration and composition of such tools for different musical situations. Such configurations include among other things the mapping of modulators, the choice of applied effects and processing methods.
```
@inproceedings{Brandtsegg2018,
  author = {Brandtsegg, Oeyvind and Engum, Trond and Wærstad, Bernt Isak},
  title = {Working methods and instrument design for cross-adaptive sessions},
  pages = {1--6},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0001.pdf}
}
```
Eran Egozy and Eun Young Lee. 2018. *12*: Mobile Phone-Based Audience Participation in a Chamber Music Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 7–12.
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*12* is chamber music work composed with the goal of letting audience members have an engaging, individualized, and influential role in live music performance using their mobile phones as custom tailored musical instruments. The goals of direct music making, meaningful communication, intuitive interfaces, and technical transparency led to a design that purposefully limits the number of participating audience members, balances the tradeoffs between interface simplicity and control, and prioritizes the role of a graphics and animation display system that is both functional and aesthetically integrated. Survey results from the audience and stage musicians show a successful and engaging experience, and also illuminate the path towards future improvements.
```
@inproceedings{Egozy2018,
  author = {Egozy, Eran and Lee, Eun Young},
  title = {*12*: Mobile Phone-Based Audience Participation in a Chamber Music Performance},
  pages = {7--12},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0002.pdf}
}
```
Anders Lind. 2018. Animated Notation in Multiple Parts for Crowd of Non-professional Performers. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 13–18.
Download PDF

The Max Maestro – an animated music notation system was developed to enable the exploration of artistic possibilities for composition and performance practices within the field of contemporary art music, more specifically, to enable a large crowd of non-professional performers regardless of their musical background to perform a fixed music compositions written in multiple individual parts. Furthermore, the Max Maestro was developed to facilitate concert hall performances where non-professional performers could be synchronised with an electronic music part. This paper presents the background, the content and the artistic ideas with the Max Maestro system and gives two examples of live concert hall performances where the Max Maestro was used. An artistic research approach with an auto ethnographic method was adopted for the study. This paper contributes with new knowledge to the field of animated music notation.
```
@inproceedings{Lind2018,
  author = {Lind, Anders},
  title = {Animated Notation in Multiple Parts for Crowd of Non-professional Performers},
  pages = {13--18},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0003.pdf}
}
```
Andrew R. Brown, Matthew Horrigan, Arne Eigenfeldt, Toby Gifford, Daniel Field, and Jon McCormack. 2018. Interacting with Musebots. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 19–24.
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Musebots are autonomous musical agents that interact with other musebots to produce music. Inaugurated in 2015, musebots are now an established practice in the field of musical metacreation, which aims to automate aspects of creative practice. Originally musebot development focused on software-only ensembles of musical agents, coded by a community of developers. More recent experiments have explored humans interfacing with musebot ensembles in various ways: including through electronic interfaces in which parametric control of high-level musebot parameters are used; message-based interfaces which allow human users to communicate with musebots in their own language; and interfaces through which musebots have jammed with human musicians. Here we report on the recent developments of human interaction with musebot ensembles and reflect on some of the implications of these developments for the design of metacreative music systems.
```
@inproceedings{Brown2018,
  author = {Brown, Andrew R. and Horrigan, Matthew and Eigenfeldt, Arne and Gifford, Toby and Field, Daniel and McCormack, Jon},
  title = {Interacting with Musebots},
  pages = {19--24},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0004.pdf}
}
```
Chris Kiefer and Cecile Chevalier. 2018. Towards New Modes of Collective Musical Expression through Audio Augmented Reality. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 25–28.
Download PDF

We investigate how audio augmented reality can engender new collective modes of musical expression in the context of a sound art installation, ’Listening Mirrors’, exploring the creation of interactive sound environments for musicians and non-musicians alike. ’Listening Mirrors’ is designed to incorporate physical objects and computational systems for altering the acoustic environment, to enhance collective listening and challenge traditional musician-instrument performance. At a formative stage in exploring audio AR technology, we conducted an audience experience study investigating questions around the potential of audio AR in creating sound installation environments for collective musical expression. We collected interview evidence about the participants’ experience and analysed the data with using a grounded theory approach. The results demonstrated that the technology has the potential to create immersive spaces where an audience can feel safe to experiment musically, and showed how AR can intervene in sound perception to instrumentalise an environment. The results also revealed caveats about the use of audio AR, mainly centred on social inhibition and seamlessness of experience, and finding a balance between mediated worlds so that there is space for interplay between the two.
```
@inproceedings{Kiefer2018,
  author = {Kiefer, Chris and Chevalier, Cecile},
  title = {Towards New Modes of Collective Musical Expression through Audio Augmented Reality},
  pages = {25--28},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0005.pdf}
}
```
Tomoya Matsuura and kazuhiro jo. 2018. Aphysical Unmodeling Instrument: Sound Installation that Re-Physicalizes a Meta-Wind-Instrument Physical Model, Whirlwind. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 29–30.
Download PDF

Aphysical Unmodeling Instrument is the title of a sound installation that re-physicalizes the Whirlwind meta-wind-instrument physical model. We re-implemented the Whirlwind by using real-world physical objects to comprise a sound installation. The sound propagation between a speaker and microphone was used as the delay, and a paper cylinder was employed as the resonator. This paper explains the concept and implementation of this work at the 2017 HANARART exhibition. We examine the characteristics of the work, address its limitations, and discuss the possibility of its interpretation by means of a “re-physicalization.”
```
@inproceedings{Matsuura2018,
  author = {Matsuura, Tomoya and kazuhiro jo},
  title = {Aphysical Unmodeling Instrument: Sound Installation that Re-Physicalizes a Meta-Wind-Instrument Physical Model, Whirlwind},
  pages = {29--30},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0006.pdf}
}
```
Ulf A. S. Holbrook. 2018. An approach to stochastic spatialization - A case of Hot Pocket. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 31–32.
Download PDF

Many common and popular sound spatialisation techniques and methods rely on listeners being positioned in a "sweet-spot” for an optimal listening position in a circle of speakers. This paper discusses a stochastic spatialisation method and its first iteration as implemented for the exhibition Hot Pocket at The Museum of Contemporary Art in Oslo in 2017. This method is implemented in Max and offers a matrix-based amplitude panning methodology which can provide a flexible means for the spatialialisation of sounds.
```
@inproceedings{Holbrook2018,
  author = {Holbrook, Ulf A. S.},
  title = {An approach to stochastic spatialization - A case of Hot Pocket},
  pages = {31--32},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0007.pdf}
}
```
Cory Champion and Mo H Zareei. 2018. AM MODE: Using AM and FM Synthesis for Acoustic Drum Set Augmentation. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 33–34.
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AM MODE is a custom-designed software interface for electronic augmentation of the acoustic drum set. The software is used in the development a series of recordings, similarly titled as AM MODE. Programmed in Max/MSP, the software uses live audio input from individual instruments within the drum set as control parameters for modulation synthesis. By using a combination of microphones and MIDI triggers, audio signal features such as the velocity of the strike of the drum, or the frequency at which the drum resonates, are tracked, interpolated, and scaled to user specifications. The resulting series of recordings is comprised of the digitally generated output of the modulation engine, in addition to both raw and modulated signals from the acoustic drum set. In this way, this project explores drum set augmentation not only at the input and from a performative angle, but also at the output, where the acoustic and the synthesized elements are merged into each other, forming a sonic hybrid.
```
@inproceedings{Champion2018,
  author = {Champion, Cory and Zareei, Mo H},
  title = {AM MODE: Using AM and FM Synthesis for Acoustic Drum Set Augmentation},
  pages = {33--34},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0008.pdf}
}
```
Don Derek Haddad and Joe Paradiso. 2018. Kinesynth: Patching, Modulating, and Mixing a Hybrid Kinesthetic Synthesizer. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 35–36.
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This paper introduces the Kinesynth, a hybrid kinesthetic synthesizer that uses the human body as both an analog mixer and as a modulator using a combination of capacitive sensing in "transmit" mode and skin conductance. This is achieved when the body, through the skin, relays signals from control & audio sources to the inputs of the instrument. These signals can be harnessed from the environment, from within the Kinesynth’s internal synthesizer, or from external instrument, making the Kinesynth a mediator between the body and the environment.
```
@inproceedings{Haddad2018,
  author = {Haddad, Don Derek and Paradiso, Joe},
  title = {Kinesynth: Patching, Modulating, and Mixing a Hybrid Kinesthetic Synthesizer.},
  pages = {35--36},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0009.pdf}
}
```
Riccardo Marogna. 2018. CABOTO: A Graphic-Based Interactive System for Composing and Performing Electronic Music. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 37–42.
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CABOTO is an interactive system for live performance and composition. A graphic score sketched on paper is read by a computer vision system. The graphic elements are scanned following a symbolic-raw hybrid approach, that is, they are recognised and classified according to their shapes but also scanned as waveforms and optical signals. All this information is mapped into the synthesis engine, which implements different kind of synthesis techniques for different shapes. In CABOTO the score is viewed as a cartographic map explored by some navigators. These navigators traverse the score in a semi-autonomous way, scanning the graphic elements found along their paths. The system tries to challenge the boundaries between the concepts of composition, score, performance, instrument, since the musical result will depend both on the composed score and the way the navigators will traverse it during the live performance.
```
@inproceedings{Marogna2018,
  author = {Marogna, Riccardo},
  title = {CABOTO: A Graphic-Based Interactive System for Composing and Performing Electronic Music},
  pages = {37--42},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0010.pdf}
}
```
Gustavo Oliveira da Silveira. 2018. The XT Synth: A New Controller for String Players. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 43–44.
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This paper describes the concept, design, and realization of two iterations of a new controller called the XT Synth. The development of the instrument came from the desire to maintain the expressivity and familiarity of string instruments, while adding the flexibility and power usually found in keyboard controllers. There are different examples of instruments that bring the physicality and expressiveness of acoustic instruments into electronic music, from “Do it yourself” (DIY) products to commercially available ones. This paper discusses the process and the challenges faced when creating a DIY musical instrument and then subsequently transforming the instrument into a product suitable for commercialization.
```
@inproceedings{Oliveira2018,
  author = {Oliveira da Silveira, Gustavo},
  title = {The XT Synth: A New Controller for String Players},
  pages = {43--44},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0011.pdf}
}
```
S. M. Astrid Bin, Nick Bryan-Kinns, and Andrew P. McPherson. 2018. Risky business: Disfluency as a design strategy. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 45–50.
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This paper presents a study examining the effects of disfluent design on audience perception of digital musical instrument (DMI) performance. Disfluency, defined as a barrier to effortless cognitive processing, has been shown to generate better results in some contexts as it engages higher levels of cognition. We were motivated to determine if disfluent design in a DMI would result in a risk state that audiences would be able to perceive, and if this would have any effect on their evaluation of the performance. A DMI was produced that incorporated a disfluent characteristic: It would turn itself off if not constantly moved. Six physically identical instruments were produced, each in one of three versions: Control (no disfluent characteristics), mild disfluency (turned itself off slowly), and heightened disfluency (turned itself off more quickly). 6 percussionists each performed on one instrument for a live audience (N=31), and data was collected in the form of real-time feedback (via a mobile phone app), and post-hoc surveys. Though there was little difference in ratings of enjoyment between the versions of the instrument, the real-time and qualitative data suggest that disfluent behaviour in a DMI may be a way for audiences to perceive and appreciate performer skill.
```
@inproceedings{Bin2018,
  author = {Bin, S. M. Astrid and Bryan-Kinns, Nick and McPherson, Andrew P.},
  title = {Risky business: Disfluency as a design strategy},
  pages = {45--50},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0012.pdf}
}
```
Rachel Gibson. 2018. The Theremin Textural Expander. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 51–52.
Download PDF

The voice of the theremin is more than just a simple sine wave. Its unique sound is made through two radio frequency oscillators that, when operating at almost identical frequencies, gravitate towards each other. Ultimately, this pull alters the sine wave, creating the signature sound of the theremin. The Theremin Textural Expander (TTE) explores other textures the theremin can produce when its sound is processed and manipulated through a Max/MSP patch and controlled via a MIDI pedalboard. The TTE extends the theremin’s ability, enabling it to produce five distinct new textures beyond the original. It also features a looping system that the performer can use to layer textures created with the traditional theremin sound. Ultimately, this interface introduces a new way to play and experience the theremin; it extends its expressivity, affording a greater range of compositional possibilities and greater flexibility in free improvisation contexts.
```
@inproceedings{Gibson2018,
  author = {Gibson, Rachel},
  title = {The Theremin Textural Expander},
  pages = {51--52},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0013.pdf}
}
```
Mert Toka, Can Ince, and Mehmet Aydin Baytas. 2018. Siren: Interface for Pattern Languages. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 53–58.
Download PDF

This paper introduces Siren, a hybrid system for algorithmic composition and live-coding performances. Its hierarchical structure allows small modifications to propagate and aggregate on lower levels for dramatic changes in the musical output. It uses functional programming language TidalCycles as the core pattern creation environment due to its inherent ability to create complex pattern relations with minimal syntax. Borrowing the best from TidalCycles, Siren augments the pattern creation process by introducing various interface level features: a multi-channel sequencer, local and global parameters, mathematical expressions, and pattern history. It presents new opportunities for recording, refining, and reusing the playback information with the pattern roll component. Subsequently, the paper concludes with a preliminary evaluation of Siren in the context of user interface design principles, which originates from the cognitive dimensions framework for musical notation design.
```
@inproceedings{Toka2018,
  author = {Toka, Mert and Ince, Can and Baytas, Mehmet Aydin},
  title = {Siren: Interface for Pattern Languages},
  pages = {53--58},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0014.pdf}
}
```
Spencer Salazar, Andrew Piepenbrink, and Sarah Reid. 2018. Developing a Performance Practice for Mobile Music Technology. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 59–64.
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This paper documents an extensive and varied series of performances by the authors over the past year using mobile technology, primarily iPad tablets running the Auraglyph musical sketchpad software. These include both solo and group performances, the latter under the auspices of the Mobile Ensemble of CalArts (MECA), a group created to perform music with mobile technology devices. As a whole, this diverse mobile technology-based performance practice leverages Auraglyph’s versatility to explore a number of topical issues in electronic music performance, including the use of physical and acoustical space, audience participation, and interaction design of musical instruments.
```
@inproceedings{Salazar2018,
  author = {Salazar, Spencer and Piepenbrink, Andrew and Reid, Sarah},
  title = {Developing a Performance Practice for Mobile Music Technology},
  pages = {59--64},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0015.pdf}
}
```
Ali Momeni, Daniel McNamara, and Jesse Stiles. 2018. MOM: an Extensible Platform for Rapid Prototyping and Design of Electroacoustic Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 65–71.
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This paper provides an overview of the design, prototyping, deployment and evaluation of a multi-agent interactive sound instrument named MOM (Mobile Object for Music). MOM combines a real-time signal processing engine implemented with Pure Data on an embedded Linux platform, with gestural interaction implemented via a variety of analog and digital sensors. Power, sound-input and sound-diffusion subsystems make the instrument autonomous and mobile. This instrument was designed in coordination with the development of an evening-length dance/music performance in which the performing musician is engaged in choreographed movements with the mobile instruments. The design methodology relied on a participatory process that engaged an interdisciplinary team made up of technologists, musicians, composers, choreographers, and dancers. The prototyping process relied on a mix of in-house and out-sourced digital fabrication processes intended to make the open source hardware and software design of the system accessible and affordable for other creators.
```
@inproceedings{Momeni2018,
  author = {Momeni, Ali and McNamara, Daniel and Stiles, Jesse},
  title = {MOM: an Extensible Platform for Rapid Prototyping and Design of Electroacoustic Instruments},
  pages = {65--71},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0016.pdf}
}
```
Ben Luca Robertson and Luke Dahl. 2018. Harmonic Wand: An Instrument for Microtonal Control and Gestural Excitation. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 72–77.
Download PDF

The Harmonic Wand is a transducer-based instrument that combines physical excitation, synthesis, and gestural control. Our objective was to design a device that affords exploratory modes of interaction with the performer’s surroundings, as well as precise control over microtonal pitch content and other concomitant parameters. The instrument is comprised of a hand-held wand, containing two piezo-electric transducers affixed to a pair of metal probes. The performer uses the wand to physically excite surfaces in the environment and capture resultant signals. Input materials are then processed using a novel application of Karplus-Strong synthesis, in which these impulses are imbued with discrete resonances. We achieved gestural control over synthesis parameters using a secondary tactile interface, consisting of four force-sensitive resistors (FSR), a fader, and momentary switch. As a unique feature of our instrument, we modeled pitch organization and associated parametric controls according to theoretical principles outlined in Harry Partch’s “monophonic fabric” of Just Intonation—specifically his conception of odentities, udentities, and a variable numerary nexus. This system classifies pitch content based upon intervallic structures found in both the overtone and undertone series. Our paper details the procedural challenges in designing the Harmonic Wand.
```
@inproceedings{Robertson2018,
  author = {Robertson, Ben Luca and Dahl, Luke},
  title = {Harmonic Wand:  An Instrument for Microtonal Control and Gestural Excitation},
  pages = {72--77},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0017.pdf}
}
```
McLean J Macionis and Ajay Kapur. 2018. Sansa: A Modified Sansula for Extended Compositional Techniques Using Machine Learning. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 78–81.
Download PDF

Sansa is an extended sansula, a hyper-instrument that is similar in design and functionality to a kalimba or thumb piano. At the heart of this interface is a series of sensors that are used to augment the tone and expand the performance capabilities of the instrument. The sensor data is further exploited using the machine learning program Wekinator, which gives users the ability to interact and perform with the instrument using several different modes of operation. In this way, Sansa is capable of both solo acoustic performances as well as complex productions that require interactions between multiple technological mediums. Sansa expands the current community of hyper-instruments by demonstrating the ways that hardware and software can extend an acoustic instrument’s functionality and playability in a live performance or studio setting.
```
@inproceedings{Macionis2018,
  author = {Macionis, McLean J and Kapur, Ajay},
  title = {Sansa: A Modified Sansula for Extended Compositional Techniques Using Machine Learning},
  pages = {78--81},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0018.pdf}
}
```
Luca Turchet and Mathieu Barthet. 2018. Demo of interactions between a performer playing a Smart Mandolin and audience members using Musical Haptic Wearables. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 82–83.
Download PDF

This demo will showcase technologically mediated interactions between a performer playing a smart musical instrument (SMIs) and audience members using Musical Haptic Wearables (MHWs). Smart Instruments are a family of musical instruments characterized by embedded computational intelligence, wireless connectivity, an embedded sound delivery system, and an onboard system for feedback to the player. They offer direct point-to-point communication between each other and other portable sensor-enabled devices connected to local networks and to the Internet. MHWs are wearable devices for audience members, which encompass haptic stimulation, gesture tracking, and wireless connectivity features. This demo will present an architecture enabling the multidirectional creative communication between a performer playing a Smart Mandolin and audience members using armband-based MHWs.
```
@inproceedings{Turchet2018,
  author = {Turchet, Luca and Barthet, Mathieu},
  title = {Demo of interactions between a performer playing a Smart Mandolin and audience members using Musical Haptic Wearables},
  pages = {82--83},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0019.pdf}
}
```
Steven Kemper and Scott Barton. 2018. Mechatronic Expression: Reconsidering Expressivity in Music for Robotic Instruments . Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 84–87.
Download PDF

Robotic instrument designers tend to focus on the number of sound control parameters and their resolution when trying to develop expressivity in their instruments. These parameters afford greater sonic nuance related to elements of music that are traditionally associated with expressive human performances including articulation, timbre, dynamics, and phrasing. Equating the capacity for sonic nuance and musical expression stems from the “transitive” perspective that musical expression is an act of emotional communication from performer to listener. However, this perspective is problematic in the case of robotic instruments since we do not typically consider machines to be capable of expressing emotion. Contemporary theories of musical expression focus on an “intransitive” perspective, where musical meaning is generated as an embodied experience. Understanding expressivity from this perspective allows listeners to interpret performances by robotic instruments as possessing their own expressive meaning, even though the performer is a machine. It also enables musicians working with robotic instruments to develop their own unique vocabulary of expressive gestures unique to mechanical instruments. This paper explores these issues of musical expression, introducing the concept of mechatronic expression as a compositional and design strategy that highlights the musical and performative capabilities unique to robotic instruments.
```
@inproceedings{Kemper2018,
  author = {Kemper, Steven and Barton, Scott},
  title = {Mechatronic Expression: Reconsidering Expressivity in Music for Robotic Instruments },
  pages = {84--87},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0020.pdf}
}
```
Courtney Brown. 2018. Interactive Tango Milonga: Designing DMIs for the Social Dance Context . Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 88–91.
Download PDF

Musical participation has brought individuals together in on-going communities throughout human history, aiding in the kinds of social integration essential for wellbeing. The design of Digital Musical Instruments (DMIs), however, has generally been driven by idiosyncratic artistic concerns, Western art music and dance traditions of expert performance, and short-lived interactive art installations engaging a broader public of musical novices. These DMIs rarely engage with the problems of on-going use in musical communities with existing performance idioms, repertoire, and social codes with participants representing the full learning curve of musical skill, such as social dance. Our project, Interactive Tango Milonga, an interactive Argentine tango dance system for social dance addresses these challenges in order to innovate connection, the feeling of intense relation between dance partners, music, and the larger tango community.
```
@inproceedings{Brown-b2018,
  author = {Brown, Courtney},
  title = {Interactive Tango Milonga: Designing DMIs for the Social Dance Context },
  pages = {88--91},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0021.pdf}
}
```
Rebecca Kleinberger. 2018. Vocal Musical Expression with a Tactile Resonating Device and its Psychophysiological Effects. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 92–95.
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This paper presents an experiment to investigate how new types of vocal practices can affect psychophysiological activity. We know that health can influence the voice, but can a certain use of the voice influence health through modification of mental and physical state? This study took place in the setting of the Vocal Vibrations installation. For the experiment, participants engage in a multi sensory vocal exercise with a limited set of guidance to obtain a wide spectrum of vocal performances across participants. We compare characteristics of those vocal practices to the participant’s heart rate, breathing rate, electrodermal activity and mental states. We obtained significant results suggesting that we can correlate psychophysiological states with characteristics of the vocal practice if we also take into account biographical information, and in particular mea- surement of how much people “like” their own voice.
```
@inproceedings{Kleinberger2018,
  author = {Kleinberger, Rebecca},
  title = {Vocal Musical Expression with a Tactile Resonating Device and its Psychophysiological Effects},
  pages = {92--95},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0022.pdf}
}
```
Patrick Palsbröker, Christine Steinmeier, and Dominic Becking. 2018. A Framework for Modular VST-based NIMEs Using EDA and Dependency Injection. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 96–101.
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In order to facilitate access to playing music spontaneously, the prototype of an instrument which allows a more natural learning approach was developed as part of the research project Drum-Dance-Music-Machine. The result was a modular system consisting of several VST plug-ins, which on the one hand provides a drum interface to create sounds and tones and on the other hand generates or manipulates music through dance movement, in order to simplify the understanding of more abstract characteristics of music. This paper describes the development of a new software concept for the prototype, which since then has been further developed and evaluated several times. This will improve the maintainability and extensibility of the system and eliminate design weaknesses. To do so, the existing system first will be analyzed and requirements for a new framework, which is based on the concepts of event driven architecture and dependency injection, will be defined. The components are then transferred to the new system and their performance is assessed. The approach chosen in this case study and the lessons learned are intended to provide a viable solution for solving similar problems in the development of modular VST-based NIMEs.
```
@inproceedings{Palsbröker2018,
  author = {Palsbröker, Patrick and Steinmeier, Christine and Becking, Dominic},
  title = {A Framework for Modular VST-based NIMEs Using EDA and Dependency Injection},
  pages = {96--101},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0023.pdf}
}
```
Jack Atherton and Ge Wang. 2018. Chunity: Integrated Audiovisual Programming in Unity. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 102–107.
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Chunity is a programming environment for the design of interactive audiovisual games, instruments, and experiences. It embodies an audio-driven, sound-first approach that integrates audio programming and graphics programming in the same workflow, taking advantage of strongly-timed audio programming features of the ChucK programming language and the state-of-the-art real-time graphics engine found in Unity. We describe both the system and its intended workflow for the creation of expressive audiovisual works. Chunity was evaluated as the primary software platform in a computer music and design course, where students created a diverse assortment of interactive audiovisual software. We present results from the evaluation and discuss Chunity’s usability, utility, and aesthetics as a way of working. Through these, we argue for Chunity as a unique and useful way to program sound, graphics, and interaction in tandem, giving users the flexibility to use a game engine to do much more than "just" make games.
```
@inproceedings{Atherton2018,
  author = {Atherton, Jack and Wang, Ge},
  title = {Chunity: Integrated Audiovisual Programming in Unity},
  pages = {102--107},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0024.pdf}
}
```
Steffan Carlos Ianigro and Oliver Bown. 2018. Exploring Continuous Time Recurrent Neural Networks through Novelty Search. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 108–113.
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In this paper we expand on prior research into the use of Continuous Time Recurrent Neural Networks (CTRNNs) as evolvable generators of musical structures such as audio waveforms. This type of neural network has a compact structure and is capable of producing a large range of temporal dynamics. Due to these properties, we believe that CTRNNs combined with evolutionary algorithms (EA) could offer musicians many creative possibilities for the exploration of sound. In prior work, we have explored the use of interactive and target-based EA designs to tap into the creative possibilities of CTRNNs. Our results have shown promise for the use of CTRNNs in the audio domain. However, we feel neither EA designs allow both open-ended discovery and effective navigation of the CTRNN audio search space by musicians. Within this paper, we explore the possibility of using novelty search as an alternative algorithm that facilitates both open-ended and rapid discovery of the CTRNN creative search space.
```
@inproceedings{Ianigro2018,
  author = {Ianigro, Steffan Carlos and Bown, Oliver},
  title = {Exploring Continuous Time Recurrent Neural Networks through Novelty Search},
  pages = {108--113},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0025.pdf}
}
```
John Bowers and Owen Green. 2018. All the Noises: Hijacking Listening Machines for Performative Research. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 114–119.
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Research into machine listening has intensified in recent years creating a variety of techniques for recognising musical features suitable, for example, in musicological analysis or commercial application in song recognition. Within NIME, several projects exist seeking to make these techniques useful in real-time music making. However, we debate whether the functionally-oriented approaches inherited from engineering domains that much machine listening research manifests is fully suited to the exploratory, divergent, boundary-stretching, uncertainty-seeking, playful and irreverent orientations of many artists. To explore this, we engaged in a concerted collaborative design exercise in which many different listening algorithms were implemented and presented with input which challenged their customary range of application and the implicit norms of musicality which research can take for granted. An immersive 3D spatialised multichannel environment was created in which the algorithms could be explored in a hybrid installation/performance/lecture form of research presentation. The paper closes with reflections on the creative value of ‘hijacking’ formal approaches into deviant contexts, the typically undocumented practical know-how required to make algorithms work, the productivity of a playfully irreverent relationship between engineering and artistic approaches to NIME, and a sketch of a sonocybernetic aesthetics for our work.
```
@inproceedings{Bowers2018,
  author = {Bowers, John and Green, Owen},
  title = {All the Noises: Hijacking Listening Machines for Performative Research},
  pages = {114--119},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0026.pdf}
}
```
Rodrigo Schramm, Federico Visi, André Brasil, and Marcelo O Johann. 2018. A polyphonic pitch tracking embedded system for rapid instrument augmentation. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 120–125.
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This paper presents a system for easily augmenting polyphonic pitched instruments. The entire system is designed to run on a low-cost embedded computer, suitable for live performance and easy to customise for different use cases. The core of the system implements real-time spectrum factorisation, decomposing polyphonic audio input signals into music note activations. New instruments can be easily added to the system with the help of custom spectral template dictionaries. Instrument augmentation is achieved by replacing or mixing the instrument’s original sounds with a large variety of synthetic or sampled sounds, which follow the polyphonic pitch activations.
```
@inproceedings{Schramm2018,
  author = {Schramm, Rodrigo and Visi, Federico and Brasil, André and Johann, Marcelo O},
  title = {A polyphonic pitch tracking embedded system for rapid instrument augmentation},
  pages = {120--125},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0027.pdf}
}
```
Koray Tahiroglu, Michael Gurevich, and R. Benjamin Knapp. 2018. Contextualising Idiomatic Gestures in Musical Interactions with NIMEs. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 126–131.
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This paper introduces various ways that idiomatic gestures emerge in performance practice with new musical instruments. It demonstrates that idiomatic gestures can play an important role in the development of personalized performance practices that can be the basis for the development of style and expression. Three detailed examples – biocontrollers, accordion-inspired instruments, and a networked intelligent controller – illustrate how a complex suite of factors throughout the design, composition and performance processes can influence the development of idiomatic gestures. We argue that the explicit consideration of idiomatic gestures throughout the life cycle of new instruments can facilitate the emergence of style and give rise to performances that can develop rich layers of meaning.
```
@inproceedings{Tahiroglu2018,
  author = {Tahiroglu, Koray and Gurevich, Michael and Knapp, R. Benjamin},
  title = {Contextualising Idiomatic Gestures in Musical Interactions with NIMEs},
  pages = {126--131},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0028.pdf}
}
```
Lamtharn Hantrakul. 2018. GestureRNN: A neural gesture system for the Roli Lightpad Block. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 132–137.
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Machine learning and deep learning has recently made a large impact in the artistic community. In many of these applications however, the model is often used to render the high dimensional output directly e.g. every individual pixel in the final image. Humans arguably operate in much lower dimensional spaces during the creative process e.g. the broad movements of a brush. In this paper, we design a neural gesture system for music generation based around this concept. Instead of directly generating audio, we train a Long Short Term Memory (LSTM) recurrent neural network to generate instantaneous position and pressure on the Roli Lightpad instrument. These generated coordinates in turn, give rise to the sonic output defined in the synth engine. The system relies on learning these movements from a musician who has already developed a palette of musical gestures idiomatic to the Lightpad. Unlike many deep learning systems that render high dimensional output, our low-dimensional system can be run in real-time, enabling the first real time gestural duet of its kind between a player and a recurrent neural network on the Lightpad instrument.
```
@inproceedings{Hantrakul2018,
  author = {Hantrakul, Lamtharn},
  title = {GestureRNN:  A neural gesture system for the Roli Lightpad Block},
  pages = {132--137},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0029.pdf}
}
```
Balandino Di Donato, Jamie Bullock, and Atau Tanaka. 2018. Myo Mapper: a Myo armband to OSC mapper. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 138–143.
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Myo Mapper is a free and open source cross-platform application to map data from the gestural device Myo armband into Open Sound Control (OSC) messages. It represents a ‘quick and easy’ solution for exploring the Myo’s potential for realising new interfaces for musical expression. Together with details of the software, this paper reports some applications in which Myo Mapper has been successfully used and a qualitative evaluation. We then proposed guidelines for using Myo data in interactive artworks based on insight gained from the works described and the evaluation. Findings show that Myo Mapper empowers artists and non-skilled developers to easily take advantage of Myo data high-level features for realising interactive artistic works. It also facilitates the recognition of poses and gestures beyond those included with the product by using third-party interactive machine learning software.
```
@inproceedings{DiDonato2018,
  author = {Di Donato, Balandino and Bullock, Jamie and Tanaka, Atau},
  title = {Myo Mapper: a Myo armband to OSC mapper},
  pages = {138--143},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0030.pdf}
}
```
Federico Visi and Luke Dahl. 2018. Real-Time Motion Capture Analysis and Music Interaction with the Modosc Descriptor Library. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 144–147.
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We present modosc, a set of Max abstractions designed for computing motion descriptors from raw motion capture data in real time. The library contains methods for extracting descriptors useful for expressive movement analysis and sonic interaction design. modosc is designed to address the data handling and synchronization issues that often arise when working with complex marker sets. This is achieved by adopting a multiparadigm approach facilitated by odot and Open Sound Control to overcome some of the limitations of conventional Max programming, and structure incoming and outgoing data streams in a meaningful and easily accessible manner. After describing the contents of the library and how data streams are structured and processed, we report on a sonic interaction design use case involving motion feature extraction and machine learning.
```
@inproceedings{Visi2018,
  author = {Visi, Federico and Dahl, Luke},
  title = {Real-Time Motion Capture Analysis and Music Interaction with the Modosc Descriptor Library},
  pages = {144--147},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0031.pdf}
}
```
Cagan Arslan, Florent Berthaut, Jean Martinet, Ioan Marius Bilasco, and Laurent Grisoni. 2018. The Phone with the Flow: Combining Touch + Optical Flow in Mobile Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 148–151.
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Mobile devices have been a promising platform for musical performance thanks to the various sensors readily available on board. In particular, mobile cameras can provide rich input as they can capture a wide variety of user gestures or environment dynamics. However, this raw camera input only provides continuous parameters and requires expensive computation. In this paper, we propose to combine motion/gesture input with the touch input, in order to filter movement information both temporally and spatially, thus increasing expressiveness while reducing computation time. We present a design space which demonstrates the diversity of interactions that our technique enables. We also report the results of a user study in which we observe how musicians appropriate the interaction space with an example instrument.
```
@inproceedings{Arslan2018,
  author = {Arslan, Cagan and Berthaut, Florent and Martinet, Jean and Bilasco, Ioan Marius and Grisoni, Laurent},
  title = {The Phone with the Flow: Combining Touch + Optical Flow in Mobile Instruments},
  pages = {148--151},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0032.pdf}
}
```
Lars Engeln, Dietrich Kammer, Leon Brandt, and Rainer Groh. 2018. Multi-Touch Enhanced Visual Audio-Morphing. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 152–155.
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Many digital interfaces for audio effects still resemble racks and cases of their hardware counterparts. For instance, DSP-algorithms are often adjusted via direct value input, sliders, or knobs. While recent research has started to experiment with the capabilities offered by modern interfaces, there are no examples for productive applications such as audio-morphing. Audio-morphing as a special field of DSP has a high complexity for the morph itself and for the parametrization of the transition between two sources. We propose a multi-touch enhanced interface for visual audiomorphing. This interface visualizes the internal processing and allows direct manipulation of the morphing parameters in the visualization. Using multi-touch gestures to manipulate audio-morphing in a visual way, sound design and music production becomes more unrestricted and creative.
```
@inproceedings{Engeln2018,
  author = {Engeln, Lars and Kammer, Dietrich and Brandt, Leon and Groh, Rainer},
  title = {Multi-Touch Enhanced Visual Audio-Morphing},
  pages = {152--155},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0033.pdf}
}
```
Anıl Çamcı. 2018. GrainTrain: A Hand-drawn Multi-touch Interface for Granular Synthesis. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 156–161.
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We describe an innovative multi-touch performance tool for real-time granular synthesis based on hand-drawn waveform paths. GrainTrain is a cross-platform web application that can run on both desktop and mobile computers, including tablets and phones. In this paper, we first offer an analysis of existing granular synthesis tools from an interaction stand-point, and outline a taxonomy of common interaction paradigms used in their designs. We then delineate the implementation of GrainTrain, and its unique approach to controlling real-time granular synthesis. We describe practical scenarios in which GrainTrain enables new performance possibilities. Finally, we discuss the results of a user study, and provide reports from expert users who evaluated GrainTrain.
```
@inproceedings{Çamcı2018,
  author = {Çamcı, Anıl},
  title = {GrainTrain: A Hand-drawn Multi-touch Interface for Granular Synthesis},
  pages = {156--161},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0034.pdf}
}
```
gus xia and Roger B. Dannenberg. 2018. ShIFT: A Semi-haptic Interface for Flute Tutoring. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 162–167.
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Traditional instrument learning procedure is time-consuming; it begins with learning music notations and necessitates layers of sophistication and abstraction. Haptic interfaces open another door to the music world for the vast majority of talentless beginners when traditional training methods are not effective. However, the existing haptic interfaces can only be used to learn specially designed pieces with great restrictions on duration and pitch range due to the fact that it is only feasible to guide a part of performance motion haptically for most instruments. Our study breaks such restrictions using a semi-haptic guidance method. For the first time, the pitch range of the haptically learned pieces go beyond an octave (with the fingering motion covers most of the possible choices) and the duration of learned pieces cover a whole phrase. This significant change leads to a more realistic instrument learning process. Experiments show that semi-haptic interface is effective as long as learners are not “tone deaf”. Using our prototype device, the learning rate is about 30% faster compared with learning from videos.
```
@inproceedings{xia2018,
  author = {gus xia and Dannenberg, Roger B.},
  title = {ShIFT: A Semi-haptic Interface for Flute Tutoring},
  pages = {162--167},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0035.pdf}
}
```
Fabio Morreale, Andrew P. McPherson, and Marcelo Wanderley. 2018. NIME Identity from the Performer’s Perspective. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 168–173.
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The term ‘NIME’ - New Interfaces for Musical Expression - has come to signify both technical and cultural characteristics. Not all new musical instruments are NIMEs, and not all NIMEs are defined as such for the sole ephemeral condition of being new. So, what are the typical characteristics of NIMEs and what are their roles in performers’ practice? Is there a typical NIME repertoire? This paper aims to address these questions with a bottom up approach. We reflect on the answers of 78 NIME performers to an online questionnaire discussing their performance experience with NIMEs. The results of our investigation explore the role of NIMEs in the performers’ practice and identify the values that are common among performers. We find that most NIMEs are viewed as exploratory tools created by and for performers, and that they are constantly in development and almost in no occasions in a finite state. The findings of our survey also reflect upon virtuosity with NIMEs, whose peculiar performance practice results in learning trajectories that often do not lead to the development of virtuosity as it is commonly understood in traditional performance.
```
@inproceedings{Morreale2018,
  author = {Morreale, Fabio and McPherson, Andrew P. and Wanderley, Marcelo},
  title = {NIME Identity from the Performer's Perspective},
  pages = {168--173},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0036.pdf}
}
```
Anna Xambó. 2018. Who Are the Women Authors in NIME?–Improving Gender Balance in NIME Research. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 174–177.
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In recent years, there has been an increase in awareness of the underrepresentation of women in the sound and music computing fields. The New Interfaces for Musical Expression (NIME) conference is not an exception, with a number of open questions remaining around the issue. In the present paper, we study the presence and evolution over time of women authors in NIME since the beginning of the conference in 2001 until 2017. We discuss the results of such a gender imbalance and potential solutions by summarizing the actions taken by a number of worldwide initiatives that have put an effort into making women’s work visible in our field, with a particular emphasis on Women in Music Tech (WiMT), a student-led organization that aims to encourage more women to join music technology, as a case study. We conclude with a hope for an improvement in the representation of women in NIME by presenting WiNIME, a public online database that details who are the women authors in NIME.
```
@inproceedings{Xambó2018,
  author = {Xambó, Anna},
  title = {Who Are the Women Authors in NIME?–Improving Gender Balance in NIME Research},
  pages = {174--177},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0037.pdf}
}
```
Sarah Reid, Sara Sithi-Amnuai, and Ajay Kapur. 2018. Women Who Build Things: Gestural Controllers, Augmented Instruments, and Musical Mechatronics. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 178–183.
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This paper presents a collection of hardware-based technologies for live performance developed by women over the last few decades. The field of music technology and interface design has a significant gender imbalance, with men greatly outnumbering women. The purpose of this paper is to promote the visibility and representation of women in this field, and to encourage discussion on the importance of mentorship and role models for young women and girls in music technology.
```
@inproceedings{Reid2018,
  author = {Reid, Sarah and Sithi-Amnuai, Sara and Kapur, Ajay},
  title = {Women Who Build Things: Gestural Controllers, Augmented Instruments, and Musical Mechatronics},
  pages = {178--183},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0038.pdf}
}
```
Robert H Jack, Jacob Harrison, Fabio Morreale, and Andrew P. McPherson. 2018. Democratising DMIs: the relationship of expertise and control intimacy. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 184–189.
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An oft-cited aspiration of digital musical instrument (DMI) design is to create instruments, in the words of Wessel and Wright, with a ‘low entry fee and no ceiling on virtuosity’. This is a difficult task to achieve: many new instruments are aimed at either the expert or amateur musician, with few instruments catering for both. There is often a balance between learning curve and the nuance of musical control in DMIs. In this paper we present a study conducted with non-musicians and guitarists playing guitar-derivative DMIs with variable levels of control intimacy: how the richness and nuance of a performer’s movement translates into the musical output of an instrument. Findings suggest a significant difference in preference for levels of control intimacy between the guitarists and the non-musicians. In particular, the guitarists unanimously preferred the richest of the two settings whereas the non-musicians generally preferred the setting with lower richness. This difference is notable because it is often taken as a given that increasing richness is a way to make instruments more enjoyable to play, however, this result only seems to be true for expert players.
```
@inproceedings{Jack2018,
  author = {Jack, Robert H and Harrison, Jacob and Morreale, Fabio and McPherson, Andrew P.},
  title = {Democratising DMIs: the relationship of expertise and control intimacy},
  pages = {184--189},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0039.pdf}
}
```
Adnan Marquez-Borbon and Juan Pablo Martinez-Avila. 2018. The Problem of DMI Adoption and Longevity: Envisioning a NIME Performance Pedagogy. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 190–195.
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This paper addresses the prevailing longevity problem of digital musical instruments (DMIs) in NIME research and design by proposing a holistic system design approach. Despite recent efforts to examine the main contributing factors of DMI falling into obsolescence, such attempts to remedy this issue largely place focus on the artifacts establishing themselves, their design processes and technologies. However, few existing studies have attempted to proactively build a community around technological platforms for DMIs, whilst bearing in mind the social dynamics and activities necessary for a budding community. We observe that such attempts while important in their undertaking, are limited in their scope. In this paper we will discuss that achieving some sort of longevity must be addressed beyond the device itself and must tackle broader ecosystemic factors. We hypothesize, that a longevous DMI design must not only take into account a target community but it may also require a non-traditional pedagogical system that sustains artistic practice.
```
@inproceedings{Marquez-Borbon2018,
  author = {Marquez-Borbon, Adnan and Martinez-Avila, Juan Pablo},
  title = {The Problem of DMI Adoption and Longevity: Envisioning a NIME Performance Pedagogy},
  pages = {190--195},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0040.pdf}
}
```
Charles Patrick Martin, Alexander Refsum Jensenius, and Jim Torresen. 2018. Composing an Ensemble Standstill Work for Myo and Bela. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 196–197.
Download PDF

This paper describes the process of developing a standstill performance work using the Myo gesture control armband and the Bela embedded computing platform. The combination of Myo and Bela allows a portable and extensible version of the standstill performance concept while introducing muscle tension as an additional control parameter. We describe the technical details of our setup and introduce Myo-to-Bela and Myo-to-OSC software bridges that assist with prototyping compositions using the Myo controller.
```
@inproceedings{Martin2018,
  author = {Martin, Charles Patrick and Jensenius, Alexander Refsum and Torresen, Jim},
  title = {Composing an Ensemble Standstill Work for Myo and Bela},
  pages = {196--197},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0041.pdf}
}
```
Alex Nieva, Johnty Wang, Joseph Malloch, and Marcelo Wanderley. 2018. The T-Stick: Maintaining a 12 year-old Digital Musical Instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 198–199.
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This paper presents the work to maintain several copies of the digital musical instrument (DMI) called the T-Stick in the hopes of extending their useful lifetime. The T-Sticks were originally conceived in 2006 and 20 copies have been built over the last 12 years. While they all preserve the original design concept, their evolution resulted in variations in choice of microcontrollers, and sensors. We worked with eight copies of the second and fourth generation T-Sticks to overcome issues related to the aging of components, changes in external software, lack of documentation, and in general, the problem of technical maintenance.
```
@inproceedings{Nieva2018,
  author = {Nieva, Alex and Wang, Johnty and Malloch, Joseph and Wanderley, Marcelo},
  title = {The T-Stick: Maintaining a 12 year-old Digital Musical Instrument},
  pages = {198--199},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0042.pdf}
}
```
Christopher Dewey and Jonathan P. Wakefield. 2018. MIDI Keyboard Defined DJ Performance System. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 200–201.
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This paper explores the use of the ubiquitous MIDI keyboard to control a DJ performance system. The prototype system uses a two octave keyboard with each octave controlling one audio track. Each audio track has four two-bar loops which play in synchronisation switchable by its respective octave’s first four black keys. The top key of the keyboard toggles between frequency filter mode and time slicer mode. In frequency filter mode the white keys provide seven bands of latched frequency filtering. In time slicer mode the white keys plus black B flat key provide latched on/off control of eight time slices of the loop. The system was informally evaluated by nine subjects. The frequency filter mode combined with loop switching worked well with the MIDI keyboard interface. All subjects agreed that all tools had creative performance potential that could be developed by further practice.
```
@inproceedings{Dewey2018,
  author = {Dewey, Christopher and Wakefield, Jonathan P.},
  title = {MIDI Keyboard Defined DJ Performance System},
  pages = {200--201},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0043.pdf}
}
```
Trond Engum and Otto Jonassen Wittner. 2018. Democratizing Interactive Music Production over the Internet. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 202–203.
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This paper describes an ongoing research project which address challenges and opportunities when collaborating interactively in real time in a "virtual" sound studio with several partners in different locations. "Virtual" in this context referring to an interconnected and inter-domain studio environment consisting of several local production systems connected to public and private networks. This paper reports experiences and challenges related to two different production scenarios conducted in 2017.
```
@inproceedings{Engum2018,
  author = {Engum, Trond and Wittner, Otto Jonassen},
  title = {Democratizing Interactive Music Production over the Internet},
  pages = {202--203},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0044.pdf}
}
```
Jean-Francois Charles, Carlos Cotallo Solares, Carlos Toro Tobon, and Andrew Willette. 2018. Using the Axoloti Embedded Sound Processing Platform to Foster Experimentation and Creativity. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 204–205.
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This paper describes how the Axoloti platform is well suited to teach a beginners’ course about new elecro-acoustic musical instruments and how it fits the needs of artists who want to work with an embedded sound processing platform and get creative at the crossroads of acoustics and electronics. First, we present the criteria used to choose a platform for the course titled "Creating New Musical Instruments" given at the University of Iowa in the Fall of 2017. Then, we explain why we chose the Axoloti board and development environment.
```
@inproceedings{Charles2018,
  author = {Charles, Jean-Francois and Cotallo Solares, Carlos and Toro Tobon, Carlos and Willette, Andrew},
  title = {Using the Axoloti Embedded Sound Processing Platform to Foster Experimentation and Creativity},
  pages = {204--205},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0045.pdf}
}
```
Kyriakos Tsoukalas and Ivica Ico Bukvic. 2018. Introducing a K-12 Mechatronic NIME Kit. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 206–209.
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The following paper introduces a new mechatronic NIME kit that uses new additions to the Pd-L2Ork visual programing environment and its K-12 learning module. It is designed to facilitate the creation of simple mechatronics systems for physical sound production in K-12 and production scenarios. The new set of objects builds on the existing support for the Raspberry Pi platform to also include the use of electric actuators via the microcomputer’s GPIO system. Moreover, we discuss implications of the newly introduced kit in the creative and K-12 education scenarios by sharing observations from a series of pilot workshops, with particular focus on using mechatronic NIMEs as a catalyst for the development of programing skills.
```
@inproceedings{Tsoukalas2018,
  author = {Tsoukalas, Kyriakos and Bukvic, Ivica Ico},
  title = {Introducing a K-12 Mechatronic NIME Kit},
  pages = {206--209},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0046.pdf}
}
```
Daniel Bennett, Peter Bennett, and Anne Roudaut. 2018. Neurythmic: A Rhythm Creation Tool Based on Central Pattern Generators. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 210–215.
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We describe the development of Neurythmic: an interactive system for the creation and performance of fluid, expressive musical rhythms using Central Pattern Generators (CPGs). CPGs are neural networks which generate adaptive rhythmic signals. They simulate structures in animals which underly behaviours such as heartbeat, gut peristalsis and complex motor control. Neurythmic is the first such system to use CPGs for interactive rhythm creation. We discuss how Neurythmic uses the entrainment behaviour of these networks to support the creation of rhythms while avoiding the rigidity of grid quantisation approaches. As well as discussing the development, design and evaluation of Neurythmic, we discuss relevant properties of the CPG networks used (Matsuoka’s Neural Oscillator), and describe methods for their control. Evaluation with expert and professional musicians shows that Neurythmic is a versatile tool, adapting well to a range of quite different musical approaches.
```
@inproceedings{Bennett2018,
  author = {Bennett, Daniel and Bennett, Peter and Roudaut, Anne},
  title = {Neurythmic: A Rhythm Creation Tool Based on  Central Pattern Generators},
  pages = {210--215},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0047.pdf}
}
```
James Granger, Mateo Aviles, Joshua Kirby, et al. 2018. Evaluating LED-based interface for Lumanote composition creation tool. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 216–221.
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Composing music typically requires years of music theory experience and knowledge that includes but is not limited to chord progression, melody composition theory, and an understanding of whole-step/half-step passing tones among others. For that reason, certain songwriters such as singers may find a necessity to hire experienced pianists to help compose their music. In order to facilitate the process for beginner and aspiring musicians, we have developed Lumanote, a music composition tool that aids songwriters by presenting real-time suggestions on appropriate melody notes and chord progression. While a preliminary evaluation yielded favorable results for beginners, many commented on the difficulty of having to map the note suggestions displayed on the on-screen interface to the physical keyboard they were playing on. This paper presents the resulting solution: an LED-based feedback system that is designed to be directly attached to any standard MIDI keyboard. This peripheral aims to help map note suggestions directly to the physical keys of a musical keyboard. A study consisting of 22 individuals was conducted to compare the effectiveness of the new LED-based system with the existing computer interface, finding that the vast majority of users preferred the LED system. Three experienced musicians also judged and ranked the compositions, noting significant improvement in song quality when using either system, and citing comparable quality between compositions that used either interface.
```
@inproceedings{Granger2018,
  author = {Granger, James and Aviles, Mateo and Kirby, Joshua and Griffin, Austin and Yoon, Johnny and Lara-Garduno, Raniero A. and Hammond, Tracy},
  title = {Evaluating LED-based interface for Lumanote composition creation tool},
  pages = {216--221},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0048.pdf}
}
```
Eduardo Meneses, Sergio Freire, and Marcelo Wanderley. 2018. GuitarAMI and GuiaRT: two independent yet complementary projects on augmented nylon guitars. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 222–227.
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This paper describes two augmented nylon-string guitar projects developed in different institutions. GuitarAMI uses sensors to modify the classical guitars constraints while GuiaRT uses digital signal processing to create virtual guitarists that interact with the performer in real-time. After a bibliographic review of Augmented Musical Instruments (AMIs) based on guitars, we present the details of the two projects and compare them using an adapted dimensional space representation. Highlighting the complementarity and cross-influences between the projects, we propose avenues for future collaborative work.
```
@inproceedings{Meneses2018,
  author = {Meneses, Eduardo and Freire, Sergio and Wanderley, Marcelo},
  title = {GuitarAMI and GuiaRT: two independent yet complementary projects on augmented nylon guitars},
  pages = {222--227},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0049.pdf}
}
```
Ariane de Souza Stolfi, Miguel Ceriani, Luca Turchet, and Mathieu Barthet. 2018. Playsound.space: Inclusive Free Music Improvisations Using Audio Commons. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 228–233.
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Playsound.space is a web-based tool to search for and play Creative Commons licensed-sounds which can be applied to free improvisation, experimental music production and soundscape composition. It provides a fast access to about 400k non-musical and musical sounds provided by Freesound, and allows users to play/loop single or multiple sounds retrieved through text based search. Sound discovery is facilitated by use of semantic searches and sound visual representations (spectrograms). Guided by the motivation to create an intuitive tool to support music practice that could suit both novice and trained musicians, we developed and improved the system in a continuous process, gathering frequent feedback from a range of users with various skills. We assessed the prototype with 18 non musician and musician participants during free music improvisation sessions. Results indicate that the system was found easy to use and supports creative collaboration and expressiveness irrespective of musical ability. We identified further design challenges linked to creative identification, control and content quality.
```
@inproceedings{Stolfi2018,
  author = {de Souza Stolfi, Ariane and Ceriani, Miguel and Turchet, Luca and Barthet, Mathieu},
  title = {Playsound.space: Inclusive Free Music Improvisations Using Audio Commons},
  pages = {228--233},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0050.pdf}
}
```
John Harding, Richard Graham, and Edwin Park. 2018. CTRL: A Flexible, Precision Interface for Analog Synthesis. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 234–237.
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This paper provides a new interface for the production and distribution of high resolution analog control signals, particularly aimed toward the control of analog modular synthesisers. Control Voltage/Gate interfaces generate Control Voltage (CV) and Gate Voltage (Gate) as a means of controlling note pitch and length respectively, and have been with us since 1986 [2]. The authors provide a unique custom CV/Gate interface and dedicated communication protocol which leverages standard USB Serial functionality and enables connectivity over a plethora of computing devices, including embedded devices such as the Raspberry Pi and ARM based devices including widely available ‘Android TV Boxes’. We provide a general overview of the unique hardware and communication protocol developments followed by usage case examples toward tuning and embedded platforms, leveraging softwares ranging from Pure Data (Pd), Max, and Max for Live (M4L).
```
@inproceedings{Harding2018,
  author = {Harding, John and Graham, Richard and Park, Edwin},
  title = {CTRL: A Flexible, Precision Interface for Analog Synthesis},
  pages = {234--237},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0051.pdf}
}
```
Peter Beyls. 2018. Motivated Learning in Human-Machine Improvisation. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 238–243.
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This paper describes a machine learning approach in the context of non-idiomatic human-machine improvisation. In an attempt to avoid explicit mapping of user actions to machine responses, an experimental machine learning strategy is suggested where rewards are derived from the implied motivation of the human interactor – two motivations are at work: integration (aiming to connect with machine generated material) and expression (independent activity). By tracking consecutive changes in musical distance (i.e. melodic similarity) between human and machine, such motivations can be inferred. A variation of Q-learning is used featuring a self-optimizing variable length state-action-reward list. The system (called Pock) is tunable into particular behavioral niches by means of a limited number of parameters. Pock is designed as a recursive structure and behaves as a complex dynamical system. When tracking systems variables over time, emergent non-trivial patterns reveal experimental evidence of attractors demonstrating successful adaptation.
```
@inproceedings{Beyls2018,
  author = {Beyls, Peter},
  title = {Motivated Learning in Human-Machine Improvisation},
  pages = {238--243},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0052.pdf}
}
```
Deepak Chandran and Ge Wang. 2018. InterFACE: new faces for musical expression. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 244–248.
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InterFACE is an interactive system for musical creation, mediated primarily through the user’s facial expressions and movements. It aims to take advantage of the expressive capabilities of the human face to create music in a way that is both expressive and whimsical. This paper introduces the designs of three virtual instruments in the InterFACE system: namely, FACEdrum (a drum machine), GrannyFACE (a granular synthesis sampler), and FACEorgan (a laptop mouth organ using both face tracking and audio analysis). We present the design behind these instruments and consider what it means to be able to create music with one’s face. Finally, we discuss the usability and aesthetic criteria for evaluating such a system, taking into account our initial design goals as well as the resulting experience for the performer and audience.
```
@inproceedings{Chandran2018,
  author = {Chandran, Deepak and Wang, Ge},
  title = {InterFACE: new faces for musical expression},
  pages = {244--248},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0053.pdf}
}
```
Richard Polfreman. 2018. Hand Posture Recognition: IR, IMU and sEMG. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 249–254.
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Hands are important anatomical structures for musical performance, and recent developments in input device technology have allowed rather detailed capture of hand gestures using consumer-level products. While in some musical contexts, detailed hand and finger movements are required, in others it is sufficient to communicate discrete hand postures to indicate selection or other state changes. This research compared three approaches to capturing hand gestures where the shape of the hand, i.e. the relative positions and angles of finger joints, are an important part of the gesture. A number of sensor types can be used to capture information about hand posture, each of which has various practical advantages and disadvantages for music applications. This study compared three approaches, using optical, inertial and muscular information, with three sets of 5 hand postures (i.e. static gestures) and gesture recognition algorithms applied to the device data, aiming to determine which methods are most effective.
```
@inproceedings{Polfreman2018,
  author = {Polfreman, Richard},
  title = {Hand Posture Recognition: IR, IMU and sEMG},
  pages = {249--254},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0054.pdf}
}
```
Joseph Malloch, Marlon Mario Schumacher, Stephen Sinclair, and Marcelo Wanderley. 2018. The Digital Orchestra Toolbox for Max. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 255–258.
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The Digital Orchestra Toolbox for Max is an open-source collection of small modular software tools for aiding the development of Digital Musical Instruments. Each tool takes the form of an "abstraction" for the visual programming environment Max, meaning it can be opened and understood by users within the Max environment, as well as copied, modified, and appropriated as desired. This paper describes the origins of the Toolbox and our motivations for creating it, broadly outlines the types of tools included, and follows the development of the project over the last twelve years. We also present examples of several digital musical instruments built using the Toolbox.
```
@inproceedings{Malloch2018,
  author = {Malloch, Joseph and Schumacher, Marlon Mario and Sinclair, Stephen and Wanderley, Marcelo},
  title = {The Digital Orchestra Toolbox for Max},
  pages = {255--258},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0055.pdf}
}
```
Bill Manaris, Pangur Brougham-Cook, Dana Hughes, and Andrew R. Brown. 2018. JythonMusic: An Environment for Developing Interactive Music Systems. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 259–262.
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JythonMusic is a software environment for developing interactive musical experiences and systems. It is based on jMusic, a software environment for computer-assisted composition, which was extended within the last decade into a more comprehensive framework providing composers and software developers with libraries for music making, image manipulation, building graphical user interfaces, and interacting with external devices via MIDI and OSC, among others. This environment is free and open source. It is based on Python, therefore it provides more economical syntax relative to Java- and C/C++-like languages. JythonMusic rests on top of Java, so it provides access to the complete Java API and external Java-based libraries as needed. Also, it works seamlessly with other software, such as PureData, Max/MSP, and Processing. The paper provides an overview of important JythonMusic libraries related to constructing interactive musical experiences. It demonstrates their scope and utility by summarizing several projects developed using JythonMusic, including interactive sound art installations, new interfaces for sound manipulation and spatialization, as well as various explorations on mapping among motion, gesture and music.
```
@inproceedings{Manaris2018,
  author = {Manaris, Bill and Brougham-Cook, Pangur and Hughes, Dana and Brown, Andrew R.},
  title = {JythonMusic: An Environment for Developing Interactive Music Systems},
  pages = {259--262},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0056.pdf}
}
```
Steven Leib and Anıl Çamcı. 2018. Triplexer: An Expression Pedal with New Degrees of Freedom. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 263–268.
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We introduce the Triplexer, a novel foot controller that gives the performer 3 degrees of freedom over the control of various effects parameters. With the Triplexer, we aim to expand the performer’s control space by augmenting the capabilities of the common expression pedal that is found in most effects rigs. Using industrial-grade weight-detection sensors and widely-adopted communication protocols, the Triplexer offers a flexible platform that can be integrated into various performance setups and situations. In this paper, we detail the design of the Triplexer by describing its hardware, embedded signal processing, and mapping software implementations. We also offer the results of a user study, which we conducted to evaluate the usability of our controller.
```
@inproceedings{Leib2018,
  author = {Leib, Steven and Çamcı, Anıl},
  title = {Triplexer: An Expression Pedal with New Degrees of Freedom},
  pages = {263--268},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0057.pdf}
}
```
Halldór Úlfarsson. 2018. The halldorophone: The ongoing innovation of a cello-like drone instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 269–274.
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This paper reports upon the process of innovation of a new instrument. The author has developed the halldorophone a new electroacoustic string instrument which makes use of positive feedback as a key element in generating its sound. An important objective of the project has been to encourage its use by practicing musicians. After ten years of use, the halldorophone has a growing repertoire of works by prominent composers and performers. During the development of the instrument, the question has been asked: “why do musicians want to use this instrument?” and answers have been found through on-going (informal) user studies and feedback. As the project progresses, a picture emerges of what qualities have led to a culture of acceptance and use around this new instrument. This paper describes the halldorophone and presents the rationale for its major design features and ergonomic choices, as they relate to the overarching objective of nurturing a culture of use and connects it to wider trends.
```
@inproceedings{Úlfarsson2018,
  author = {Úlfarsson, Halldór},
  title = {The halldorophone: The ongoing innovation of a cello-like drone instrument},
  pages = {269--274},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0058.pdf}
}
```
Kyriakos Tsoukalas, Joseph Kubalak, and Ivica Ico Bukvic. 2018. L2OrkMote: Reimagining a Low-Cost Wearable Controller for a Live Gesture-Centric Music Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 275–280.
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Laptop orchestras create music, although digitally produced, in a collaborative live performance not unlike a traditional orchestra. The recent increase in interest and investment in this style of music creation has paved the way for novel methods for musicians to create and interact with music. To this end, a number of nontraditional instruments have been constructed that enable musicians to control sound production beyond pitch and volume, integrating filtering, musical effects, etc. Wii Remotes (WiiMotes) have seen heavy use in maker communities, including laptop orchestras, for their robust sensor array and low cost. The placement of sensors and the form factor of the device itself are suited for video games, not necessarily live music creation. In this paper, the authors present a new controller design, based on the WiiMote hardware platform, to address usability in gesture-centric music performance. Based on the pilot-study data, the new controller offers unrestricted two-hand gesture production, smaller footprint, and lower muscle strain.
```
@inproceedings{Tsoukalas-b2018,
  author = {Tsoukalas, Kyriakos and Kubalak, Joseph and Bukvic, Ivica Ico},
  title = {L2OrkMote: Reimagining a Low-Cost Wearable Controller for a Live Gesture-Centric Music Performance},
  pages = {275--280},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0059.pdf}
}
```
Jack Armitage and Andrew P. McPherson. 2018. Crafting Digital Musical Instruments: An Exploratory Workshop Study. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 281–286.
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In digital musical instrument design, different tools and methods offer a variety of approaches for constraining the exploration of musical gestures and sounds. Toolkits made of modular components usefully constrain exploration towards simple, quick and functional combinations, and methods such as sketching and model-making alternatively allow imagination and narrative to guide exploration. In this work we sought to investigate a context where these approaches to exploration were combined. We designed a craft workshop for 20 musical instrument designers, where groups were given the same partly-finished instrument to craft for one hour with raw materials, and though the task was open ended, they were prompted to focus on subtle details that might distinguish their instruments. Despite the prompt the groups diverged dramatically in intent and style, and generated gestural language rapidly and flexibly. By the end, each group had developed a distinctive approach to constraint, exploratory style, collaboration and interpretation of the instrument and workshop materials. We reflect on this outcome to discuss advantages and disadvantages to integrating digital musical instrument design tools and methods, and how to further investigate and extend this approach.
```
@inproceedings{Armitage2018,
  author = {Armitage, Jack and McPherson, Andrew P.},
  title = {Crafting Digital Musical Instruments: An Exploratory Workshop Study},
  pages = {281--286},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0060.pdf}
}
```
Ammar Kalo and Georg Essl. 2018. Individual Fabrication of Cymbals using Incremental Robotic Sheet Forming. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 287–292.
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Incremental robotic sheet forming is used to fabricate a novel cymbal shape based on models of geometric chaos for stadium shaped boundaries. This provides a proof-of-concept that this robotic fabrication technique might be a candidate method for creating novel metallic ideophones that are based on sheet deformations. Given that the technique does not require molding, it is well suited for both rapid and iterative prototyping and the fabrication of individual pieces. With advances in miniaturization, this approach may also be suitable for personal fabrication. In this paper we discuss this technique as well as aspects of the geometry of stadium cymbals and their impact on the resulting instrument.
```
@inproceedings{Kalo2018,
  author = {Kalo, Ammar and Essl, Georg},
  title = {Individual Fabrication of Cymbals using Incremental Robotic Sheet Forming},
  pages = {287--292},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0061.pdf}
}
```
John McDowell. 2018. Haptic-Listening and the Classical Guitar. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 293–298.
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This paper reports the development of a ‘haptic-listening’ system which presents the listener with a representation of the vibrotactile feedback perceived by a classical guitarist during performance through the use of haptic feedback technology. The paper describes the design of the haptic-listening system which is in two prototypes: the “DIY Haptic Guitar” and a more robust haptic-listening Trial prototype using a Reckhorn BS-200 shaker. Through two experiments, the perceptual significance and overall musical contribution of the addition of haptic feedback in a listening context was evaluated. Subjects preferred listening to the classical guitar presentation with the addition of haptic feedback and the addition of haptic feedback contributed to listeners’ engagement with a performance. The results of the experiments and their implications are discussed in this paper.
```
@inproceedings{McDowell2018,
  author = {McDowell, John},
  title = {Haptic-Listening and the Classical Guitar},
  pages = {293--298},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0062.pdf}
}
```
Jacob Harrison, Robert H Jack, Fabio Morreale, and Andrew P. McPherson. 2018. When is a Guitar not a Guitar? Cultural Form, Input Modality and Expertise. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 299–304.
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The design of traditional musical instruments is a process of incremental refinement over many centuries of innovation. Conversely, digital musical instruments (DMIs), being unconstrained by requirements of efficient acoustic sound production and ergonomics, can take on forms which are more abstract in their relation to the mechanism of control and sound production. In this paper we consider the case of designing DMIs for use in existing musical cultures, and pose questions around the social and technical acceptability of certain design choices relating to global physical form and input modality (sensing strategy and the input gestures that it affords). We designed four guitar-derivative DMIs designed to be suitable to perform a strummed harmonic accompaniment to a folk tune. Each instrument possessed varying degrees of ‘guitar-likeness’, based either on the form and aesthetics of the guitar or the specific mode of interaction. We conducted a study where both non-musicians and guitarists played two versions of the instruments and completed musical tasks with each instrument. The results of this study highlight the complex interaction between global form and input modality when designing for existing musical cultures.
```
@inproceedings{Harrison2018,
  author = {Harrison, Jacob and Jack, Robert H and Morreale, Fabio and McPherson, Andrew P.},
  title = {When is a Guitar not a Guitar? Cultural Form, Input Modality and Expertise},
  pages = {299--304},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0063.pdf}
}
```
Jeppe Larsen, Hendrik Knoche, and Dan Overholt. 2018. A Longitudinal Field Trial with a Hemiplegic Guitarist Using The Actuated Guitar. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 305–310.
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Common emotional effects following a stroke include depression, apathy and lack of motivation. We conducted a longitudinal case study to investigate if enabling a post-stroke former guitarist re-learn to play guitar would help increase motivation for self rehabilitation and quality of life after suffering a stroke. The intervention lasted three weeks during which the participant had a fully functional electrical guitar fitted with a strumming device controlled by a foot pedal at his free disposal. The device replaced right strumming of the strings, and the study showed that the participant, who was highly motivated, played 20 sessions despite system latency and reduced musical expression. He incorporated his own literature and equipment into his playing routine and improved greatly as the study progressed. He was able to play alone and keep a steady rhythm in time with backing tracks that went as fast as 120bpm. During the study he was able to lower his error rate to 33%, while his average flutter also decreased.
```
@inproceedings{Larsen2018,
  author = {Larsen, Jeppe and Knoche, Hendrik and Overholt, Dan},
  title = {A Longitudinal Field Trial with a Hemiplegic Guitarist Using The Actuated Guitar},
  pages = {305--310},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0064.pdf}
}
```
Paul Stapleton, Maarten van Walstijn, and Sandor Mehes. 2018. Co-Tuning Virtual-Acoustic Performance Ecosystems: observations on the development of skill and style in the study of musician-instrument relationships. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 311–314.
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In this paper we report preliminary observations from an ongoing study into how musicians explore and adapt to the parameter space of a virtual-acoustic string bridge plate instrument. These observations inform (and are informed by) a wider approach to understanding the development of skill and style in interactions between musicians and musical instruments. We discuss a performance-driven ecosystemic approach to studying musical relationships, drawing on arguments from the literature which emphasise the need to go beyond simplistic notions of control and usability when assessing exploratory and performatory musical interactions. Lastly, we focus on processes of perceptual learning and co-tuning between musician and instrument, and how these activities may contribute to the emergence of personal style as a hallmark of skilful music-making.
```
@inproceedings{Stapleton2018,
  author = {Stapleton, Paul and van Walstijn, Maarten and Mehes, Sandor},
  title = {Co-Tuning Virtual-Acoustic Performance Ecosystems: observations on the development of skill and style in the study of musician-instrument relationships},
  pages = {311--314},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0065.pdf}
}
```
Sands A. Fish II and Nicole L’Huillier. 2018. Telemetron: A Musical Instrument for Performance in Zero Gravity. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 315–317.
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The environment of zero gravity affords a unique medium for new modalities of musical performance, both in the design of instruments, and human interactions with said instruments. To explore this medium, we have created and flown Telemetron, the first musical instrument specifically designed for and tested in the zero gravity environment. The resultant instrument (leveraging gyroscopes and wireless telemetry transmission) and recorded performance represent an initial exploration of compositions that are unique to the physics and dynamics of outer space. We describe the motivations for this instrument, and the unique constraints involved in designing for this environment. This initial design suggests possibilities for further experiments in musical instrument design for outer space.
```
@inproceedings{Fish2018,
  author = {Fish II, Sands A. and L'Huillier, Nicole},
  title = {Telemetron: A Musical Instrument  for Performance in Zero Gravity},
  pages = {315--317},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0066.pdf}
}
```
Dan Wilcox. 2018. robotcowboy: 10 Years of Wearable Computer Rock. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 318–323.
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This paper covers the technical and aesthetic development of robotcowboy, the author’s ongoing human-computer wearable performance project. Conceived as an idiosyncratic manifesto on the embodiment of computational sound, the original robotcowboy system was built in 2006-2007 using a belt-mounted industrial wearable computer running GNU/Linux and Pure Data, external USB audio/MIDI interfaces, HID gamepads, and guitar. Influenced by roadworthy analog gear, chief system requirements were mobility, plug-and-play, reliability, and low cost. From 2007 to 2011, this first iteration "Cabled Madness" melded rock music with realtime algorithmic composition and revolved around cyborg human/system tension, aspects of improvisation, audience feedback, and an inherent capability of failure. The second iteration "Onward to Mars" explored storytelling from 2012-2015 through the one-way journey of the first human on Mars with the computing system adapted into a self-contained spacesuit backpack. Now 10 years on, a new "robotcowboy 2.0" system powers a third iteration with only an iPhone and PdParty, the author’s open-source iOS application which runs Pure Data patches and provides full duplex stereo audio, MIDI, HID game controller support, and Open Sound Control communication. The future is bright, do you have room to wiggle?
```
@inproceedings{Wilcox2018,
  author = {Wilcox, Dan},
  title = {robotcowboy: 10 Years of Wearable Computer Rock},
  pages = {318--323},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0067.pdf}
}
```
Victor Evaristo Gonzalez Sanchez, Charles Patrick Martin, Agata Zelechowska, Kari Anne Vadstensvik Bjerkestrand, Victoria Johnson, and Alexander Refsum Jensenius. 2018. Bela-Based Augmented Acoustic Guitars for Sonic Microinteraction. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 324–327.
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This article describes the design and construction of a collection of digitally-controlled augmented acoustic guitars, and the use of these guitars in the installation \textit{Sverm-Resonans}. The installation was built around the idea of exploring ‘inverse’ sonic microinteraction, that is, controlling sounds by the micromotion observed when attempting to stand still. It consisted of six acoustic guitars, each equipped with a Bela embedded computer for sound processing (in Pure Data), an infrared distance sensor to detect the presence of users, and an actuator attached to the guitar body to produce sound. With an attached battery pack, the result was a set of completely autonomous instruments that were easy to hang in a gallery space. The installation encouraged explorations on the boundary between the tactile and the kinesthetic, the body and the mind, and between motion and sound. The use of guitars, albeit with an untraditional ‘performance’ technique, made the experience both familiar and unfamiliar at the same time. Many users reported heightened sensations of stillness, sound, and vibration, and that the ‘inverse’ control of the instrument was both challenging and pleasant.
```
@inproceedings{Gonzalez2018,
  author = {Gonzalez Sanchez, Victor Evaristo and Martin, Charles Patrick and Zelechowska, Agata and Bjerkestrand, Kari Anne Vadstensvik and Johnson, Victoria and Jensenius, Alexander Refsum},
  title = {Bela-Based Augmented Acoustic Guitars for Sonic Microinteraction},
  pages = {324--327},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0068.pdf}
}
```
Giacomo Lepri and Andrew P. McPherson. 2018. Mirroring the past, from typewriting to interactive art: an approach to the re-design of a vintage technology. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 328–333.
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Obsolete and old technologies are often used in interactive art and music performance. DIY practices such as hardware hacking and circuit bending provideeffective methods to the integration of old machines into new artistic inventions. This paper presents the Cembalo Scrivano .1, an interactive audio-visual installation based on an augmented typewriter. Borrowing concepts from media archaeology studies, tangible interaction design and digital lutherie, we discuss how investigations into the historical and cultural evolution of a technology can suggest directions for the regeneration of obsolete objects. The design approach outlined focuses on the remediation of an old device and aims to evoke cultural and physical properties associated to the source object.
```
@inproceedings{Lepri2018,
  author = {Lepri, Giacomo and McPherson, Andrew P.},
  title = {Mirroring the past, from typewriting to interactive art: an approach to the re-design of a vintage technology},
  pages = {328--333},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0069.pdf}
}
```
Seth Dominicus Thorn. 2018. Alto.Glove: New Techniques for Augmented Violin. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 334–339.
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This paper describes a performer-centric approach to the design, sensor selection, data interpretation, and mapping schema of a sensor-embedded glove called the “alto.glove” that the author uses to extend his performance abilities on violin. The alto.glove is a response to the limitations—both creative and technical—perceived in feature extraction processes that rely on classification. The hardware answers one problem: how to extend violin playing in a minimal yet powerful way; the software answers another: how to create a rich, evolving response that enhances expression in improvisation. The author approaches this problem from the various roles of violinist, hardware technician, programmer, sound designer, composer, and improviser. Importantly, the alto.glove is designed to be cost-effective and relatively easy to build.
```
@inproceedings{Thorn2018,
  author = {Thorn, Seth Dominicus},
  title = {Alto.Glove: New Techniques for Augmented Violin},
  pages = {334--339},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0070.pdf}
}
```
Thanos Polymeneas Liontiris. 2018. Low Frequency Feedback Drones: A non-invasive augmentation of the double bass. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 340–341.
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This paper illustrates the development of a Feedback Resonating Double Bass. The instrument is essentially the augmentation of an acoustic double bass using positive feedback. The research aimed to reply the question of how to augment and convert a double bass into a feedback resonating one without following an invasive method. The conversion process illustrated here is applicable and adaptable to double basses of any size, without making irreversible alterations to the instruments.
```
@inproceedings{Liontiris2018,
  author = {Liontiris, Thanos Polymeneas},
  title = {Low Frequency Feedback Drones: A non-invasive augmentation of the double bass},
  pages = {340--341},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0071.pdf}
}
```
Daniel Formo. 2018. The Orchestra of Speech: a speech-based instrument system. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 342–343.
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The Orchestra of Speech is a performance concept resulting from a recent artistic research project exploring the relationship between music and speech, in particular improvised music and everyday conversation. As a tool in this exploration, a digital musical instrument system has been developed for “orchestrating” musical features of speech into music, in real time. Through artistic practice, this system has evolved into a personal electroacoustic performance concept.
```
@inproceedings{Formo2018,
  author = {Formo, Daniel},
  title = {The Orchestra of Speech: a speech-based instrument system},
  pages = {342--343},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0072.pdf}
}
```
Anna Weisling, Anna Xambó, ireti olowe, and Mathieu Barthet. 2018. Surveying the Compositional and Performance Practices of Audiovisual Practitioners. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 344–345.
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This paper presents a brief overview of an online survey conducted with the objective of gaining insight into compositional and performance practices of contemporary audiovisual practitioners. The survey gathered information regarding how practitioners relate aural and visual media in their work, and how compositional and performance practices involving multiple modalities might differ from other practices. Discussed here are three themes: compositional approaches, transparency and audience knowledge, and error and risk, which emerged from participants’ responses. We believe these themes contribute to a discussion within the NIME community regarding unique challenges and objectives presented when working with multiple media.
```
@inproceedings{Weisling2018,
  author = {Weisling, Anna and Xambó, Anna and ireti olowe and Barthet, Mathieu},
  title = {Surveying the Compositional and Performance Practices of Audiovisual Practitioners},
  pages = {344--345},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0073.pdf}
}
```
Anthony T. Marasco. 2018. Sound Opinions: Creating a Virtual Tool for Sound Art Installations through Sentiment Analysis of Critical Reviews. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 346–347.
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The author presents Sound Opinions, a custom software tool that uses sentiment analysis to create sound art installations and music compositions. The software runs inside the NodeRed.js programming environment. It scrapes text from web pages, pre-processes it, performs sentiment analysis via a remote API, and parses the resulting data for use in external digital audio programs. The sentiment analysis itself is handled by IBM’s Watson Tone Analyzer. The author has used this tool to create an interactive multimedia installation, titled Critique. Sources of criticism of a chosen musical work are analyzed and the negative or positive statements about that composition work to warp and change it. This allows the audience to only hear the work through the lens of its critics, and not in the original form that its creator intended.
```
@inproceedings{Marasco2018,
  author = {Marasco, Anthony T.},
  title = {Sound Opinions: Creating a Virtual Tool for Sound Art Installations through Sentiment Analysis of Critical Reviews},
  pages = {346--347},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0074.pdf}
}
```
Kosmas Kritsis, Aggelos Gkiokas, Carlos Árpád Acosta, et al. 2018. A web-based 3D environment for gestural interaction with virtual music instruments as a STEAM education tool. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 348–349.
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We present our work in progress on the development of a web-based system for music performance with virtual instruments in a virtual 3D environment, which provides three means of interaction (i.e physical, gestural and mixed), using tracking data from a Leap Motion sensor. Moreover, our system is integrated as a creative tool within the context of a STEAM education platform that promotes science learning through musical activities. The presented system models string and percussion instruments, with realistic sonic feedback based on Modalys, a physical model-based sound synthesis engine. Our proposal meets the performance requirements of real-time interactive systems and is implemented strictly with web technologies.
```
@inproceedings{Kritsis2018,
  author = {Kritsis, Kosmas and Gkiokas, Aggelos and Acosta, Carlos Árpád and Lamerand, Quentin and Piéchaud, Robert and Kaliakatsos-Papakostas, Maximos and Katsouros, Vassilis},
  title = {A web-based 3D environment for gestural interaction with virtual music instruments as a STEAM education tool},
  pages = {348--349},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0075.pdf}
}
```
Maria C. Mannone, Eri Kitamura, Jiawei Huang, Ryo Sugawara, and Yoshifumi Kitamura. 2018. CubeHarmonic: A New Interface from a Magnetic 3D Motion Tracking System to Music Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 350–351.
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We developed a new musical interface, CubeHarmonic, with the magnetic tracking system, IM3D, created at Tohoku University. IM3D system precisely tracks positions of tiny, wireless, battery-less, and identifiable LC coils in real time. The CubeHarmonic is a musical application of the Rubik’s cube, with notes on each little piece. Scrambling the cube, we get different chords and chord sequences. Positions of the pieces which contain LC coils are detected through IM3D, and transmitted to the computer, that plays sounds. The central position of the cube is also computed from the LC coils located into the corners of Rubik’s cube, and, depending on the computed central position, we can manipulate overall loudness and pitch changes, as in theremin playing. This new instrument, whose first idea comes from mathematical theory of music, can be used as a teaching tool both for math (group theory) and music (music theory, mathematical music theory), as well as a composition device, a new instrument for avant-garde performances, and a recreational tool.
```
@inproceedings{Mannone2018,
  author = {Mannone, Maria C. and Kitamura, Eri and Huang, Jiawei and Sugawara, Ryo and Kitamura, Yoshifumi},
  title = {CubeHarmonic: A New Interface from a Magnetic 3D Motion Tracking System to Music Performance},
  pages = {350--351},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0076.pdf}
}
```
Martin M Kristoffersen and Trond Engum. 2018. The Whammy Bar as a Digital Effect Controller. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 352–355.
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In this paper we present a novel digital effects controller for electric guitar based upon the whammy bar as a user interface. The goal with the project is to give guitarists a way to interact with dynamic effects control that feels familiar to their instrument and playing style. A 3D-printed prototype has been made. It replaces the whammy bar of a traditional Fender vibrato system with a sensor-equipped whammy bar. The functionality of the present prototype includes separate readings of force applied towards and from the guitar body, as well as an end knob for variable control. Further functionality includes a hinged system allowing for digital effect control either with or without the mechanical manipulation of string tension. By incorporating digital sensors to the idiomatic whammy bar interface, one would potentially bring guitarists a high level of control intimacy with the device, and thus lead to a closer interaction with effects.
```
@inproceedings{Kristoffersen2018,
  author = {Kristoffersen, Martin M and Engum, Trond},
  title = {The Whammy Bar as a Digital Effect Controller},
  pages = {352--355},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0077.pdf}
}
```
Robert Pond, Alexander Klassen, and Kirk McNally. 2018. Timbre Tuning: Variation in Cello Sprectrum Across Pitches and Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 356–359.
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The process of learning to play a string instrument is a notoriously difficult task. A new student to the instrument is faced with mastering multiple, interconnected physical movements in order to become a skillful player. In their development, one measure of a players quality is their tone, which is the result of the combination of the physical characteristics of the instrument and their technique in playing it. This paper describes preliminary research into creating an intuitive, real-time device for evaluating the quality of tone generation on the cello: a “timbre-tuner" to aid cellists evaluate their tone quality. Data for the study was collected from six post-secondary music students, consisting of recordings of scales covering the entire range of the cello. Comprehensive spectral audio analysis was performed on the data set in order to evaluate features suitable to describe tone quality. An inverse relationship was found between the harmonic centroid and pitch played, which became more pronounced when restricted to the A string. In addition, a model for predicting the harmonic centroid at different pitches on the A string was created. Results from informal listening tests support the use of the harmonic centroid as an appropriate measure for tone quality.
```
@inproceedings{Pond2018,
  author = {Pond, Robert and Klassen, Alexander and McNally, Kirk},
  title = {Timbre Tuning: Variation in Cello Sprectrum Across Pitches and Instruments},
  pages = {356--359},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0078.pdf}
}
```
Matthew Mosher, Danielle Wood, and Tony Obr. 2018. Tributaries of Our Lost Palpability. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 360–361.
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This demonstration paper describes the concepts behind Tributaries of Our Distant Palpability, an interactive sonified sculpture. It takes form as a swelling sea anemone, while the sounds it produces recall the quagmire of a digital ocean. The sculpture responds to changing light conditions with a dynamic mix of audio tracks, mapping volume to light level. People passing by the sculpture, or directly engaging it by creating light and shadows with their smart phone flashlights, will trigger the audio. At the same time, it automatically adapts to gradual environment light changes, such as the rise and fall of the sun. The piece was inspired by the searching gestures people make, and emotions they have while, idly browsing content on their smart devices. It was created through an interdisciplinary collaboration between a musician, an interaction designer, and a ceramicist.
```
@inproceedings{Mosher2018,
  author = {Mosher, Matthew and Wood, Danielle and Obr, Tony},
  title = {Tributaries of Our Lost Palpability},
  pages = {360--361},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0079.pdf}
}
```
Andrew Piepenbrink. 2018. Embedded Digital Shakers: Handheld Physical Modeling Synthesizers. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 362–363.
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We present a flexible, compact, and affordable embedded physical modeling synthesizer which functions as a digital shaker. The instrument is self-contained, battery-powered, wireless, and synthesizes various shakers, rattles, and other handheld shaken percussion. Beyond modeling existing shakers, the instrument affords new sonic interactions including hand mutes on its loudspeakers and self-sustaining feedback. Both low-cost and high-performance versions of the instrument are discussed.
```
@inproceedings{Piepenbrink2018,
  author = {Piepenbrink, Andrew},
  title = {Embedded Digital Shakers: Handheld Physical Modeling Synthesizers},
  pages = {362--363},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0080.pdf}
}
```
Anna Xambó, Gerard Roma, Alexander Lerch, Mathieu Barthet, and György Fazekas. 2018. Live Repurposing of Sounds: MIR Explorations with Personal and Crowdsourced Databases. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 364–369.
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The recent increase in the accessibility and size of personal and crowdsourced digital sound collections brought about a valuable resource for music creation. Finding and retrieving relevant sounds in performance leads to challenges that can be approached using music information retrieval (MIR). In this paper, we explore the use of MIR to retrieve and repurpose sounds in musical live coding. We present a live coding system built on SuperCollider enabling the use of audio content from online Creative Commons (CC) sound databases such as Freesound or personal sound databases. The novelty of our approach lies in exploiting high-level MIR methods (e.g., query by pitch or rhythmic cues) using live coding techniques applied to sounds. We demonstrate its potential through the reflection of an illustrative case study and the feedback from four expert users. The users tried the system with either a personal database or a crowdsourced database and reported its potential in facilitating tailorability of the tool to their own creative workflows.
```
@inproceedings{Xambó-b2018,
  author = {Xambó, Anna and Roma, Gerard and Lerch, Alexander and Barthet, Mathieu and Fazekas, György},
  title = {Live Repurposing of Sounds: MIR Explorations with Personal and Crowdsourced Databases},
  pages = {364--369},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0081.pdf}
}
```
Avneesh Sarwate, Ryan Taylor Rose, Jason Freeman, and Jack Armitage. 2018. Performance Systems for Live Coders and Non Coders. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 370–373.
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This paper explores the question of how live coding musicians can perform with musicians who are not using code (such as acoustic instrumentalists or those using graphical and tangible electronic interfaces). This paper investigates performance systems that facilitate improvisation where the musicians can interact not just by listening to each other and changing their own output, but also by manipulating the data stream of the other performer(s). In a course of performance-led research four prototypes were built and analyzed them using concepts from NIME and creative collaboration literature. Based on this analysis it was found that the systems should 1) provide a commonly modifiable visual representation of musical data for both coder and non-coder, and 2) provide some independent means of sound production for each user, giving the non-coder the ability to slow down and make non-realtime decisions for greater performance flexibility.
```
@inproceedings{Sarwate2018,
  author = {Sarwate, Avneesh and Rose, Ryan Taylor and Freeman, Jason and Armitage, Jack},
  title = {Performance Systems for Live Coders and Non Coders},
  pages = {370--373},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0082.pdf}
}
```
Jeff Snyder, Michael R Mulshine, and Rajeev S Erramilli. 2018. The Feedback Trombone: Controlling Feedback in Brass Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 374–379.
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This paper presents research on control of electronic signal feedback in brass instruments through the development of a new augmented musical instrument, the Feedback Trombone. The Feedback Trombone (FBT) extends the traditional acoustic trombone interface with a speaker, microphone, and custom analog and digital hardware.
```
@inproceedings{Snyder2018,
  author = {Snyder, Jeff and Mulshine, Michael R and Erramilli, Rajeev S},
  title = {The Feedback Trombone: Controlling Feedback in Brass Instruments},
  pages = {374--379},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0083.pdf}
}
```
Eric Sheffield. 2018. Mechanoise: Mechatronic Sound and Interaction in Embedded Acoustic Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 380–381.
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The use of mechatronic components (e.g. DC motors and solenoids) as both electronic sound source and locus of interaction is explored in a form of embedded acoustic instruments called mechanoise instruments. Micro-controllers and embedded computing devices provide a platform for live control of motor speeds and additional sound processing by a human performer. Digital fabrication and use of salvaged and found materials are emphasized.
```
@inproceedings{Sheffield2018,
  author = {Sheffield, Eric},
  title = {Mechanoise: Mechatronic Sound and Interaction in Embedded Acoustic Instruments},
  pages = {380--381},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0084.pdf}
}
```
Jon Pigrem and Andrew P. McPherson. 2018. Do We Speak Sensor? Cultural Constraints of Embodied Interaction . Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 382–385.
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This paper explores the role of materiality in Digital Musical Instruments and questions the influence of tacit understandings of sensor technology. Existing research investigates the use of gesture, physical interaction and subsequent parameter mapping. We suggest that a tacit knowledge of the ‘sensor layer’ brings with it definitions, understandings and expectations that forge and guide our approach to interaction. We argue that the influence of technology starts before a sound is made, and comes from not only intuition of material properties, but also received notions of what technology can and should do. On encountering an instrument with obvious sensors, a potential performer will attempt to predict what the sensors do and what the designer intends for them to do, becoming influenced by a machine centered understanding of interaction and not a solely material centred one. The paper presents an observational study of interaction using non-functional prototype instruments designed to explore fundamental ideas and understandings of instrumental interaction in the digital realm. We will show that this understanding influences both gestural language and ability to characterise an expected sonic/musical response.
```
@inproceedings{Pigrem2018,
  author = {Pigrem, Jon and McPherson, Andrew P.},
  title = {Do We Speak Sensor? Cultural Constraints of Embodied Interaction },
  pages = {382--385},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0085.pdf}
}
```
Spencer Salazar and Jack Armitage. 2018. Re-engaging the Body and Gesture in Musical Live Coding. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 386–389.
Download PDF

At first glance, the practice of musical live coding seems distanced from the gestures and sense of embodiment common in musical performance, electronic or otherwise. This workshop seeks to explore the extent to which this assertion is justified, to re-examine notions of gesture and embodiment in the context of musical live coding performance, to consider historical approaches to synthesizing musical programming and gesture, and to look to the future for new ways of doing so. The workshop will consist firstly of a critical discussion of these issues and related literature. This will be followed by applied practical experiments involving ideas generated during these discussions. The workshop will conclude with a recapitulation and examination of these experiments in the context of previous research and proposed future directions.
```
@inproceedings{Salazar-b2018,
  author = {Salazar, Spencer and Armitage, Jack},
  title = {Re-engaging the Body and Gesture in Musical Live Coding},
  pages = {386--389},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0086.pdf}
}
```
Edgar Berdahl, Eric Sheffield, Andrew Pfalz, and Anthony T. Marasco. 2018. Widening the Razor-Thin Edge of Chaos Into a Musical Highway: Connecting Chaotic Maps to Digital Waveguides. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 390–393.
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For the purpose of creating new musical instruments, chaotic dynamical systems can be simulated in real time to synthesize complex sounds. This work investigates a series of discrete-time chaotic maps, which have the potential to generate intriguing sounds when they are adjusted to be on the edge of chaos. With these chaotic maps as studied historically, the edge of chaos tends to be razor-thin, which can make it difficult to employ them for making new musical instruments. The authors therefore suggest connecting chaotic maps with digital waveguides, which (1) make it easier to synthesize harmonic tones and (2) make it harder to fall off of the edge of chaos while playing a musical instrument. The authors argue therefore that this technique widens the razor-thin edge of chaos into a musical highway.
```
@inproceedings{Berdahl2018,
  author = {Berdahl, Edgar and Sheffield, Eric and Pfalz, Andrew and Marasco, Anthony T.},
  title = {Widening the Razor-Thin Edge of Chaos Into a Musical Highway: Connecting Chaotic Maps to Digital Waveguides},
  pages = {390--393},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0087.pdf}
}
```

Jeff Snyder, Aatish Bhatia, and Michael R Mulshine. 2018. Neuron-modeled Audio Synthesis: Nonlinear Sound and Control. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 394–397.

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This paper describes a project to create a software instrument using a biological model of neuron behavior for audio synthesis. The translation of the model to a usable audio synthesis process is described, and a piece for laptop orchestra created using the instrument is discussed.

@inproceedings{Snyder-b2018,
  author = {Snyder, Jeff and Bhatia, Aatish and Mulshine, Michael R},
  title = {Neuron-modeled Audio Synthesis: Nonlinear Sound and Control},
  pages = {394--397},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0088.pdf}
}

Rodrigo F. Cádiz and Marie Gonzalez-Inostroza. 2018. Fuzzy Logic Control Toolkit 2.0: composing and synthesis by fuzzyfication. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 398–402.
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In computer or electroacoustic music, it is often the case that the compositional act and the parametric control of the underlying synthesis algorithms or hardware are not separable from each other. In these situations, composition and control of the synthesis parameters are not easy to distinguish. One possible solution is by means of fuzzy logic. This approach provides a simple, intuitive but powerful control of the compositional process usually in interesting non-linear ways. Compositional control in this context is achieved by the fuzzification of the relevant internal synthesis parameters and the parallel computation of common sense fuzzy rules of inference specified by the composer. This approach has been implemented computationally as a software package entitled FLCTK (Fuzzy Logic Control Tool Kit) in the form of external objects for the widely used real-time compositional environments Max/MSP and Pd. In this article, we present an updated version of this tool. As a demonstration of the wide range of situations in which this approach could be used, we provide two examples of parametric fuzzy control: first, the fuzzy control of a water tank simulation and second a particle-based sound synthesis technique by a fuzzy approach.
```
@inproceedings{Cádiz2018,
  author = {Cádiz, Rodrigo F. and Gonzalez-Inostroza, Marie},
  title = {Fuzzy Logic Control Toolkit 2.0: composing and synthesis by fuzzyfication},
  pages = {398--402},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0089.pdf}
}
```
Sang-won Leigh and Pattie Maes. 2018. Guitar Machine: Robotic Fretting Augmentation for Hybrid Human-Machine Guitar Play. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 403–408.
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Playing musical instruments involves producing gradually more challenging body movements and transitions, where the kinematic constraints of the body play a crucial role in structuring the resulting music. We seek to make a bridge between currently accessible motor patterns, and musical possibilities beyond those - afforded through the use of a robotic augmentation. Guitar Machine is a robotic device that presses on guitar strings and assists a musician by fretting alongside her on the same guitar. This paper discusses the design of the system, strategies for using the system to create novel musical patterns, and a user study that looks at the effects of the temporary acquisition of enhanced physical ability. Our results indicate that the proposed human-robot interaction would equip users to explore new musical avenues on the guitar, as well as provide an enhanced understanding of the task at hand on the basis of the robotically acquired ability.
```
@inproceedings{Leigh2018,
  author = {Leigh, Sang-won and Maes, Pattie},
  title = {Guitar Machine: Robotic Fretting Augmentation for Hybrid Human-Machine Guitar Play},
  pages = {403--408},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0090.pdf}
}
```
Scott Barton, Karl Sundberg, Andrew Walter, Linda Sara Baker, Tanuj Sane, and Alexander O’Brien. 2018. Robotic Percussive Aerophone. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 409–412.
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Percussive aerophones are configurable, modular, scalable, and can be constructed from commonly found materials. They can produce rich timbres, a wide range of pitches and complex polyphony. Their use by humans, perhaps most famously by the Blue Man Group, inspired us to build an electromechanically-actuated version of the instrument in order to explore expressive possibilities enabled by machines. The Music, Perception, and Robotics Lab at WPI has iteratively designed, built and composed for a robotic percussive aerophone since 2015, which has both taught lessons in actuation and revealed promising musical capabilities of the instrument.
```
@inproceedings{Barton2018,
  author = {Barton, Scott and Sundberg, Karl and Walter, Andrew and Baker, Linda Sara and Sane, Tanuj and O'Brien, Alexander},
  title = {Robotic Percussive Aerophone},
  pages = {409--412},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0091.pdf}
}
```
Nathan Daniel Villicaña-Shaw, Spencer Salazar, and Ajay Kapur. 2018. Mechatronic Performance in Computer Music Compositions. Proceedings of the International Conference on New Interfaces for Musical Expression, Virginia Tech, pp. 413–418.
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This paper introduces seven mechatronic compositions performed over three years at the xxxxx (xxxx). Each composition is discussed in regard to how it addresses the performative elements of mechatronic music concerts. The compositions are grouped into four classifications according to the types of interactions between human and robotic performers they afford: Non-Interactive, Mechatronic Instruments Played by Humans, Mechatronic Instruments Playing with Humans, and Social Interaction as Performance. The orchestration of each composition is described along with an overview of the piece’s compositional philosophy. Observations on how specific extra-musical compositional techniques can be incorporated into future mechatronic performances by human-robot performance ensembles are addressed.
```
@inproceedings{Villicaña-Shaw2018,
  author = {Villicaña-Shaw, Nathan Daniel and Salazar, Spencer and Kapur, Ajay},
  title = {Mechatronic Performance in Computer Music Compositions},
  pages = {413--418},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  editor = {Luke Dahl, Douglas Bowman, Thomas Martin},
  year = {2018},
  month = jun,
  publisher = {Virginia Tech},
  address = {Blacksburg, Virginia, USA},
  isbn = {978-1-949373-99-8},
  issn = {2220-4806},
  url = {http://www.nime.org/proceedings/2018/nime2018_paper0092.pdf}
}
```

2017

Robert Van Rooyen, Andrew Schloss, and George Tzanetakis. 2017. Voice Coil Actuators for Percussion Robotics. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 1–6.
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Percussion robots have successfully used a variety of actuator technologies to activate a wide array of striking mechanisms. Popular types of actuators include solenoids and DC motors. However, the use of industrial strength voice coil actuators provides a compelling alternative given a desirable set of heterogeneous features and requirements that span traditional devices. Their characteristics such as high acceleration and accurate positioning enable the exploration of rendering highly accurate and expressive percussion performances.
```
@inproceedings{rrooyen2017,
  title = {Voice Coil Actuators for Percussion Robotics},
  author = {Rooyen, Robert Van and Schloss, Andrew and Tzanetakis, George},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0001.pdf},
  year = {2017},
  pages = {1--6}
}
```
Maurin Donneaud, Cedric Honnet, and Paul Strohmeier. 2017. Designing a Multi-Touch eTextile for Music Performances. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 7–12.
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We present a textile pressure sensor matrix, designed to be used as a musical multi-touch input device. An evaluation of our design demonstrated that the sensors pressure response profile fits a logarithmic curve (R² = 0.98). The input delay of the sensor is 2.1ms. The average absolute error in one direction of the sensor was measured to be less than 10% of one of the matrix’s strips (M = 1.8mm, SD = 1.37mm). We intend this technology to be easy to use and implement by experts and novices alike: We ensure the ease of use by providing a host application that tracks touch points and passes these on as OSC or MIDI messages. We make our design easy to implement by providing open source software and hardware and by choosing evaluation methods that use accessible tools, making quantitative comparisons between different branches of the design easy. We chose to work with textile to take advantage of its tactile properties and its malleability of form and to pay tribute to textile’s rich cultural heritage.
```
@inproceedings{mdonneaud2017,
  title = {Designing a Multi-Touch eTextile for Music Performances},
  author = {Donneaud, Maurin and Honnet, Cedric and Strohmeier, Paul},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0002.pdf},
  year = {2017},
  pages = {7--12}
}
```
Peter Williams and Daniel Overholt. 2017. bEADS Extended Actuated Digital Shaker. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 13–18.
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While there are a great variety of digital musical interfaces available to the working musician, few oer the level of immediate, nuanced and instinctive control that onends in an acoustic shaker. bEADS is a prototype of a digital musical instrument that utilises the gestural vocabulary associated with shaken idiophones and expands on the techniques and sonic possibilities associated with them. By using a bespoke physically informed synthesis engine, in conjunction with accelerometer and pressure sensor data, an actuated handheld instrument has been built that allows for quickly switching between widely diering percussive sound textures. The prototype has been evaluated by three experts with dierent levels of involvement in professional music making.
```
@inproceedings{pwilliams2017,
  title = {bEADS Extended Actuated Digital Shaker},
  author = {Williams, Peter and Overholt, Daniel},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0003.pdf},
  year = {2017},
  pages = {13--18}
}
```
Romain Michon, Julius O. Smith, Matthew Wright, Chris Chafe, John Granzow, and Ge Wang. 2017. Passively Augmenting Mobile Devices Towards Hybrid Musical Instrument Design. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 19–24.
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Mobile devices constitute a generic platform to make standalone musical instruments for live performance. However, they were not designed for such use and have multiple limitations when compared to other types of instruments. We introduce a framework to quickly design and prototype passive mobile device augmentations to leverage existing features of the device for the end goal of mobile musical instruments. An extended list of examples is provided and the results of a workshop, organized partly to evaluate our framework, are provided.
```
@inproceedings{rmichon2017,
  title = {Passively Augmenting Mobile Devices Towards Hybrid Musical Instrument Design},
  author = {Michon, Romain and Smith, Julius O. and Wright, Matthew and Chafe, Chris and Granzow, John and Wang, Ge},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0004.pdf},
  year = {2017},
  pages = {19--24}
}
```
Alice Eldridge and Chris Kiefer. 2017. Self-resonating Feedback Cello: Interfacing gestural and generative processes in improvised performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 25–29.
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The Feedback Cello is a new electroacoustic actuated instrument in which feedback can be induced independently on each string. Built from retro-fitted acoustic cellos, the signals from electromagnetic pickups sitting under each string are passed to a speaker built into the back of the instrument and to transducers clamped in varying places across the instrument body. Placement of acoustic and mechanical actuators on the resonant body of the cello mean that this simple analogue feedback system is capable of a wide range of complex self-resonating behaviours. This paper describes the motivations for building these instruments as both a physical extension to live coding practice and an electroacoustic augmentation of cello. The design and physical construction is outlined, and modes of performance described with reference to the first six months of performances and installations. Future developments and planned investigations are outlined.
```
@inproceedings{aeldridge2017,
  title = {Self-resonating Feedback Cello: Interfacing gestural and generative processes in improvised performance},
  author = {Eldridge, Alice and Kiefer, Chris},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0005.pdf},
  year = {2017},
  pages = {25--29}
}
```
Don Derek Haddad, Xiao Xiao, Tod Machover, and Joseph Paradiso. 2017. Fragile Instruments: Constructing Destructible Musical Interfaces. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 30–33.
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We introduce a family of fragile electronic musical instruments designed to be "played” through the act of destruction. Each Fragile Instrument consists of an analog synthesizing circuit with embedded sensors that detect the destruction of an outer shell, which is destroyed and replaced for each performance. Destruction plays an integral role in both the spectacle and the generated sounds. This paper presents several variations of Fragile Instruments we have created, discussing their circuit design as well as choices of material for the outer shell and tools of destruction. We conclude by considering other approaches to create intentionally destructible electronic musical instruments.
```
@inproceedings{dhaddad2017,
  title = {Fragile Instruments: Constructing Destructible Musical Interfaces},
  author = {Haddad, Don Derek and Xiao, Xiao and Machover, Tod and Paradiso, Joseph},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0006.pdf},
  year = {2017},
  pages = {30--33}
}
```
Florian Heller, Irene Meying Cheung Ruiz, and Jan Borchers. 2017. An Augmented Flute for Beginners. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 34–37.
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Learning to play the transverse flute is not an easy task, at least not for everyone. Since the flute does not have a reed to resonate, the player must provide a steady, focused stream of air that will cause the flute to resonate and thereby produce sound. In order to achieve this, the player has to be aware of the embouchure position to generate an adequate air jet. For a beginner, this can be a difficult task due to the lack of visual cues or indicators of the air jet and lips position. This paper attempts to address this problem by presenting an augmented flute that can make the gestures related to the embouchure visible and measurable. The augmented flute shows information about the area covered by the lower lip, estimates the lip hole shape based on noise analysis, and it shows graphically the air jet direction. Additionally, the augmented flute provides directional and continuous feedback in real time, based on data acquired by experienced flutists.
```
@inproceedings{fheller2017,
  title = {An Augmented Flute for Beginners},
  author = {Heller, Florian and Ruiz, Irene Meying Cheung and Borchers, Jan},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0007.pdf},
  year = {2017},
  pages = {34--37}
}
```
Gabriella Isaac, Lauren Hayes, and Todd Ingalls. 2017. Cross-Modal Terrains: Navigating Sonic Space through Haptic Feedback. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 38–41.
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This paper explores the idea of using virtual textural terrains as a means of generating haptic profiles for force-feedback controllers. This approach breaks from the paradigm established within audio-haptic research over the last few decades where physical models within virtual environments are designed to transduce gesture into sonic output. We outline a method for generating multimodal terrains using basis functions, which are rendered into monochromatic visual representations for inspection. This visual terrain is traversed using a haptic controller, the NovInt Falcon, which in turn receives force information based on the grayscale value of its location in this virtual space. As the image is traversed by a performer the levels of resistance vary, and the image is realized as a physical terrain. We discuss the potential of this approach to afford engaging musical experiences for both the performer and the audience as iterated through numerous performances.
```
@inproceedings{gisaac2017,
  title = {Cross-Modal Terrains: Navigating Sonic Space through Haptic Feedback},
  author = {Isaac, Gabriella and Hayes, Lauren and Ingalls, Todd},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0008.pdf},
  year = {2017},
  pages = {38--41}
}
```
Jiayue Wu, Mark Rau, Yun Zhang, Yijun Zhou, and Matt Wright. 2017. Towards Robust Tracking with an Unreliable Motion Sensor Using Machine Learning. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 42–47.
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This paper presents solutions to improve reliability and to work around challenges of using a Leap Motion™ sensor as a gestural control and input device in digital music instrument (DMI) design. We implement supervised learning algorithms (k-nearest neighbors, support vector machine, binary decision tree, and artificial neural network) to estimate hand motion data, which is not typically captured by the sensor. Two problems are addressed: 1) the sensor cannot detect overlapping hands 2) The sensor’s limited detection range. Training examples included 7 kinds of overlapping hand gestures as well as hand trajectories where a hand goes out of the sensor’s range. The overlapping gestures were treated as a classification problem and the best performing model was k-nearest neighbors with 62% accuracy. The out-of-range problem was treated first as a clustering problem to group the training examples into a small number of trajectory types, then as a classification problem to predict trajectory type based on the hand’s motion before going out of range. The best performing model was k-nearest neighbors with an accuracy of 30%. The prediction models were implemented in an ongoing multimedia electroacoustic vocal performance and an educational project named Embodied Sonic Meditation (ESM).
```
@inproceedings{jwu2017,
  title = {Towards Robust Tracking with an Unreliable Motion Sensor Using Machine Learning},
  author = {Wu, Jiayue and Rau, Mark and Zhang, Yun and Zhou, Yijun and Wright, Matt},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0009.pdf},
  year = {2017},
  pages = {42--47}
}
```
Álvaro Barbosa and Thomas Tsang. 2017. Sounding Architecture: Inter-Disciplinary Studio at HKU. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 48–51.
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Sounding Architecture, is the first collaborative teaching development between Department of Architecture and Department of Music at the University of Hong Kong (HKU), introduced in Fall 2016. In this paper we present critical observations about the studio after a final public presentation of all projects. The Review was conducted with demonstrations by groups of students supervised by different Lecturer, in each case focusing on a different strategy to create a connection between Sound, Music, Acoustics, Space and Architectural Design. There was an assumption that the core working process would have to include the design of a new musical instrument, which in some cases became the final deliverable of the Studio and in other cases a step in a process that leads to a different outcome (such as an architectural Design, a performance or social experiment). One other relevant aspect was that Digital technology was used in the design and fabrication of the physical instruments’ prototypes, but in very few cases, it was used in the actual generation or enhancement of sound, with the instruments relying almost exclusively in acoustic and mechanical sound.
```
@inproceedings{abarbosa2017,
  title = {Sounding Architecture: Inter-Disciplinary Studio at HKU},
  author = {Barbosa, Álvaro and Tsang, Thomas},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0010.pdf},
  year = {2017},
  pages = {48--51}
}
```
Martín Matus Lerner. 2017. Osiris: a liquid based digital musical instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 52–55.
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This paper describes the process of creation of a new digital musical instrument: Osiris. This device is based on the circulation of liquids for the generation of musical notes. Besides the system of liquid distribution, a module that generates MIDI events was designed and built based on the Arduino platform; such module is employed together with a Proteus 2000 sound generator. The programming of the control module as well as the choice of sound-generating module had as their main objective that the instrument should provide an ample variety of sound and musical possibilities, controllable in real time.
```
@inproceedings{mlerner2017,
  title = {Osiris: a liquid based digital musical instrument},
  author = {Matus Lerner, Martín},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0011.pdf},
  year = {2017},
  pages = {52--55}
}
```
Spyridon Stasis, Jason Hockman, and Ryan Stables. 2017. Navigating Descriptive Sub-Representations of Musical Timbre. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 56–61.
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Musicians, audio engineers and producers often make use of common timbral adjectives to describe musical signals and transformations. However, the subjective nature of these terms, and the variability with respect to musical context often leads to inconsistencies in their definition. In this study, a model is proposed for controlling an equaliser by navigating clusters of datapoints, which represent grouped parameter settings with the same timbral description. The interface allows users to identify the nearest cluster to their current parameter setting and recommends changes based on its relationship to a cluster centroid. To do this, we apply dimensionality reduction to a dataset of equaliser curves described as warm and bright using a stacked autoencoder, then group the entries using an agglomerative clustering algorithm with a coherence based distance criterion. To test the efficacy of the system, we implement listening tests and show that subjects are able to match datapoints to their respective sub-representations with 93.75% mean accuracy.
```
@inproceedings{sstasis2017,
  title = {Navigating Descriptive Sub-Representations of Musical Timbre},
  author = {Stasis, Spyridon and Hockman, Jason and Stables, Ryan},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0012.pdf},
  year = {2017},
  pages = {56--61}
}
```
Peter Williams and Daniel Overholt. 2017. Pitch Fork: A Novel tactile Digital Musical Instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 62–64.
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Pitch Fork is a prototype of an alternate, actuated digital musical instrument (DMI). It uses 5 infra-red and 4 piezoelectric sensors to control an additive synthesis engine. Iron bars are used as the physical point of contact in interaction with the aim of using material computation to control aspects of the digitally produced sound. This choice of material was also chosen to affect player experience. Sensor readings are relayed to a Macbook via an Arduino Mega. Mappings and audio output signal is carried out with Pure Data Extended.
```
@inproceedings{pwilliams2017a,
  title = {Pitch Fork: A Novel tactile Digital Musical Instrument},
  author = {Williams, Peter and Overholt, Daniel},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0013.pdf},
  year = {2017},
  pages = {62--64}
}
```
Cagri Erdem, Anil Camci, and Angus Forbes. 2017. Biostomp: A Biocontrol System for Embodied Performance Using Mechanomyography. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 65–70.
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Biostomp is a new musical interface that relies on the use mechanomyography (MMG) as a biocontrol mechanism in live performance situations. Designed in the form of a stomp box, Biostomp translates a performer’s muscle movements into control signals. A custom MMG sensor captures the acoustic output of muscle tissue oscillations resulting from contractions. An analog circuit amplifies and filters these signals, and a micro-controller translates the processed signals into pulses. These pulses are used to activate a stepper motor mechanism, which is designed to be mounted on parameter knobs on effects pedals. The primary goal in designing Biostomp is to offer a robust, inexpensive, and easy-to-operate platform for integrating biological signals into both traditional and contemporary music performance practices without requiring an intermediary computer software. In this paper, we discuss the design, implementation and evaluation of Biostomp. Following an overview of related work on the use of biological signals in artistic projects, we offer a discussion of our approach to conceptualizing and fabricating a biocontrol mechanism as a new musical interface. We then discuss the results of an evaluation study conducted with 21 professional musicians. A video abstract for Biostomp can be viewed at vimeo.com/biostomp/video.
```
@inproceedings{cerdem2017,
  title = {Biostomp: A Biocontrol System for Embodied Performance Using Mechanomyography},
  author = {Erdem, Cagri and Camci, Anil and Forbes, Angus},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0014.pdf},
  year = {2017},
  pages = {65--70}
}
```
Esben W. Knudsen, Malte L. Hølledig, Mads Juel Nielsen, et al. 2017. Audio-Visual Feedback for Self-monitoring Posture in Ballet Training. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 71–76.
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An application for ballet training is presented that monitors the posture position (straightness of the spine and rotation of the pelvis) deviation from the ideal position in real-time. The human skeletal data is acquired through a Microsoft Kinect v2. The movement of the student is mirrored through an abstract skeletal figure and instructions are provided through a virtual teacher. Posture deviation is measured in the following way: Torso misalignment is calculated by comparing hip center joint, shoulder center joint and neck joint position with an ideal posture position retrieved in an initial calibration procedure. Pelvis deviation is expressed as the xz-rotation of the hip-center joint. The posture deviation is sonified via a varying cut-off frequency of a high-pass filter applied to floating water sound. The posture deviation is visualized via a curve and a rigged skeleton in which the misaligned torso parts are color-coded. In an experiment with 9-12 year-old dance students from a ballet school, comparing the audio-visual feedback modality with no feedback leads to an increase in posture accuracy (p < 0.001, Cohen’s d = 1.047). Reaction card feedback and expert interviews indicate that the feedback is considered fun and useful for training independently from the teacher.
```
@inproceedings{eknudsen2017,
  title = {Audio-Visual Feedback for Self-monitoring Posture in Ballet Training},
  author = {Knudsen, Esben W. and Hølledig, Malte L. and Nielsen, Mads Juel and Petersen, Rikke K. and Bach-Nielsen, Sebastian and Zanescu, Bogdan-Constantin and Overholt, Daniel and Purwins, Hendrik and Helweg, Kim},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0015.pdf},
  year = {2017},
  pages = {71--76}
}
```
Rikard Lindell and Tomas Kumlin. 2017. Augmented Embodied Performance – Extended Artistic Room, Enacted Teacher, and Humanisation of Technology. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 77–82.
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We explore the phenomenology of embodiment based on research through design and reflection on the design of artefacts for augmenting embodied performance. We present three designs for highly trained musicians; the designs rely on the musicians’ mastery acquired from years of practice. Through the knowledge of the living body their instruments – saxophone, cello, and flute – are extensions of themselves; thus, we can explore technology with rich nuances and precision in corporeal schemas. With the help of Merleau-Ponty’s phenomenology of embodiment we present three hypotheses for augmented embodied performance: the extended artistic room, the interactively enacted teacher, and the humanisation of technology.
```
@inproceedings{rlindell2017,
  title = {Augmented Embodied Performance – Extended Artistic Room, Enacted Teacher, and Humanisation of Technology},
  author = {Lindell, Rikard and Kumlin, Tomas},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0016.pdf},
  year = {2017},
  pages = {77--82}
}
```
Jens Vetter and Sarah Leimcke. 2017. Homo Restis - Constructive Control Through Modular String Topologies. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 83–86.
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In this paper we discuss a modular instrument system for musical expression consisting of multiple devices using string detection, sound synthesis and wireless communication. The design of the system allows for different physical arrangements, which we define as topologies. In particular we will explain our concept and requirements, the system architecture including custom magnetic string sensors and our network communication and discuss its use in the performance HOMO RESTIS.
```
@inproceedings{jvetter2017,
  title = {Homo Restis - Constructive Control Through Modular String Topologies},
  author = {Vetter, Jens and Leimcke, Sarah},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0017.pdf},
  year = {2017},
  pages = {83--86}
}
```
Jeronimo Barbosa, Marcelo M. Wanderley, and Stéphane Huot. 2017. Exploring Playfulness in NIME Design: The Case of Live Looping Tools. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 87–92.
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Play and playfulness compose an essential part of our lives as human beings. From childhood to adultness, playfulness is often associated with remarkable positive experiences related to fun, pleasure, intimate social activities, imagination, and creativity. Perhaps not surprisingly, playfulness has been recurrently used in NIME designs as a strategy to engage people, often non-expert, in short term musical activities. Yet, designing for playfulness remains a challenging task, as little knowledge is available for designers to support their decisions. To address this issue, we follow a design rationale approach using the context of Live Looping (LL) as a case study. We start by surveying 101 LL tools, summarizing our analysis into a new design space. We then use this design space to discuss potential guidelines to address playfulness in a design process. These guidelines are implemented and discussed in a new LL tool—called the "Voice Reaping Machine". Finally, we contrast our guidelines with previous works in the literature.
```
@inproceedings{jbarbosa2017,
  title = {Exploring Playfulness in NIME Design: The Case of Live Looping Tools},
  author = {Barbosa, Jeronimo and Wanderley, Marcelo M. and Huot, Stéphane},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0018.pdf},
  year = {2017},
  pages = {87--92}
}
```
Daniel Manesh and Eran Egozy. 2017. Exquisite Score: A System for Collaborative Musical Composition. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 93–98.
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Exquisite Score is a web application which allows users to collaborate on short musical compositions using the paradigm of the parlor game exquisite corpse. Through a MIDI- sequencer interface, composers each contribute a section to a piece of music, only seeing the very end of the preceding section. Exquisite Score is both a fun and accessible compositional game as well as a system for encouraging highly novel musical compositions. Exquisite Score was tested by several students and musicians. Several short pieces were created and a brief discussion and analysis of these pieces is included.
```
@inproceedings{dmanesh2017,
  title = {Exquisite Score: A System for Collaborative Musical Composition},
  author = {Manesh, Daniel and Egozy, Eran},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0019.pdf},
  year = {2017},
  pages = {93--98}
}
```
Stahl Stenslie, Kjell Tore Innervik, Ivar Frounberg, and Thom Johansen. 2017. Somatic Sound in Performative Contexts. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 99–103.
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This paper presents a new spherical shaped capacitive sensor device for creating interactive compositions and embodied user experiences inside of a periphonic, 3D sound space. The Somatic Sound project is here presented as a) technological innovative musical instrument, and b) an experiential art installation. One of the main research foci is to explore embodied experiences through moving, interactive and somatic sound. The term somatic is here understood and used as in relating to the body in a physical, holistic and immersive manner.
```
@inproceedings{sstenslie2017,
  title = {Somatic Sound in Performative Contexts},
  author = {Stenslie, Stahl and Innervik, Kjell Tore and Frounberg, Ivar and Johansen, Thom},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0020.pdf},
  year = {2017},
  pages = {99--103}
}
```
Jeppe Veirum Larsen and Hendrik Knoche. 2017. States and Sound: Modelling Interactions with Musical User Interfaces. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 104–109.
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Musical instruments and musical user interfaces provide rich input and feedback through mostly tangible interactions, resulting in complex behavior. However, publications of novel interfaces often lack the required detail due to the complexity or the focus on a specific part of the interfaces and absence of a specific template or structure to describe these interactions. Drawing on and synthesizing models from interaction design and music making we propose a way for modeling musical interfaces by providing a scheme and visual language to describe, design, analyze, and compare interfaces for music making. To illustrate its capabilities we apply the proposed model to a range of assistive musical instruments, which often draw on multi-modal in- and output, resulting in complex designs and descriptions thereof.
```
@inproceedings{jlarsen2017,
  title = {States and Sound: Modelling Interactions with Musical User Interfaces},
  author = {Larsen, Jeppe Veirum and Knoche, Hendrik},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0021.pdf},
  year = {2017},
  pages = {104--109}
}
```
Guangyu Xia and Roger Dannenberg. 2017. Improvised Duet Interaction: Learning Improvisation Techniques for Automatic Accompaniment. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 110–114.
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The interaction between music improvisers is studied in the context of piano duets, where one improviser embellishes a melody, and the other plays a chordal accompaniment with great freedom. We created an automated accompaniment player that learns to play from example performances. Accompaniments are constructed by selecting and concatenating one-measure score units from actual performances. An important innovation is the ability to learn how the improvised accompaniment should respond to variations in the melody performance, using tempo and embellishment complexity as features, resulting in a truly interactive performance within a conventional musical framework. We conducted both objective and subjective evaluations, showing that the learned improviser performs more interactive, musical, and human-like accompaniment compared with the less responsive, rule-based baseline algorithm.
```
@inproceedings{gxia2017,
  title = {Improvised Duet Interaction: Learning Improvisation Techniques for Automatic Accompaniment},
  author = {Xia, Guangyu and Dannenberg, Roger},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0022.pdf},
  year = {2017},
  pages = {110--114}
}
```
Palle Dahlstedt. 2017. Physical Interactions with Digital Strings - A hybrid approach to a digital keyboard instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 115–120.
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A new hybrid approach to digital keyboard playing is presented, where the actual acoustic sounds from a digital keyboard are captured with contact microphones and applied as excitation signals to a digital model of a prepared piano, i.e., an extended wave-guide model of strings with the possibility of stopping and muting the strings at arbitrary positions. The parameters of the string model are controlled through TouchKeys multitouch sensors on each key, combined with MIDI data and acoustic signals from the digital keyboard frame, using a novel mapping. The instrument is evaluated from a performing musician’s perspective, and emerging playing techniques are discussed. Since the instrument is a hybrid acoustic-digital system with several feedback paths between the domains, it provides for expressive and dynamic playing, with qualities approaching that of an acoustic instrument, yet with new kinds of control. The contributions are two-fold. First, the use of acoustic sounds from a physical keyboard for excitations and resonances results in a novel hybrid keyboard instrument in itself. Second, the digital model of "inside piano" playing, using multitouch keyboard data, allows for performance techniques going far beyond conventional keyboard playing.
```
@inproceedings{pdahlstedt2017,
  title = {Physical Interactions with Digital Strings - A hybrid approach to a digital keyboard instrument},
  author = {Dahlstedt, Palle},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0023.pdf},
  year = {2017},
  pages = {115--120}
}
```
Charles Roberts and Graham Wakefield. 2017. gibberwocky: New Live-Coding Instruments for Musical Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 121–126.
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We describe two new versions of the gibberwocky live-coding system. One integrates with Max/MSP while the second targets MIDI output and runs entirely in the browser. We discuss commonalities and differences between the three environments, and how they fit into the live-coding landscape. We also describe lessons learned while performing with the original version of gibberwocky, both from our perspective and the perspective of others. These lessons informed the addition of animated sparkline visualizations depicting modulations to performers and audiences in all three versions.
```
@inproceedings{croberts2017,
  title = {gibberwocky: New Live-Coding Instruments for Musical Performance},
  author = {Roberts, Charles and Wakefield, Graham},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0024.pdf},
  year = {2017},
  pages = {121--126}
}
```
Sasha Leitman. 2017. Current Iteration of a Course on Physical Interaction Design for Music. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 127–132.
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This paper is an overview of the current state of a course on New Interfaces for Musical Expression taught at Stanford University. It gives an overview of the various technologies and methodologies used to teach the interdisciplinary work of new musical interfaces.
```
@inproceedings{sleitman2017,
  title = {Current Iteration of a Course on Physical Interaction Design for Music},
  author = {Leitman, Sasha},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0025.pdf},
  year = {2017},
  pages = {127--132}
}
```
Alex Hofmann, Bernt Isak Waerstad, Saranya Balasubramanian, and Kristoffer E. Koch. 2017. From interface design to the software instrument - Mapping as an approach to FX-instrument building. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 133–138.
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To build electronic musical instruments, a mapping between the real-time audio processing software and the physical controllers is required. Different strategies of mapping were developed and discussed within the NIME community to improve musical expression in live performances. This paper discusses an interface focussed instrument design approach, which starts from the physical controller and its functionality. From this definition, the required, underlying software instrument is derived. A proof of concept is implemented as a framework for effect instruments. This framework comprises a library of real-time effects for Csound, a proposition for a JSON-based mapping format, and a mapping-to-instrument converter that outputs Csound instrument files. Advantages, limitations and possible future extensions are discussed.
```
@inproceedings{ahofmann2017,
  title = {From interface design to the software instrument - Mapping as an approach to FX-instrument building},
  author = {Hofmann, Alex and Waerstad, Bernt Isak and Balasubramanian, Saranya and Koch, Kristoffer E.},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0026.pdf},
  year = {2017},
  pages = {133--138}
}
```
Marco Marchini, François Pachet, and Benoît Carré. 2017. Rethinking Reflexive Looper for structured pop music. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 139–144.
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Reflexive Looper (RL) is a live-looping system which allows a solo musician to incarnate the different roles of a whole rhythm section by looping rhythms, chord progressions, bassline and more. The loop pedal, is still the most used device for those types of performances, accounting for many of the cover songs performances on youtube, but not all kinds of song apply. Unlike a common loop pedal, each layer of sound in RL is produced by an intelligent looping-agent which adapts to the musician and respects given constraints, using constrained optimization. In its original form, RL worked well for jazz guitar improvisation but was unsuited to structured music such as pop songs. In order to bring the system on pop stage, we revisited the system interaction, following the guidelines of professional users who tested it extensively. We describe the revisited system which can accommodate both pop and jazz. Thanks to intuitive pedal interaction and structure-constraints, the new RL deals with pop music and has been already used in several in live concert situations.
```
@inproceedings{mmarchini2017,
  title = {Rethinking Reflexive Looper for structured pop music},
  author = {Marchini, Marco and Pachet, François and Carré, Benoît},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0027.pdf},
  year = {2017},
  pages = {139--144}
}
```
Victor Zappi, Andrew Allen, and Sidney Fels. 2017. Shader-based Physical Modelling for the Design of Massive Digital Musical Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 145–150.
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Physical modelling is a sophisticated synthesis technique, often used in the design of Digital Musical Instruments (DMIs). Some of the most precise physical simulations of sound propagation are based on Finite-Difference Time-Domain (FDTD) methods, which are stable, highly parameterizable but characterized by an extremely heavy computational load. This drawback hinders the spread of FDTD from the domain of off-line simulations to the one of DMIs. With this paper, we present a novel approach to real-time physical modelling synthesis, which implements a 2D FDTD solver as a shader program running on the GPU directly within the graphics pipeline. The result is a system capable of running fully interactive, massively sized simulation domains, suitable for novel DMI design. With the help of diagrams and code snippets, we provide the implementation details of a first interactive application, a drum head simulator whose source code is available online. Finally, we evaluate the proposed system, showing how this new approach can work as a valuable alternative to classic GPGPU modelling.
```
@inproceedings{vzappi2017,
  title = {Shader-based Physical Modelling for the Design of Massive Digital Musical Instruments},
  author = {Zappi, Victor and Allen, Andrew and Fels, Sidney},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0028.pdf},
  year = {2017},
  pages = {145--150}
}
```
David Johnson and George Tzanetakis. 2017. VRMin: Using Mixed Reality to Augment the Theremin for Musical Tutoring. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 151–156.
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The recent resurgence of Virtual Reality (VR) technologies provide new platforms for augmenting traditional music instruments. Instrument augmentation is a common approach for designing new interfaces for musical expression, as shown through hyperinstrument research. New visual affordances present in VR give designers new methods for augmenting instruments to extend not only their expressivity, but also their capabilities for computer assisted tutoring. In this work, we present VRMin, a mobile Mixed Reality (MR) application for augmenting a physical theremin, with an immersive virtual environment (VE), for real time computer assisted tutoring. We augment a physical theremin with 3D visual cues to indicate correct hand positioning for performing given notes and volumes. The physical theremin acts as a domain specific controller for the resulting MR environment. The initial effectiveness of this approach is measured by analyzing a performer’s hand position while training with and without the VRMin. We also evaluate the usability of the interface using heuristic evaluation based on a newly proposed set of guidelines designed for VR musical environments.
```
@inproceedings{djohnson2017,
  title = {VRMin: Using Mixed Reality to Augment the Theremin for Musical Tutoring},
  author = {Johnson, David and Tzanetakis, George},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0029.pdf},
  year = {2017},
  pages = {151--156}
}
```
Richard Graham, Brian Bridges, Christopher Manzione, and William Brent. 2017. Exploring Pitch and Timbre through 3D Spaces: Embodied Models in Virtual Reality as a Basis for Performance Systems Design. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 157–162.
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Our paper builds on an ongoing collaboration between theorists and practitioners within the computer music community, with a specific focus on three-dimensional environments as an incubator for performance systems design. In particular, we are concerned with how to provide accessible means of controlling spatialization and timbral shaping in an integrated manner through the collection of performance data from various modalities from an electric guitar with a multichannel audio output. This paper will focus specifically on the combination of pitch data treated within tonal models and the detection of physical performance gestures using timbral feature extraction algorithms. We discuss how these tracked gestures may be connected to concepts and dynamic relationships from embodied cognition, expanding on performative models for pitch and timbre spaces. Finally, we explore how these ideas support connections between sonic, formal and performative dimensions. This includes instrumental technique detection scenes and mapping strategies aimed at bridging music performance gestures across physical and conceptual planes.
```
@inproceedings{rgraham2017,
  title = {Exploring Pitch and Timbre through 3D Spaces: Embodied Models in Virtual Reality as a Basis for Performance Systems Design},
  author = {Graham, Richard and Bridges, Brian and Manzione, Christopher and Brent, William},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0030.pdf},
  year = {2017},
  pages = {157--162}
}
```
Michael Gurevich. 2017. Discovering Instruments in Scores: A Repertoire-Driven Approach to Designing New Interfaces for Musical Expression. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 163–168.
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This paper situates NIME practice with respect to models of social interaction among human agents. It argues that the conventional model of composer-performer-listener, and the underlying mid-20th century metaphor of music as communication upon which it relies, cannot reflect the richness of interaction and possibility afforded by interactive digital technologies. Building on Paul Lansky’s vision of an expanded and dynamic social network, an alternative, ecological view of music-making is presented, in which meaning emerges not from "messages" communicated between individuals, but instead from the "noise" that arises through the uncertainty in their interactions. However, in our tendency in NIME to collapse the various roles in this network into a single individual, we place the increased potential afforded by digital systems at risk. Using examples from the author’s NIME practices, the paper uses a practice-based methodology to describe approaches to designing instruments that respond to the technologies that form the interfaces of the network, which can include scores and stylistic conventions. In doing so, the paper demonstrates that a repertoire—a seemingly anachronistic concept—and a corresponding repertoire-driven approach to creating NIMEs can in fact be a catalyst for invention and creativity.
```
@inproceedings{mgurevich2017,
  title = {Discovering Instruments in Scores: A Repertoire-Driven Approach to Designing New Interfaces for Musical Expression},
  author = {Gurevich, Michael},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0031.pdf},
  year = {2017},
  pages = {163--168}
}
```
Joe Cantrell. 2017. Designing Intent: Defining Critical Meaning for NIME Practitioners. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 169–173.
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The ideation, conception and implementation of new musical interfaces and instruments provide more than the mere construction of digital objects. As physical and digital assemblages, interfaces also act as traces of the authoring entities that created them. Their intentions, likes, dislikes, and ultimate determinations of what is creatively useful all get embedded into the available choices of the interface. In this light, the self-perception of the musical HCI and instrument designer can be seen as occupying a primary importance in the instruments and interfaces that eventually come to be created. The work of a designer who self-identifies as an artist may result in a vastly different outcome than one who considers him or herself to be an entrepreneur, or a scientist, for example. These differing definitions of self as well as their HCI outcomes require their own means of critique, understanding and expectations. All too often, these definitions are unclear, or the considerations of overlapping means of critique remain unexamined.
```
@inproceedings{jcantrell2017,
  title = {Designing Intent: Defining Critical Meaning for NIME Practitioners},
  author = {Cantrell, Joe},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0032.pdf},
  year = {2017},
  pages = {169--173}
}
```
Juan Vasquez, Koray Tahiroğlu, and Johan Kildal. 2017. Idiomatic Composition Practices for New Musical Instruments: Context, Background and Current Applications. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 174–179.
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One of the reasons of why some musical instruments more successfully continue their evolution and actively take part in the history of music is partially attributed to the existing compositions made specifically for them, pieces that remain and are still played over a long period of time. This is something we know, performing these compositions keeps the characteristics of the instruments alive and able to survive. This paper presents our contribution to this discussion with a context and historical background for idiomatic compositions. Looking beyond the classical era, we discuss how the concept of idiomatic music has influenced research and composition practices in the NIME community; drawing more attention in the way current idiomatic composition practices considered specific NIME affordances for sonic, social and spatial interaction. We present particular projects that establish idiomatic writing as a part of a new repertoire for new musical instruments. The idiomatic writing approach to composing music for NIME can shift the unique characteristics of new instruments to a more established musical identity, providing a shared understanding and a common literature to the community.
```
@inproceedings{jvasquez2017,
  title = {Idiomatic Composition Practices for New Musical Instruments: Context, Background and Current Applications},
  author = {Vasquez, Juan and Tahiroğlu, Koray and Kildal, Johan},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0033.pdf},
  year = {2017},
  pages = {174--179}
}
```
Florent Berthaut, Cagan Arslan, and Laurent Grisoni. 2017. Revgest: Augmenting Gestural Musical Instruments with Revealed Virtual Objects. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 180–185.
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Gestural interfaces, which make use of physiological signals, hand / body postures or movements, have become widespread for musical expression. While they may increase the transparency and expressiveness of instruments, they may also result in limited agency, for musicians as well as for spectators. This problem becomes especially true when the implemented mappings between gesture and music are subtle or complex. These instruments may also restrict the appropriation possibilities of controls, by comparison to physical interfaces. Most existing solutions to these issues are based on distant and/or limited visual feedback (LEDs, small screens). Our approach is to augment the gestures themselves with revealed virtual objects. Our contributions are, first a novel approach of visual feedback that allow for additional expressiveness, second a software pipeline for pixel-level feedback and control that ensures tight coupling between sound and visuals, and third, a design space for extending gestural control using revealed interfaces. We also demonstrate and evaluate our approach with the augmentation of three existing gestural musical instruments.
```
@inproceedings{fberthaut2017,
  title = {Revgest: Augmenting Gestural Musical Instruments with Revealed Virtual Objects},
  author = {Berthaut, Florent and Arslan, Cagan and Grisoni, Laurent},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0034.pdf},
  year = {2017},
  pages = {180--185}
}
```
Akito van Troyer. 2017. MM-RT: A Tabletop Musical Instrument for Musical Wonderers. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 186–191.
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MM-RT (material and magnet - rhythm and timbre) is a tabletop musical instrument equipped with electromagnetic actuators to offer a new paradigm of musical expression and exploration. After expanding on prior work with electromagnetic instrument actuation and tabletop musical interfaces, the paper explains why and how MM-RT, through its physicality and ergonomics, has been designed specifically for musical wonderers: people who want to know more about music in installation, concert, and everyday contexts. Those wonderers aspire to interpret and explore music rather than focussing on a technically correct realization of music. Informed by this vision, we then describe the design and technical implementation of this tabletop musical instrument. The paper concludes with discussions about future works and how to trigger musical wonderers’ sonic curiosity to encounter, explore, invent, and organize sounds for music creation using a musical instrument like MM-RT.
```
@inproceedings{atroyer2017,
  title = {MM-RT: A Tabletop Musical Instrument for Musical Wonderers},
  author = {van Troyer, Akito},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0035.pdf},
  year = {2017},
  pages = {186--191}
}
```
Fabio Morreale and Andrew McPherson. 2017. Design for Longevity: Ongoing Use of Instruments from NIME 2010-14. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 192–197.
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Every new edition of NIME brings dozens of new DMIs and the feeling that only a few of them will eventually break through. Previous work tried to address this issue with a deductive approach by formulating design frameworks; we addressed this issue with a inductive approach by elaborating on successes and failures of previous DMIs. We contacted 97 DMI makers that presented a new instrument at five successive editions of NIME (2010-2014); 70 answered. They were asked to indicate the original motivation for designing the DMI and to present information about its uptake. Results confirmed that most of the instruments have difficulties establishing themselves. Also, they were asked to reflect on the specific factors that facilitated and those that hindered instrument longevity. By grounding these reflections on existing reserach on NIME and HCI, we propose a series of design considerations for future DMIs.
```
@inproceedings{fmorreale2017,
  title = {Design for Longevity: Ongoing Use of Instruments from NIME 2010-14},
  author = {Morreale, Fabio and McPherson, Andrew},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0036.pdf},
  year = {2017},
  pages = {192--197}
}
```
Samuel Delalez and Christophe d’Alessandro. 2017. Vokinesis: Syllabic Control Points for Performative Singing Synthesis. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 198–203.
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Performative control of voice is the process of real-time speech synthesis or modification by the means of hands or feet gestures. Vokinesis, a system for real-time rhythm and pitch modification and control of singing is presented. Pitch and vocal effort are controlled by a stylus on a graphic tablet. The concept of Syllabic Control Points (SCP) is introduced for timing and rhythm control. A chain of phonetic syllables have two types of temporal phases : the steady phases, which correspond to the vocalic nuclei, and the transient phases, which correspond to the attacks and/or codas. Thus, syllabic rhythm control methods need transient and steady phases control points, corresponding to the ancient concept of the arsis and thesis is prosodic theory. SCP allow for accurate control of articulation, using hand or feet. In the Tap mode, SCP are triggered by pressing and releasing a control button. In the Fader mode, continuous variation of the SCP sequencing rate is controlled with expression pedals. Vokinesis has been tested successfully in musical performances, using both syllabic rhythm control modes. This system opens new musical possibilities, and can be extended to other types of sounds beyond voice.
```
@inproceedings{sdelalez2017,
  title = {Vokinesis: Syllabic Control Points for Performative Singing Synthesis},
  author = {Delalez, Samuel and d'Alessandro, Christophe},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0037.pdf},
  year = {2017},
  pages = {198--203}
}
```
Gareth Young, Dave Murphy, and Jeffrey Weeter. 2017. A Qualitative Analysis of Haptic Feedback in Music Focused Exercises. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 204–209.
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We present the findings of a pilot-study that analysed the role of haptic feedback in a musical context. To examine the role of haptics in Digital Musical Instrument (DMI) design an experiment was formulated to measure the users’ perception of device usability across four separate feedback stages: fully haptic (force and tactile combined), constant force only, vibrotactile only, and no feedback. The study was piloted over extended periods with the intention of exploring the application and integration of DMIs in real-world musical contexts. Applying a music orientated analysis of this type enabled the investigative process to not only take place over a comprehensive period, but allowed for the exploration of DMI integration in everyday compositional practices. As with any investigation that involves creativity, it was important that the participants did not feel rushed or restricted. That is, they were given sufficient time to explore and assess the different feedback types without constraint. This provided an accurate and representational set of qualitative data for validating the participants’ experience with the different feedback types they were presented with.
```
@inproceedings{gyoung2017,
  title = {A Qualitative Analysis of Haptic Feedback in Music Focused Exercises},
  author = {Young, Gareth and Murphy, Dave and Weeter, Jeffrey},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0038.pdf},
  year = {2017},
  pages = {204--209}
}
```
Jingyin He, Jim Murphy, Dale A. Carnegie, and Ajay Kapur. 2017. Towards Related-Dedicated Input Devices for Parametrically Rich Mechatronic Musical Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 210–215.
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In the recent years, mechatronic musical instruments (MMI) have become increasingly parametrically rich. Researchers have developed different interaction strategies to negotiate the challenge of interfacing with each of the MMI’s high-resolution parameters in real time. While mapping strategies hold an important aspect of the musical interaction paradigm for MMI, attention on dedicated input devices to perform these instruments live should not be neglected. This paper presents the findings of a user study conducted with participants possessing specialized musicianship skills for MMI music performance and composition. Study participants are given three musical tasks to complete using a mechatronic chordophone with high dimensionality of control via different musical input interfaces (one input device at a time). This representative user study reveals the features of related-dedicated input controllers, how they compare against the typical MIDI keyboard/sequencer paradigm in human-MMI interaction, and provide an indication of the musical function that expert users prefer for each input interface.
```
@inproceedings{jhe2017,
  title = {Towards Related-Dedicated Input Devices for Parametrically Rich Mechatronic Musical Instruments},
  author = {He, Jingyin and Murphy, Jim and Carnegie, Dale A. and Kapur, Ajay},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0039.pdf},
  year = {2017},
  pages = {210--215}
}
```
Asha Blatherwick, Luke Woodbury, and Tom Davis. 2017. Design Considerations for Instruments for Users with Complex Needs in SEN Settings. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 216–221.
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Music technology can provide unique opportunities to allow access to music making for those with complex needs in special educational needs (SEN) settings. Whilst there is a growing trend of research in this area, technology has been shown to face a variety of issues leading to underuse in this context. This paper reviews issues raised in literature and in practice for the use of music technology in SEN settings. The paper then reviews existing principles and frameworks for designing digital musical instruments (DMIs.) The reviews of literature and current frameworks are then used to inform a set of design considerations for instruments for users with complex needs, and in SEN settings. 18 design considerations are presented with connections to literature and practice. An implementation example including future work is presented, and finally a conclusion is then offered.
```
@inproceedings{ablatherwick2017,
  title = {Design Considerations for Instruments for Users with Complex Needs in SEN Settings},
  author = {Blatherwick, Asha and Woodbury, Luke and Davis, Tom},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0040.pdf},
  year = {2017},
  pages = {216--221}
}
```
Abram Hindle and Daryl Posnett. 2017. Performance with an Electronically Excited Didgeridoo. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 222–226.
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The didgeridoo is a wind instrument composed of a single large tube often used as drone instrument for backing up the mids and lows of an ensemble. A didgeridoo is played by buzzing the lips and blowing air into the didgeridoo. To play a didgeridoo continously one can employ circular breathing but the volume of air required poses a real challenge to novice players. In this paper we replace the expense of circular breathing and lip buzzing with electronic excitation, thus creating an electro-acoustic didgeridoo or electronic didgeridoo. Thus we describe the didgeridoo excitation signal, how to replicate it, and the hardware necessary to make an electro-acoustic didgeridoo driven by speakers and controllable from a computer. To properly drive the didgeridoo we rely upon 4th-order ported bandpass speaker boxes to help guide our excitation signals into an attached acoustic didgeridoo. The results somewhat replicate human didgeridoo playing, enabling a new kind of mid to low electro-acoustic accompaniment without the need for circular breathing.
```
@inproceedings{ahindle2017,
  title = {Performance with an Electronically Excited Didgeridoo},
  author = {Hindle, Abram and Posnett, Daryl},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0041.pdf},
  year = {2017},
  pages = {222--226}
}
```
Michael Zbyszyński, Mick Grierson, and Matthew Yee-King. 2017. Rapid Prototyping of New Instruments with CodeCircle. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 227–230.
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Our research examines the use of CodeCircle, an online, collaborative HTML, CSS, and JavaScript editor, as a rapid prototyping environment for musically expressive instruments. In CodeCircle, we use two primary libraries: MaxiLib and RapidLib. MaxiLib is a synthesis and sample processing library, ported from the C++ library Maximillian, which interfaces with the Web Audio API for sound generation in the browser. RapidLib is a product of the Rapid-Mix project, and allows users to implement interactive machine learning, using "programming by demonstration" to design new expressive interactions.
```
@inproceedings{mzbyszynski2017,
  title = {Rapid Prototyping of New Instruments with CodeCircle},
  author = {Zbyszyński, Michael and Grierson, Mick and Yee-King, Matthew},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0042.pdf},
  year = {2017},
  pages = {227--230}
}
```
Federico Visi, Baptiste Caramiaux, Michael Mcloughlin, and Eduardo Miranda. 2017. A Knowledge-based, Data-driven Method for Action-sound Mapping. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 231–236.
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This paper presents a knowledge-based, data-driven method for using data describing action-sound couplings collected from a group of people to generate multiple complex mappings between the performance movements of a musician and sound synthesis. This is done by using a database of multimodal motion data collected from multiple subjects coupled with sound synthesis parameters. A series of sound stimuli is synthesised using the sound engine that will be used in performance. Multimodal motion data is collected by asking each participant to listen to each sound stimulus and move as if they were producing the sound using a musical instrument they are given. Multimodal data is recorded during each performance, and paired with the synthesis parameters used for generating the sound stimulus. The dataset created using this method is then used to build a topological representation of the performance movements of the subjects. This representation is then used to interactively generate training data for machine learning algorithms, and define mappings for real-time performance. To better illustrate each step of the procedure, we describe an implementation involving clarinet, motion capture, wearable sensor armbands, and waveguide synthesis.
```
@inproceedings{fvisi2017,
  title = {A Knowledge-based, Data-driven Method for Action-sound Mapping},
  author = {Visi, Federico and Caramiaux, Baptiste and Mcloughlin, Michael and Miranda, Eduardo},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0043.pdf},
  year = {2017},
  pages = {231--236}
}
```
Spencer Salazar and Mark Cerqueira. 2017. ChuckPad: Social Coding for Computer Music. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 237–240.
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ChuckPad is a network-based platform for sharing code, modules, patches, and even entire musical works written on the ChucK programming language and other music programming platforms. ChuckPad provides a single repository and record of musical code from supported musical programming systems, an interface for organizing, browsing, and searching this body of code, and a readily accessible means of evaluating the musical output of code in the repository. ChuckPad consists of an open-source modular backend service to be run on a network server or cloud infrastructure and a client library to facilitate integrating end-user applications with the platform. While ChuckPad has been initially developed for sharing ChucK source code, its design can accommodate any type of music programming system oriented around small text- or binary-format documents. To this end, ChuckPad has also been extended to the Auraglyph handwriting-based graphical music programming system.
```
@inproceedings{ssalazar2017,
  title = {ChuckPad: Social Coding for Computer Music},
  author = {Salazar, Spencer and Cerqueira, Mark},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0044.pdf},
  year = {2017},
  pages = {237--240}
}
```
Axel Berndt, Simon Waloschek, Aristotelis Hadjakos, and Alexander Leemhuis. 2017. AmbiDice: An Ambient Music Interface for Tabletop Role-Playing Games. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 241–244.
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Tabletop role-playing games are a collaborative narrative experience. Throughout gaming sessions, Ambient music and noises are frequently used to enrich and facilitate the narration. With AmbiDice we introduce a tangible interface and music generator specially devised for this application scenario. We detail the technical implementation of the device, the software architecture of the music system (AmbientMusicBox) and the scripting language to compose Ambient music and soundscapes. AmbiDice was presented to experienced players and gained positive feedback and constructive suggestions for further development.
```
@inproceedings{aberndt2017,
  title = {AmbiDice: An Ambient Music Interface for Tabletop Role-Playing Games},
  author = {Berndt, Axel and Waloschek, Simon and Hadjakos, Aristotelis and Leemhuis, Alexander},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0045.pdf},
  year = {2017},
  pages = {241--244}
}
```
Sam Ferguson, Anthony Rowe, Oliver Bown, Liam Birtles, and Chris Bennewith. 2017. Sound Design for a System of 1000 Distributed Independent Audio-Visual Devices. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 245–250.
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This paper describes the sound design for Bloom, a light and sound installation made up of 1000 distributed independent audio-visual pixel devices, each with RGB LEDs, Wifi, Accelerometer, GPS sensor, and sound hardware. These types of systems have been explored previously, but only a few systems have exceeded 30-50 devices and very few have included sound capability, and therefore the sound design possibilities for large systems of distributed audio devices are not yet well understood. In this article we describe the hardware and software implementation of sound synthesis for this system, and the implications for design of media for this context.
```
@inproceedings{sferguson2017,
  title = {Sound Design for a System of 1000 Distributed Independent Audio-Visual Devices},
  author = {Ferguson, Sam and Rowe, Anthony and Bown, Oliver and Birtles, Liam and Bennewith, Chris},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0046.pdf},
  year = {2017},
  pages = {245--250}
}
```
Richard Vogl and Peter Knees. 2017. An Intelligent Drum Machine for Electronic Dance Music Production and Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 251–256.
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An important part of electronic dance music (EDM) is the so-called beat. It is defined by the drum track of the piece and is a style defining element. While producing EDM, creating the drum track tends to be delicate, yet labor intensive work. In this work we present a touch-interface-based prototype with the goal to simplify this task. The prototype aims at supporting musicians to create rhythmic patterns in the context of EDM production and live performances. Starting with a seed pattern which is provided by the user, a list of variations with varying degree of deviation from the seed pattern is generated. The interface provides simple ways to enter, edit, visualize and browse through the patterns. Variations are generated by means of an artificial neural network which is trained on a database of drum rhythm patterns extracted from a commercial drum loop library. To evaluate the user interface and pattern generation quality a user study with experts in EDM production was conducted. It was found that participants responded positively to the user interface and the quality of the generated patterns. Furthermore, the experts consider the prototype helpful for both studio production situations and live performances.
```
@inproceedings{rvogl2017,
  title = {An Intelligent Drum Machine for Electronic Dance Music Production and Performance},
  author = {Vogl, Richard and Knees, Peter},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0047.pdf},
  year = {2017},
  pages = {251--256}
}
```
Martin Snejbjerg Jensen, Ole Adrian Heggli, Patricia Alves Da Mota, and Peter Vuust. 2017. A low-cost MRI compatible keyboard. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 257–260.
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Neuroimaging is a powerful tool to explore how and why humans engage in music. Magnetic resonance imaging (MRI) has allowed us to identify brain networks and regions implicated in a range of cognitive tasks including music perception and performance. However, MRI-scanners are noisy and cramped, presenting a challenging environment for playing an instrument. Here, we present an MRI-compatible polyphonic keyboard with a materials cost of 850 USD, designed and tested for safe use in 3T (three Tesla) MRI-scanners. We describe design considerations, and prior work in the field. In addition, we provide recommendations for future designs and comment on the possibility of using the keyboard in magnetoencephalography (MEG) systems. Preliminary results indicate a comfortable playing experience with no disturbance of the imaging process.
```
@inproceedings{mjensen2017,
  title = {A low-cost MRI compatible keyboard},
  author = {Jensen, Martin Snejbjerg and Heggli, Ole Adrian and Mota, Patricia Alves Da and Vuust, Peter},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0048.pdf},
  year = {2017},
  pages = {257--260}
}
```
Sang Won Lee, Jungho Bang, and Georg Essl. 2017. Live Coding YouTube: Organizing Streaming Media for an Audiovisual Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 261–266.
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Music listening has changed greatly with the emergence of music streaming services, such as Spotify or YouTube. In this paper, we discuss an artistic practice that organizes streaming videos to perform a real-time improvisation via live coding. A live coder uses any available video from YouTube, a video streaming service, as source material to perform an improvised audiovisual piece. The challenge is to manipulate the emerging media that are streamed from a networked service. The musical gesture can be limited due to the provided functionalities of the YouTube API. However, the potential sonic and visual space that a musician can explore is practically infinite. The practice embraces the juxtaposition of manipulating emerging media in old-fashioned ways similar to experimental musicians in the 60’s physically manipulating tape loops or scratching vinyl records on a phonograph while exploring the possibility of doing so by drawing on the gigantic repository of all kinds of videos. In this paper, we discuss the challenges of using streaming videos from the platform as musical materials in computer music and introduce a live coding environment that we developed for real-time improvisation.
```
@inproceedings{slee2017,
  title = {Live Coding YouTube: Organizing Streaming Media for an Audiovisual Performance},
  author = {Lee, Sang Won and Bang, Jungho and Essl, Georg},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0049.pdf},
  year = {2017},
  pages = {261--266}
}
```
Solen Kiratli, Akshay Cadambi, and Yon Visell. 2017. HIVE: An Interactive Sculpture for Musical Expression. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 267–270.
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In this paper we present HIVE, a parametrically designed interactive sound sculpture with embedded multi-channel digital audio which explores the intersection of sculptural form and musical instrument design. We examine sculpture as an integral part of music composition and performance, expanding the definition of musical instrument to include the gestalt of loudspeakers, architectural spaces, and material form. After examining some related works, we frame HIVE as an interactive sculpture for musical expression. We then describe our design and production process, which hinges on the relationship between sound, space, and sculptural form. Finally, we discuss the installation and its implications.
```
@inproceedings{skiratli2017,
  title = {HIVE: An Interactive Sculpture for Musical Expression},
  author = {Kiratli, Solen and Cadambi, Akshay and Visell, Yon},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0050.pdf},
  year = {2017},
  pages = {267--270}
}
```
Matthew Blessing and Edgar Berdahl. 2017. The JoyStyx: A Quartet of Embedded Acoustic Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 271–274.
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The JoyStyx Quartet is a series of four embedded acoustic instruments. Each of these instruments is a five-voice granular synthesizer which processes a different sound source to give each a unique timbre and range. The performer interacts with these voices individually with five joysticks positioned to lay under the performer’s fingertips. The JoyStyx uses a custom-designed printed circuit board. This board provides the joystick layout and connects them to an Arduino Micro, which serializes the ten analog X/Y position values and the five digital button presses. This data controls the granular and spatial parameters of a Pure Data patch running on a Raspberry Pi 2. The nature of the JoyStyx construction causes the frequency response to be coloured by the materials and their geometry, leading to a unique timbre. This endows the instrument with a more “analog” or “natural” sound, despite relying on computer-based algorithms. In concert, the quartet performance with the JoyStyx may potentially be the first performance ever with a quartet of Embedded Acoustic Instruments.
```
@inproceedings{mblessing2017,
  title = {The JoyStyx: A Quartet of Embedded Acoustic Instruments},
  author = {Blessing, Matthew and Berdahl, Edgar},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0051.pdf},
  year = {2017},
  pages = {271--274}
}
```
Graham Wakefield and Charles Roberts. 2017. A Virtual Machine for Live Coding Language Design. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 275–278.
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The growth of the live coding community has been coupled with a rich development of experimentation in new domain-specific languages, sometimes idiosyncratic to the interests of their performers. Nevertheless, programming language design may seem foreboding to many, steeped in computer science that is distant from the expertise of music performance. To broaden access to designing unique languages-as-instruments we developed an online programming environment that offers liveness in the process of language design as well as performance. The editor utilizes the Parsing Expression Grammar formalism for language design, and a virtual machine featuring collaborative multitasking for execution, in order to support a diversity of language concepts and affordances. The editor is coupled with online tutorial documentation aimed at the computer music community, with live examples embedded. This paper documents the design and use of the editor and its underlying virtual machine.
```
@inproceedings{gwakefield2017,
  title = {A Virtual Machine for Live Coding Language Design},
  author = {Wakefield, Graham and Roberts, Charles},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0052.pdf},
  year = {2017},
  pages = {275--278}
}
```
Tom Davis. 2017. The Feral Cello: A Philosophically Informed Approach to an Actuated Instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 279–282.
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There have been many NIME papers over the years on augmented or actuated instruments [2][10][19][22]. Many of these papers have focused on the technical description of how these instruments have been produced, or as in the case of Machover’s #8216;Hyperinstruments’ [19], on producing instruments over which performers have ‘absolute control’ and emphasise ‘learnability. perfectibility and repeatability’ [19]. In contrast to this approach, this paper outlines a philosophical position concerning the relationship between instruments and performers in improvisational contexts that recognises the agency of the instrument within the performance process. It builds on a post-phenomenological understanding of the human/instrument relationship in which the human and the instrument are understood as co-defining entities without fixed boundaries; an approach that actively challenges notions of instrumental mastery and ‘absolute control’. This paper then takes a practice-based approach to outline how such philosophical concerns have fed into the design of an augmented, actuated cello system, The Feral Cello, that has been designed to explicitly explore these concerns through practice.
```
@inproceedings{tdavis2017,
  title = {The Feral Cello: A Philosophically Informed Approach to an Actuated Instrument},
  author = {Davis, Tom},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0053.pdf},
  year = {2017},
  pages = {279--282}
}
```
Francisco Bernardo, Nicholas Arner, and Paul Batchelor. 2017. O Soli Mio: Exploring Millimeter Wave Radar for Musical Interaction. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 283–286.
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This paper describes an exploratory study of the potential for musical interaction of Soli, a new radar-based sensing technology developed by Google’s Advanced Technology and Projects Group (ATAP). We report on our hand-on experience and outcomes within the Soli Alpha Developers program. We present early experiments demonstrating the use of Soli for creativity in musical contexts. We discuss the tools, workflow, the affordances of the prototypes for music making, and the potential for design of future NIME projects that may integrate Soli.
```
@inproceedings{fbernardo2017,
  title = {O Soli Mio: Exploring Millimeter Wave Radar for Musical Interaction},
  author = {Bernardo, Francisco and Arner, Nicholas and Batchelor, Paul},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0054.pdf},
  year = {2017},
  pages = {283--286}
}
```
Constanza Levican, Andres Aparicio, Vernon Belaunde, and Rodrigo Cadiz. 2017. Insight2OSC: using the brain and the body as a musical instrument with the Emotiv Insight. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 287–290.
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Brain computer interfaces are being widely adopted for music creation and interpretation, and they are becoming a truly new category of musical instruments. Indeed, Miranda has coined the term Brain-computer Musical Interface (BCMI) to refer to this category. There are no "plug-n-play" solutions for a BCMI, these kinds of tools usually require the setup and implementation of particular software configurations, customized for each EEG device. The Emotiv Insight is a low-cost EEG apparatus that outputs several kinds of data, such as EEG rhythms or facial expressions, from the user’s brain activity. We have developed a BCMI, in the form of a freely available middle-ware, using the Emotiv Insight for EEG input and signal processing. The obtained data, via blue-tooth is broad-casted over the network formatted for the OSC protocol. Using this software, we tested the device’s adequacy as a BCMI by using the provided data in order to control different sound synthesis algorithms in MaxMSP. We conclude that the Emotiv Insight is an interesting choice for a BCMI due to its low-cost and ease of use, but we also question its reliability and robustness.
```
@inproceedings{clevican2017,
  title = {Insight2OSC: using the brain and the body as a musical instrument with the Emotiv Insight},
  author = {Levican, Constanza and Aparicio, Andres and Belaunde, Vernon and Cadiz, Rodrigo},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0055.pdf},
  year = {2017},
  pages = {287--290}
}
```
Benjamin Smith and Neal Anderson. 2017. ArraYnger: New Interface for Interactive 360° Spatialization. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 291–295.
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Interactive real-time spatialization of audio over large immersive speaker arrays poses significant interface and control challenges for live performers. Fluidly moving and mixing numerous sound objects over unique speaker configurations requires specifically designed software interfaces and systems. Currently available software solutions either impose configuration limitations, require extreme degrees of expertise, or extensive configuration time to use. A new system design, focusing on simplicity, ease of use, and live interactive spatialization is described. Automation of array calibration and tuning is included to facilitate rapid deployment and configuration. Comparisons with other solutions show favorability in terms of complexity, depth of control, and required features.
```
@inproceedings{bsmith2017,
  title = {ArraYnger: New Interface for Interactive 360° Spatialization},
  author = {Smith, Benjamin and Anderson, Neal},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0056.pdf},
  year = {2017},
  pages = {291--295}
}
```
Alexandra Murray-Leslie and Andrew Johnston. 2017. The Liberation of the Feet: Demaking the High Heeled Shoe For Theatrical Audio-Visual Expression. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 296–301.
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This paper describes a series of fashionable sounding shoe and foot based appendages made between 2007-2017. The research attempts to demake the physical high-heeled shoe through the iterative design and fabrication of new foot based musical instruments. This process of demaking also changes the usual purpose of shoes and associated stereotypes of high heeled shoe wear. Through turning high heeled shoes into wearable musical instruments for theatrical audio visual expressivity we question why so many musical instruments are made for the hands and not the feet? With this creative work we explore ways to redress the imbalance and consider what a genuinely “foot based” expressivity could be.
```
@inproceedings{aleslie2017,
  title = {The Liberation of the Feet: Demaking the High Heeled Shoe For Theatrical Audio-Visual Expression},
  author = {Murray-Leslie, Alexandra and Johnston, Andrew},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0057.pdf},
  year = {2017},
  pages = {296--301}
}
```
Christiana Rose. 2017. SALTO: A System for Musical Expression in the Aerial Arts. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 302–306.
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Wearable sensor technology and aerial dance movement can be integrated to provide a new performance practice and perspective on interactive kinesonic composition. SALTO (Sonic Aerialist eLecTrOacoustic system), is a system which allows for the creation of collaborative works between electroacoustic composer and aerial choreographer. The system incorporates aerial dance trapeze movement, sensors, digital synthesis, and electroacoustic composition. In SALTO, the Max software programming environment employs parameters and mapping techniques for translating the performer’s movement and internal experience into sound. Splinter (2016), a work for aerial choreographer/performer and the SALTO system, highlights the expressive qualities of the system in a performance setting.
```
@inproceedings{crose2017,
  title = {SALTO: A System for Musical Expression in the Aerial Arts},
  author = {Rose, Christiana},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0058.pdf},
  year = {2017},
  pages = {302--306}
}
```
Marije Baalman. 2017. Wireless Sensing for Artistic Applications, a Reflection on Sense/Stage to Motivate the Design of the Next Stage. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 307–312.
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Academic research projects focusing on wireless sensor networks rarely live on after the funded research project has ended. In contrast, the Sense/Stage project has evolved over the past 6 years outside of an academic context and has been used in a multitude of artistic projects. This paper presents how the project has developed, the diversity of the projects that have been made with the technology, feedback from users on the system and an outline for the design of a successor to the current system.
```
@inproceedings{mbaalman2017,
  title = {Wireless Sensing for Artistic Applications, a Reflection on Sense/Stage to Motivate the Design of the Next Stage},
  author = {Baalman, Marije},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0059.pdf},
  year = {2017},
  pages = {307--312}
}
```
Ivica Bukvic and Spencer Lee. 2017. Glasstra: Exploring the Use of an Inconspicuous Head Mounted Display in a Live Technology-Mediated Music Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 313–318.
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The following paper explores the Inconspicuous Head-Mounted Display within the context of a live technology-mediated music performance. For this purpose in 2014 the authors have developed Glasstra, an Android/Google Glass networked display designed to project real-time orchestra status to the conductor, with the primary goal of minimizing the on-stage technology footprint and with it audience’s potential distraction with technology. In preparation for its deployment in a real-world performance setting the team conducted a user study aimed to define relevant constraints of the Google Glass display. Based on the observed data, a conductor part from an existing laptop orchestra piece was retrofitted, thereby replacing the laptop with a Google Glass running Glasstra and a similarly inconspicuous forearm-mounted Wiimote controller. Below we present findings from the user study that have informed the design of the visual display, as well as multi-perspective observations from a series of real-world performances, including the designer, user, and the audience. We use findings to offer a new hypothesis, an inverse uncanny valley or what we refer to as uncanny mountain pertaining to audience’s potential distraction with the technology within the context of a live technology-mediated music performance as a function of minimizing on-stage technological footprint.
```
@inproceedings{ibukvic2017,
  title = {Glasstra: Exploring the Use of an Inconspicuous Head Mounted Display in a Live Technology-Mediated Music Performance},
  author = {Bukvic, Ivica and Lee, Spencer},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0060.pdf},
  year = {2017},
  pages = {313--318}
}
```
Scott Barton, Ethan Prihar, and Paulo Carvalho. 2017. Cyther: a Human-playable, Self-tuning Robotic Zither. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 319–324.
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Human-robot musical interaction typically consists of independent, physically-separated agents. We developed Cyther - a human-playable, self-tuning robotic zither – to allow a human and a robot to interact cooperatively through the same physical medium to generate music. The resultant co- dependence creates new responsibilities, roles, and expressive possibilities for human musicians. We describe some of these possibilities in the context of both technical features and artistic implementations of the system.
```
@inproceedings{sbarton2017,
  title = {Cyther: a Human-playable, Self-tuning Robotic Zither},
  author = {Barton, Scott and Prihar, Ethan and Carvalho, Paulo},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0061.pdf},
  year = {2017},
  pages = {319--324}
}
```
Beici Liang, György Fazekas, Andrew McPherson, and Mark Sandler. 2017. Piano Pedaller: A Measurement System for Classification and Visualisation of Piano Pedalling Techniques. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 325–329.
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This paper presents the results of a study of piano pedalling techniques on the sustain pedal using a newly designed measurement system named Piano Pedaller. The system is comprised of an optical sensor mounted in the piano pedal bearing block and an embedded platform for recording audio and sensor data. This enables recording the pedalling gesture of real players and the piano sound under normal playing conditions. Using the gesture data collected from the system, the task of classifying these data by pedalling technique was undertaken using a Support Vector Machine (SVM). Results can be visualised in an audio based score following application to show pedalling together with the player’s position in the score.
```
@inproceedings{bliang2017,
  title = {Piano Pedaller: A Measurement System for Classification and Visualisation of Piano Pedalling Techniques},
  author = {Liang, Beici and Fazekas, György and McPherson, Andrew and Sandler, Mark},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0062.pdf},
  year = {2017},
  pages = {325--329}
}
```
Jason Long, Jim Murphy, Dale A. Carnegie, and Ajay Kapur. 2017. A Closed-Loop Control System for Robotic Hi-hats. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 330–335.
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While most musical robots that are capable of playing the drum kit utilise a relatively simple striking motion, the hi-hat, with the additional degree of motion provided by its pedal, requires more involved control strategies in order to produce expressive performances on the instrument. A robotic hi-hat should be able to control not only the striking timing and velocity to a high degree of precision, but also dynamically control the position of the two cymbals in a way that is consistent, reproducible and intuitive for composers and other musicians to use. This paper describes the creation of a new, multifaceted hi-hat control system that utilises a closed-loop distance sensing and calibration mechanism in conjunction with an embedded musical information retrieval system to continuously calibrate the hi-hat’s action both before and during a musical performance. This is achieved by combining existing musical robotic devices with a newly created linear actuation mechanism, custom amplification, acquisition and DSP hardware, and embedded software algorithms. This new approach allows musicians to create expressive and reproducible musical performances with the instrument using consistent musical parameters, and the self-calibrating nature of the instrument lets users focus on creating music instead of maintaining equipment.
```
@inproceedings{jlong2017,
  title = {A Closed-Loop Control System for Robotic Hi-hats},
  author = {Long, Jason and Murphy, Jim and Carnegie, Dale A. and Kapur, Ajay},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0063.pdf},
  year = {2017},
  pages = {330--335}
}
```
Stratos Kountouras and Ioannis Zannos. 2017. Gestus: Teaching Soundscape Composition and Performance with a Tangible Interface. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 336–341.
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Tangible user interfaces empower artists, boost their creative expression and enhance performing art. However, most of them are designed to work with a set of rules, many of which require advanced skills and target users above a certain age. Here we present a comparative and quantitative study of using TUIs as an alternative teaching tool in experimenting with and creating soundscapes with children. We describe an informal interactive workshop involving schoolchildren. We focus on the development of playful uses of technology to help children empirically understand audio feature extraction basic techniques. We promote tangible interaction as an alternative learning method in the creation of synthetic soundscape based on sounds recorded in a natural outdoor environment as main sources of sound. We investigate how schoolchildren perceive natural sources of sound and explore practices that reuse prerecorded material through a tangible interactive controller. We discuss the potential benefits of using TUIs as an alternative empirical method for tangible learning and interaction design, and its impact on encouraging and motivating creativity in children. We summarize our findings and review children’s biehavioural indicators of engagement and enjoyment in order to provide insight to the design of TUIs based on user experience.
```
@inproceedings{skountouras2017,
  title = {Gestus: Teaching Soundscape Composition and Performance with a Tangible Interface},
  author = {Kountouras, Stratos and Zannos, Ioannis},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0064.pdf},
  year = {2017},
  pages = {336--341}
}
```
Hazar Emre Tez and Nick Bryan-Kinns. 2017. Exploring the Effect of Interface Constraints on Live Collaborative Music Improvisation. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 342–347.
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This research investigates how applying interaction constraints to digital music instruments (DMIs) affects the way that experienced music performers collaborate and find creative ways to make live improvised music on stage. The constraints are applied in two forms: i) Physically implemented on the instruments themselves, and ii) hidden rules that are defined on a network between the instruments and triggered depending on the musical actions of the performers. Six experienced musicians were recruited for a user study which involved rehearsal and performance. Performers were given deliberately constrained instruments containing a touch sensor, speaker, battery and an embedded computer. Results of the study show that whilst constraints can lead to more structured improvisation, the resultant music may not fit with performers’ true intentions. It was also found that when external musical material is introduced to guide the performers into a collective convergence, it is likely to be ignored because it was perceived by performers as being out of context.
```
@inproceedings{htez2017,
  title = {Exploring the Effect of Interface Constraints on Live Collaborative Music Improvisation},
  author = {Tez, Hazar Emre and Bryan-Kinns, Nick},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0065.pdf},
  year = {2017},
  pages = {342--347}
}
```
Irmandy Wicaksono and Joseph Paradiso. 2017. FabricKeyboard: Multimodal Textile Sensate Media as an Expressive and Deformable Musical Interface. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 348–353.
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This paper presents FabricKeyboard: a novel deformable keyboard interface based on a multi-modal fabric sensate surface. Multi-layer fabric sensors that detect touch, proximity, electric field, pressure, and stretch are machine-sewn in a keyboard pattern on a stretchable substrate. The result is a fabric-based musical controller that combines both the discrete controls of a keyboard and various continuous controls from the embedded fabric sensors. This enables unique tactile experiences and new interactions both with physical and non-contact gestures: physical by pressing, pulling, stretching, and twisting the keys or the fabric and non-contact by hovering and waving towards/against the keyboard and an electromagnetic source. We have also developed additional fabric-based modular interfaces such as a ribbon-controller and trackpad, allowing performers to add more expressive and continuous controls. This paper will discuss implementation strategies for our system-on-textile, fabric-based sensor developments, as well as sensor-computer interfacing and musical mapping examples of this multi-modal and expressive fabric keyboard.
```
@inproceedings{iwicaksono2017,
  title = {FabricKeyboard: Multimodal Textile Sensate Media as an Expressive and Deformable Musical Interface},
  author = {Wicaksono, Irmandy and Paradiso, Joseph},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0066.pdf},
  year = {2017},
  pages = {348--353}
}
```
Kristians Konovalovs, Jelizaveta Zovnercuka, Ali Adjorlu, and Daniel Overholt. 2017. A Wearable Foot-mounted / Instrument-mounted Effect Controller: Design and Evaluation. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 354–357.
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This paper explores a new interaction possibility for increasing performer freedom via a foot-mounted wearable, and an instrument-mounted device that maintain stomp-box styles of interactivity, but without the restrictions normally associated with the original design of guitar effect pedals. The classic foot activated effect pedals that are used to alter the sound of the instrument are stationary, forcing the performer to return to the same location in order to interact with the pedals. This paper presents a new design that enables the performer to interact with the effect pedals anywhere on the stage. By designing a foot&instrument-mounted effect controller, we kept the strongest part of the classical pedal design, while allowing the activation of the effect at any location on the stage. The usability of the device has been tested on thirty experienced guitar players. Their performance has been recorded and compared, and their opinion has been investigated through questionnaire and interview. The results of the experiment showed that, in theory, foot&instrument-mounted effect controller can replace standard effect pedals and at the same time provide more mobility on a stage.
```
@inproceedings{kkonovalovs2017,
  title = {A Wearable Foot-mounted / Instrument-mounted Effect Controller: Design and Evaluation},
  author = {Konovalovs, Kristians and Zovnercuka, Jelizaveta and Adjorlu, Ali and Overholt, Daniel},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0067.pdf},
  year = {2017},
  pages = {354--357}
}
```
Herbert Ho-Chun Chang, Lloyd May, and Spencer Topel. 2017. Nonlinear Acoustic Synthesis in Augmented Musical Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 358–363.
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This paper discusses nonlinear acoustic synthesis in augmented musical instruments via acoustic transduction. Our work expands previous investigations into acoustic amplitude modulation, offering new prototypes that produce intermodulation in several instrumental contexts. Our results show nonlinear intermodulation distortion can be generated and controlled in electromagnetically driven acoustic interfaces that can be deployed in acoustic instruments through augmentation, thus extending the nonlinear acoustic synthesis to a broader range of sonic applications.
```
@inproceedings{hchang2017,
  title = {Nonlinear Acoustic Synthesis in Augmented Musical Instruments},
  author = {Chang, Herbert Ho-Chun and May, Lloyd and Topel, Spencer},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0068.pdf},
  year = {2017},
  pages = {358--363}
}
```
Georg Hajdu, Benedict Carey, Goran Lazarevic, and Eckhard Weymann. 2017. From Atmosphere to Intervention: The circular dynamic of installations in hospital waiting areas. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 364–369.
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This paper is a description of a pilot project conducted at the Hamburg University of Music and Drama (HfMT) during the academic year 2015-16. In this project we have addressed how interventions via interactive, generative music systems may contribute to the improvement of the atmosphere and thus to the well-being of patients in hospital waiting areas. The project was conducted by both the students of the music therapy and multimedia composition programs and has thus offered rare insights into the dynamic of such undertakings covering both the therapeutic underpinnings, as well as the technical means required to achieve a particular result. DJster, the engine we used for the generative processes is based on Clarence Barlow’s probabilistic algorithms. Equipped with the proper periphery (sensors, sound modules and spatializers), we looked at three different scenarios, each requiring specific musical and technological solutions. The pilot was concluded by a symposium in 2017 and the development of a prototype system. The symposium yielded a diagram detailing the circular dynamic of the factors involved in this particular project, while the prototype was demoed in 2016 at the HfMT facilities. The system will be installed permanently at the University Medical Center Hamburg-Eppendorf (UKE) in June 2017.
```
@inproceedings{ghajdu2017,
  title = {From Atmosphere to Intervention: The circular dynamic of installations in hospital waiting areas},
  author = {Hajdu, Georg and Carey, Benedict and Lazarevic, Goran and Weymann, Eckhard},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0069.pdf},
  year = {2017},
  pages = {364--369}
}
```
Dom Brown, Chris Nash, and Tom Mitchell. 2017. A User Experience Review of Music Interaction Evaluations. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 370–375.
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The need for thorough evaluations is an emerging area of interest and importance in music interaction research. As a large degree of DMI evaluation is concerned with exploring the subjective experience: ergonomics, action-sound mappings and control intimacy; User Experience (UX) methods are increasingly being utilised to analyse an individual’s experience of new musical instruments, from which we can extract meaningful, robust findings and subsequently generalised and useful recommendations. However, many music interaction evaluations remain informal. In this paper, we provide a meta-review of 132 papers from the 2014 – 2016 proceedings of the NIME, SMC and ICMC conferences to collate the aspects of UX research that are already present in music interaction literature, and to highlight methods from UX’s widening field of research that have not yet been explored. Our findings show that usability and aesthetics are the primary focus of evaluations in music interaction research, and other important components of the user experience such as enchantment, motivation and frustration are frequently if not always overlooked. We argue that these factors are prime areas for future research in the field and their consideration in design and evaluation could lead to a better understanding of NIMEs and other computer music technology.
```
@inproceedings{dbrown2017,
  title = {A User Experience Review of Music Interaction Evaluations},
  author = {Brown, Dom and Nash, Chris and Mitchell, Tom},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0070.pdf},
  year = {2017},
  pages = {370--375}
}
```
Wayne Siegel. 2017. Conducting Sound in Space. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 376–380.
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This paper discusses control of multichannel sound diffusion by means of motion-tracking hardware and software within the context of a live performance. The idea developed from the author’s previous use of motion-tracking technology in his own artistic practice as a composer and performer. Various motion tracking systems were considered, experiments were conducted with three sound diffusion setups at three venues and a new composition for solo performer and motion-tracking system took form.
```
@inproceedings{wsiegel2017,
  title = {Conducting Sound in Space},
  author = {Siegel, Wayne},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0071.pdf},
  year = {2017},
  pages = {376--380}
}
```
Spencer Salazar, Sarah Reid, and Daniel McNamara. 2017. The Fragment String. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 381–386.
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The Fragment String is a new digital musical instrument designed to reinterpret and reflect upon the sounds of the instruments it is performed in collaboration with. At its core, it samples an input audio signal and allows the performer to replay these samples through a granular resynthesizer. Normally the Fragment String samples an acoustic instrument that accompanies it, but in the absence of this input it will amplify the ambient environment and electronic noise of the input audio path to audible levels and sample these. This ability to leverage both structural, tonal sound and unstructured noise provide the instrument with multiple dimensions of musical expressivity. The relative magnitude of the physical gestures required to manipulate the instrument and control the sound also engage an audience in its performance. This straightforward yet expressive design has lent the Fragment String to a variety of performance techniques and settings. These are explored through case studies in a five year history of Fragment String-based compositions and performances, illustrating the strengths and limitations of these interactions and their sonic output.
```
@inproceedings{ssalazar2017a,
  title = {The Fragment String},
  author = {Salazar, Spencer and Reid, Sarah and McNamara, Daniel},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0072.pdf},
  year = {2017},
  pages = {381--386}
}
```
Staas de Jong. 2017. Ghostfinger: a novel platform for fully computational fingertip controllers. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 387–392.
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We present Ghostfinger, a technology for highly dynamic up/down fingertip haptics and control. The overall user experience offered by the technology can be described as that of tangibly and audibly interacting with a small hologram. More specifically, Ghostfinger implements automatic visualization of the dynamic instantiation/parametrization of algorithmic primitives that together determine the current haptic conditions for fingertip action. Some aspects of this visualization are visuospatial: A floating see-through cursor provides real-time, to-scale display of the fingerpad transducer, as it is being moved by the user. Simultaneously, each haptic primitive instance is represented by a floating block shape, type-colored, variably transparent, and possibly overlapping with other such block shapes. Further aspects of visualization are symbolic: Each instance is also represented by a type symbol, lighting up within a grid if the instance is providing output to the user. We discuss the system’s user interface, programming interface, and potential applications. This from a general perspective that articulates and emphasizes the uniquely enabling role of the principle of computation in the implementation of new forms of instrumental control of musical sound. Beyond the currently presented technology, this also reflects more broadly on the role of Digital Musical Instruments (DMIs) in NIME.
```
@inproceedings{sjong2017,
  title = {Ghostfinger: a novel platform for fully computational fingertip controllers},
  author = {de Jong, Staas},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0073.pdf},
  year = {2017},
  pages = {387--392}
}
```
Jack Armitage, Fabio Morreale, and Andrew McPherson. 2017. The finer the musician, the smaller the details: NIMEcraft under the microscope. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 393–398.
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Many digital musical instrument design frameworks have been proposed that are well suited for analysis and comparison. However, not all provide applicable design suggestions, especially where subtle but important details are concerned. Using traditional lutherie as a model, we conducted a series of interviews to explore how violin makers “go beyond the obvious”, and how players perceive and describe subtle details of instrumental quality. We find that lutherie frameworks provide clear design methods and have substantial empirical backing, but are not enough to make a fine violin. Success comes after acquiring sufficient tacit knowledge, which enables detailed craft through subjective, empirical methods. Testing instruments for subtle qualities was suggested to be a different skill to playing. Whilst players are able to identify some specific details about instrumental quality by comparison, these are often not actionable, and important aspects of “sound and feeling” are much more difficult to describe. In the DMI domain, we introduce NIMEcraft to describe subtle differences between otherwise identical instruments and their underlying design processes, and consider how to improve the dissemination of NIMEcraft.
```
@inproceedings{jarmitage2017,
  title = {The finer the musician, the smaller the details: NIMEcraft under the microscope},
  author = {Armitage, Jack and Morreale, Fabio and McPherson, Andrew},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0074.pdf},
  year = {2017},
  pages = {393--398}
}
```
Sandor Mehes, Maarten van Walstijn, and Paul Stapleton. 2017. Virtual-Acoustic Instrument Design: Exploring the Parameter Space of a String-Plate Model. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 399–403.
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Exploration is an intrinsic element of designing and engaging with acoustic as well as digital musical instruments. This paper reports on the ongoing development of a virtual-acoustic instrument based on a physical model of a string coupled nonlinearly to a plate. The performer drives the model by tactile interaction with a string-board controller fitted with piezo-electric sensors. The string-plate model is formulated in a way that prioritises its parametric explorability. Where the roles of creating performance gestures and designing instruments are traditionally separated, such a design provides a continuum across these domains. The string-plate model, its real-time implementation, and the control interface are described, and the system is preliminarily evaluated through informal observations of how musicians engage with the system.
```
@inproceedings{smehes2017,
  title = {Virtual-Acoustic Instrument Design: Exploring the Parameter Space of a String-Plate Model},
  author = {Mehes, Sandor and van Walstijn, Maarten and Stapleton, Paul},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0075.pdf},
  year = {2017},
  pages = {399--403}
}
```
Nicolas Bouillot, Zack Settel, and Michal Seta. 2017. SATIE: a live and scalable 3D audio scene rendering environment for large multi-channel loudspeaker configurations. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 404–409.
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Recent advances in computing offer the possibility to scale real-time 3D virtual audio scenes to include hundreds of simultaneous sound sources, rendered in realtime, for large numbers of audio outputs. Our Spatial Audio Toolkit for Immersive Environments (SATIE), allows us to render these dense audio scenes to large multi-channel (e.g. 32 or more) loudspeaker systems, in realtime and controlled from external software such as 3D scenegraph software. As we describe here, SATIE is designed for improved scalability: minimum dependency between nodes in the audio DSP graph for parallel audio computation, controlling sound objects by groups and load balancing computation of geometry that allow to reduce the number of messages for controlling simultaneously a high number of sound sources. The paper presents SATIE along with example use case scenarios. Our initial work demonstrates SATIE’s flexibility, and has provided us with novel sonic sensations such as “audio depth of field” and real-time sound swarming.
```
@inproceedings{nbouillot2017,
  title = {SATIE: a live and scalable 3D audio scene rendering environment for large multi-channel loudspeaker configurations},
  author = {Bouillot, Nicolas and Settel, Zack and Seta, Michal},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0076.pdf},
  year = {2017},
  pages = {404--409}
}
```
Hugo Scurto, Frédéric Bevilacqua, and Jules Françoise. 2017. Shaping and Exploring Interactive Motion-Sound Mappings Using Online Clustering Techniques. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 410–415.
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Machine learning tools for designing motion-sound relationships often rely on a two-phase iterative process, where users must alternate between designing gestures and performing mappings. We present a first prototype of a user adaptable tool that aims at merging these design and performance steps into one fully interactive experience. It is based on an online learning implementation of a Gaussian Mixture Model supporting real-time adaptation to user movement and generation of sound parameters. To allow both fine-tune modification tasks and open-ended improvisational practices, we designed two interaction modes that either let users shape, or guide interactive motion-sound mappings. Considering an improvisational use case, we propose two example musical applications to illustrate how our tool might support various forms of corporeal engagement with sound, and inspire further perspectives for machine learning-mediated embodied musical expression.
```
@inproceedings{hscurto2017,
  title = {Shaping and Exploring Interactive Motion-Sound Mappings Using Online Clustering Techniques},
  author = {Scurto, Hugo and Bevilacqua, Frédéric and Françoise, Jules},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0077.pdf},
  year = {2017},
  pages = {410--415}
}
```
Kiran Bhumber, Bob Pritchard, and Kitty Rodé. 2017. A Responsive User Body Suit (RUBS). Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 416–419.
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We describe the Responsive User Body Suit (RUBS), a tactile instrument worn by performers that allows the generation and manipulation of audio output using touch triggers. The RUBS system is a responsive interface between organic touch and electronic audio, intimately located on the performer’s body. This system offers an entry point into a more intuitive method of music performance. A short overview of body instrument philosophy and related work is followed by the development and implementation process of the RUBS as both an interface and performance instrument. Lastly, observations, design challenges and future goals are discussed.
```
@inproceedings{kbhumber2017,
  title = {A Responsive User Body Suit (RUBS)},
  author = {Bhumber, Kiran and Pritchard, Bob and Rodé, Kitty},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0078.pdf},
  year = {2017},
  pages = {416--419}
}
```
Marie Højlund, Morten Riis, Daniel Rothmann, and Jonas Kirkegaard. 2017. Applying the EBU R128 Loudness Standard in live-streaming sound sculptures. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 420–425.
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This paper describes the development of a loudness-based compressor for live audio streams. The need for this device arose while developing the public sound art project The Overheard, which involves mixing together several live audio streams through a web based mixing interface. In order to preserve a natural sounding dynamic image from the varying sound sources that can be played back under varying conditions, an adaptation of the EBU R128 loudness measurement recommendation, originally developed for levelling non-real-time broadcast material, has been applied. The paper describes the Pure Data implementation and the necessary compromises enforced by the live streaming condition. Lastly observations regarding design challenges, related application areas and future goals are presented.
```
@inproceedings{mhojlund2017,
  title = {Applying the EBU R128 Loudness Standard in live-streaming sound sculptures},
  author = {Højlund, Marie and Riis, Morten and Rothmann, Daniel and Kirkegaard, Jonas},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0079.pdf},
  year = {2017},
  pages = {420--425}
}
```
Edgar Berdahl, Matthew Blessing, Matthew Williams, Pacco Tan, Brygg Ullmer, and Jesse Allison. 2017. Spatial Audio Approaches for Embedded Sound Art Installations with Loudspeaker Line Arrays. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 426–430.
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The concept of embedded acoustic systems for diffusing spatial audio is considered. This paradigm is enabled by advancements in floating-point hardware on inexpensive embedded Linux systems. Examples are presented using line array configurations for electroacoustic music and for making interactive kiosk and poster systems.
```
@inproceedings{eberdahl2017,
  title = {Spatial Audio Approaches for Embedded Sound Art Installations with Loudspeaker Line Arrays},
  author = {Berdahl, Edgar and Blessing, Matthew and Williams, Matthew and Tan, Pacco and Ullmer, Brygg and Allison, Jesse},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0080.pdf},
  year = {2017},
  pages = {426--430}
}
```
Fiona Keenan and Sandra Pauletto. 2017. Design and Evaluation of a Digital Theatre Wind Machine. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 431–435.
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This paper presents the next stage of an investigation into the potential of historical theatre sound effects as a resource for Sonic Interaction Design (SID). An acoustic theatre wind machine was constructed, and a digital physical modelling-based version of this specific machine was programmed using the Sound Designer’s Toolkit (SDT) in Max/MSP. The acoustic wind machine was fitted with 3D printed gearing to mechanically drive an optical encoder and control the digital synthesis engine in real time. The design of this system was informed by an initial comparison between the acoustic wind machine and the first iteration of its digital counterpart. To explore the main acoustic parameters and the sonic range of the acoustic and digital wind machines in operation, three simple and distinct rotational gestures were performed, with the resulting sounds recorded simultaneously, facilitating an analysis of the real-time performance of both sources. The results are reported, with an outline of future work.
```
@inproceedings{fkeenan2017,
  title = {Design and Evaluation of a Digital Theatre Wind Machine},
  author = {Keenan, Fiona and Pauletto, Sandra},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0081.pdf},
  year = {2017},
  pages = {431--435}
}
```
Ian Hattwick and Marcelo M. Wanderley. 2017. Design of Hardware Systems for Professional Artistic Applications. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 436–441.
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In this paper we present a discussion of the development of hardware systems in collaboration with professional artists, a context which presents both challenges and opportunities for researchers interested in the uses of technology in artistic practice. The establishment of design specifications within these contexts can be challenging, especially as they are likely to change during the development process. In order to assist in the consideration of the complete set of design specifications, we identify seven aspects of hardware design relevant to our applications: function, aesthetics, support for artistic creation, system architecture, manufacturing, robustness, and reusability. Examples drawn from our previous work are used to illustrate the characteristics of interdependency and temporality, and form the basis of case studies investigating support for artistic creation and reusability. We argue that the consideration of these design aspects at appropriate times within the development process may facilitate the ability of hardware systems to support continued use in professional applications.
```
@inproceedings{ihattwick2017,
  title = {Design of Hardware Systems for Professional Artistic Applications},
  author = {Hattwick, Ian and Wanderley, Marcelo M.},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0082.pdf},
  year = {2017},
  pages = {436--441}
}
```
Alexander Refsum Jensenius, Victor Gonzalez Sanchez, Agata Zelechowska, and Kari Anne Vadstensvik Bjerkestrand. 2017. Exploring the Myo controller for sonic microinteraction. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 442–445.
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This paper explores sonic microinteraction using muscle sensing through the Myo armband. The first part presents results from a small series of experiments aimed at finding the baseline micromotion and muscle activation data of people being at rest or performing short/small actions. The second part presents the prototype instrument MicroMyo, built around the concept of making sound with little motion. The instrument plays with the convention that inputting more energy into an instrument results in more sound. MicroMyo, on the other hand, is built so that the less you move, the more it sounds. Our user study shows that while such an "inverse instrument" may seem puzzling at first, it also opens a space for interesting musical interactions.
```
@inproceedings{ajensenius2017,
  title = {Exploring the Myo controller for sonic microinteraction},
  author = {Jensenius, Alexander Refsum and Sanchez, Victor Gonzalez and Zelechowska, Agata and Bjerkestrand, Kari Anne Vadstensvik},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0083.pdf},
  year = {2017},
  pages = {442--445}
}
```
Joseph Tilbian and Andres Cabrera. 2017. Stride for Interactive Musical Instrument Design. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 446–449.
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Stride is a language tailored for designing new digital musical instruments and interfaces. Stride enables designers to fine tune the sound and the interactivity of the instruments they wish to create. Stride code provides a high-level description of processes in a platform agnostic manner. The syntax used to define these processes can also be used to define low-level signal processing algorithms. Unlike other domain-specific languages for sound synthesis and audio processing, Stride can generate optimized code that can run on any supported hardware platform. The generated code can be compiled to run on a full featured operating system or bare metal on embedded devices. Stride goes further and enables a designer to consolidate various supported hardware and software platforms, define the communication between them, and target them as a single heterogeneous system.
```
@inproceedings{jtilbian2017,
  title = {Stride for Interactive Musical Instrument Design},
  author = {Tilbian, Joseph and Cabrera, Andres},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0084.pdf},
  year = {2017},
  pages = {446--449}
}
```
José Miguel Fernandez, Thomas Köppel, Nina Verstraete, Grégoire Lorieux, Alexander Vert, and Philippe Spiesser. 2017. GeKiPe, a gesture-based interface for audiovisual performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 450–455.
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We present here GeKiPe, a gestural interface for musical expression, combining images and sounds, generated and controlled in real time by a performer. GeKiPe is developed as part of a creation project, exploring the control of virtual instruments through the analysis of gestures specific to instrumentalists, and to percussionists in particular. GeKiPe was used for the creation of a collaborative stage performance (Sculpt), in which the musician and their movements are captured by different methods (infrared Kinect cameras and gesture-sensors on controller gloves). The use of GeKiPe as an alternate sound and image controller allowed us to combine body movement, musical gestures and audiovisual expressions to create challenging collaborative performances.
```
@inproceedings{jfernandez2017,
  title = {GeKiPe, a gesture-based interface for audiovisual performance},
  author = {Fernandez, José Miguel and Köppel, Thomas and Verstraete, Nina and Lorieux, Grégoire and Vert, Alexander and Spiesser, Philippe},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0085.pdf},
  year = {2017},
  pages = {450--455}
}
```
Jeppe Larsen and Hendrik Knoche. 2017. Hear you later alligator: How delayed auditory feedback affects non-musically trained people’s strumming. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 456–459.
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Many musical instruments exhibit an inherent latency or delayed auditory feedback (DAF) between actuator activation and the occurrence of sound. We investigated how DAF (73ms and 250ms) affects musically trained (MT) and non-musically trained (NMT) people’s ability to synchronize the audible strum of an actuated guitar to a metronome at 60bpm and 120bpm. The long DAF matched a subdivision of the overall tempo. We compared their performance using two different input devices with feedback before or on activation. While 250ms DAF hardly affected musically trained participants, non-musically trained participants’ performance declined substantially both in mean synchronization error and its spread. Neither tempo nor input devices affected performance.
```
@inproceedings{jlarsen2017a,
  title = {Hear you later alligator: How delayed auditory feedback affects non-musically trained people's strumming},
  author = {Larsen, Jeppe and Knoche, Hendrik},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0086.pdf},
  year = {2017},
  pages = {456--459}
}
```
Michael Mulshine and Jeff Snyder. 2017. OOPS: An Audio Synthesis Library in C for Embedded (and Other) Applications. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 460–463.
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This paper introduces an audio synthesis library written in C with "object oriented" programming principles in mind. We call it OOPS: Object-Oriented Programming Sound, or, "Oops, it’s not quite Object-Oriented Programming in C." The library consists of several UGens (audio components) and a framework to manage these components. The design emphases of the library are efficiency and organizational simplicity, with particular attention to the needs of embedded systems audio development.
```
@inproceedings{mmulshine2017,
  title = {OOPS: An Audio Synthesis Library in C for Embedded (and Other) Applications},
  author = {Mulshine, Michael and Snyder, Jeff},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0087.pdf},
  year = {2017},
  pages = {460--463}
}
```
Maria Kallionpää, Chris Greenhalgh, Adrian Hazzard, David M. Weigl, Kevin R. Page, and Steve Benford. 2017. Composing and Realising a Game-like Performance for Disklavier and Electronics. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 464–469.
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“Climb!” is a musical composition that combines the ideas of a classical virtuoso piece and a computer game. We present a case study of the composition process and realization of “Climb!”, written for Disklavier and a digital interactive engine, which was co-developed together with the musical score. Specifically, the engine combines a system for recognising and responding to musical trigger phrases along with a dynamic digital score renderer. This tool chain allows for the composer’s original scoring to include notational elements such as trigger phrases to be automatically extracted to auto-configure the engine for live performance. We reflect holistically on the development process to date and highlight the emerging challenges and opportunities. For example, this includes the potential for further developing the workflow around the scoring process and the ways in which support for musical triggers has shaped the compositional approach.
```
@inproceedings{mkallionpaa2017,
  title = {Composing and Realising a Game-like Performance for Disklavier and Electronics},
  author = {Kallionpää, Maria and Greenhalgh, Chris and Hazzard, Adrian and Weigl, David M. and Page, Kevin R. and Benford, Steve},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0088.pdf},
  year = {2017},
  pages = {464--469}
}
```
Thor Magnusson. 2017. Contextualizing Musical Organics: An Ad-hoc Organological Classification Approach. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 470–475.
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New digital musical instruments are difficult for organologists to deal with, due to their heterogeneous origins, interdisciplinary science, and fluid, open-ended nature. NIMEs are studied from a range of disciplines, such as musicology, engineering, human-computer interaction, psychology, design, and performance studies. Attempts to continue traditional organology classifications for electronic and digital instruments have been made, but with unsatisfactory results. This paper raises the problem of tree-like classifications of digital instruments, proposing an alternative approach: musical organics . Musical organics is a philosophical attempt to tackle the problems inherent in the organological classification of digital instruments. Shifting the emphasis from hand-coded classification to information retrieval supported search and clustering, an open and distributed system that anyone can contribute to is proposed. In order to show how such a system could incorporate third-party additions, the paper also presents an organological ontogenesis of three innovative musical instruments: the saxophone, the Minimoog, and the Reactable. This micro-analysis of innovation in the field of musical instruments can help forming a framework for the study of how instruments are adopted in musical culture.
```
@inproceedings{tmagnusson2017,
  title = {Contextualizing Musical Organics: An Ad-hoc Organological Classification Approach},
  author = {Magnusson, Thor},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0089.pdf},
  year = {2017},
  pages = {470--475}
}
```
Stefano Fasciani. 2017. Physical Audio Digital Filters. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 476–480.
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We propose an approach to insert physical objects in audio digital signal processing chains, filtering the sound with the acoustic impulse response of any solid measured in real-time. We model physical objects as a linear time-invariant system, which is used as an audio filter. By interacting with the object or with the measuring hardware we can dynamically modify the characteristics of the filter. The impulse response is obtained correlating a noise signal injected in the object through an acoustic actuator with the signal received from an acoustic sensor placed on the object. We also present an efficient multichannel implementation of the system, which enables further creative applications beyond audio filtering, including tangible signal patching and sound spatialization.
```
@inproceedings{sfasciani2017,
  title = {Physical Audio Digital Filters},
  author = {Fasciani, Stefano},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0090.pdf},
  year = {2017},
  pages = {476--480}
}
```
Benjamin Taylor. 2017. A History of the Audience as a Speaker Array. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 481–486.
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Distributed music as a performance practice has seen significant growth over the past decade. This paper surveys the development of the genre, documenting important precedents, peripheral influences, and core works. We additionally discuss common modes of implementation in the genre and contrast these approaches and their motivations.
```
@inproceedings{btaylor2017,
  title = {A History of the Audience as a Speaker Array},
  author = {Taylor, Benjamin},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0091.pdf},
  year = {2017},
  pages = {481--486}
}
```
Takumi Ogata and Gil Weinberg. 2017. Robotically Augmented Electric Guitar for Shared Control. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 487–488.
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This paper is about a novel robotic guitar that establishes shared control between human performers and mechanical actuators. Unlike other mechatronic guitar instruments that perform pre-programmed music automatically, this guitar allows the human and actuators to produce sounds jointly; there exists a distributed control between the human and robotic components. The interaction allows human performers to have full control over the melodic, harmonic, and expressive elements of the instrument while mechanical actuators excite and dampen the string with a rhythmic pattern. Guitarists can still access the fretboard without the physical interference of a mechatronic system, so they can play melodies and chords as well as perform bends, slides, vibrato, and other expressive techniques. Leveraging the capabilities of mechanical actuators, the mechanized hammers can output complex rhythms and speeds not attainable by humans. Furthermore, the rhythmic patterns can be algorithmically or stochastically generated by the hammer, which supports real-time interactive improvising.
```
@inproceedings{togata2017,
  title = {Robotically Augmented Electric Guitar for Shared Control},
  author = {Ogata, Takumi and Weinberg, Gil},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0092.pdf},
  year = {2017},
  pages = {487--488}
}
```
Ben Neill. 2017. The Mutantrumpet. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 489–490.
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Ben Neill will demonstrate the mutantrumpet, a hybrid electro-acoustic instrument. The capabilities of the mutantrumpet are designed to erase the boundaries between acoustic and electronic musical creation and performance. It is both an expanded acoustic instrument and an electronic controller capable of interacting with audio and video simultaneously. The demonstration will explore the multi-faceted possibilities that are offered by the mutantrumpet in several brief, wide ranging musical examples composed and improvised by Neill. Interactive video performance techniques and collaborations will be integrated into the excerpts. The aesthetics of live intermedia performance will be discussed along with a technical overview of the interface and associated software applications Junxion and RoSa from STEIM, Amsterdam. Reflections on the development of a virtuosic performance technique with a hybrid instrument and influences from collaborators Robert Moog, David Behrman, Ralph Abraham, DJ Spooky and others will be included in the presentation.
```
@inproceedings{bneill2017,
  title = {The Mutantrumpet},
  author = {Neill, Ben},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0093.pdf},
  year = {2017},
  pages = {489--490}
}
```
Scott Smallwood. 2017. Locus Sono: A Listening Game for NIME. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 491–492.
Download PDF

This paper/poster describes the development of an experimental listening game called Locus Sono; a 3D audio puzzle game where listening and exploration are the key forms of interaction. The game was developed by a motivation to create an interactive audio environment in which sound is the key to solving in-game puzzles. This work is a prototype for a larger planned work and illustrates a first step in a more complex audio gaming scenario, which will also be partially described in this short paper
```
@inproceedings{ssmallwood2017,
  title = {Locus Sono: A Listening Game for NIME},
  author = {Smallwood, Scott},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0094.pdf},
  year = {2017},
  pages = {491--492}
}
```
Richard Polfreman and Benjamin Oliver. 2017. Rubik’s Cube, Music’s Cube. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 493–494.
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2017 marks the 40th anniversary of the Rubik’s Cube (under its original name the Magic Cube). This paper-demonstration describes explorations of the cube as a performance controller for music. The pattern of colors on a face of the cube is detected via USB video camera and supplemented by EMG data from the performer to model the performer’s interaction with the cube. This system was trialed in a variety of audio scenarios and deployed in the composition “Rubik’s Study No. 1”, a work based on solving the cube with audible connections to 1980’s pop culture. The cube was found to be an engaging musical controller, with further potential to be explored.
```
@inproceedings{rpolfreman2017,
  title = {Rubik's Cube, Music's Cube},
  author = {Polfreman, Richard and Oliver, Benjamin},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0095.pdf},
  year = {2017},
  pages = {493--494}
}
```
Charles Martin and Jim Torresen. 2017. MicroJam: An App for Sharing Tiny Touch-Screen Performances. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 495–496.
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MicroJam is a mobile app for sharing tiny touch-screen performances. Mobile applications that streamline creativity and social interaction have enabled a very broad audience to develop their own creative practices. While these apps have been very successful in visual arts (particularly photography), the idea of social music-making has not had such a broad impact. MicroJam includes several novel performance concepts intended to engage the casual music maker and inspired by current trends in social creativity support tools. Touch-screen performances are limited to five seconds, instrument settings are posed as sonic “filters”, and past performances are arranged as a timeline with replies and layers. These features of MicroJam encourage users not only to perform music more frequently, but to engage with others in impromptu ensemble music making.
```
@inproceedings{cmartin2017,
  title = {MicroJam: An App for Sharing Tiny Touch-Screen Performances},
  author = {Martin, Charles and Torresen, Jim},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0096.pdf},
  year = {2017},
  pages = {495--496}
}
```
Ryu Nakagawa and Shotaro Hirata. 2017. AEVE: An Audiovisual Experience Using VRHMD and EEG. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 497–498.
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The AEVE provides for a brain-computer-interface (BCI) controlled audiovisual experience, presented through a virtual reality head-mounted display (VRHMD). We have developed an audiovisual art piece where progression through 3 sections and 1 extra section occurs using an “Attention” value derived from the Electroencephalography (EEG) data. The only interaction in this work is perspective that is participant’s view, and the EEG data. However, we believe the simple interaction amplifies the participant’s feeling of immersion. Through the narrative of the work and the simple interaction, we attempt to connect some concepts such as audiovisual experience, virtual reality (VR), BCI, grid, consciousness, memory, universe, etc. in a minimal way.
```
@inproceedings{rnakagawa2017,
  title = {AEVE: An Audiovisual Experience Using VRHMD and EEG},
  author = {Nakagawa, Ryu and Hirata, Shotaro},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0097.pdf},
  year = {2017},
  pages = {497--498}
}
```
Rodrigo Cadiz and Alvaro Sylleros. 2017. Arcontinuo: the Instrument of Change. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 499–500.
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The Arcontinuo is an electronic musical instrument designed from a perspective based in the study of their potential users and their interaction with existing musical interfaces. Arcontinuo aims to change the way electronic music is performed, as it is capable of incorporating natural and ergonomic human gestures, allowing the musician to engage with the instrument and as a result, enhance the connection with the audience. Arcontinuo challenges the notion of what a musical gesture is and goes against traditional ways of performing music, by proposing a concept that we call smart playing mapping, as a way of achieving a better and more meaningful performance.
```
@inproceedings{rcadiz2017,
  title = {Arcontinuo: the Instrument of Change},
  author = {Cadiz, Rodrigo and Sylleros, Alvaro},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0098.pdf},
  year = {2017},
  pages = {499--500}
}
```
Rob Blazey. 2017. Kalimbo: an Extended Thumb Piano and Minimal Control Interface. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 501–502.
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Kalimbo is an extended kalimba, built from repurposed materials and fitted with sensors that enable it to function as a reductionist control interface through physical gestures and capacitive sensing. The work demonstrates an attempt to apply theories and techniques from visual collage art to the concept of musical performance ecologies. The body of the instrument emerged from material-led making, and the disparate elements of a particular musical performance ecology (acoustic instrument, audio effects, samples, synthesis and controls) are juxtaposed and unified into one coherent whole. As such, Kalimbo demonstrates how visual arts, in particular collage, can inform the design and creation of new musical instruments, interfaces and streamlined performance ecologies.
```
@inproceedings{rblazey2017,
  title = {Kalimbo: an Extended Thumb Piano and Minimal Control Interface},
  author = {Blazey, Rob},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0099.pdf},
  year = {2017},
  pages = {501--502}
}
```
Joseph Tilbian, Andres Cabrera, Steffen Martin, and Lukasz Olczyk. 2017. Stride on Saturn M7 for Interactive Musical Instrument Design. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 503–504.
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This demonstration introduces the Stride programming language, the Stride IDE, and the Saturn M7 embedded audio development board. Stride is a declarative and reactive domain specific programming language for real-time sound synthesis, processing, and interaction design. The Stride IDE is a cross-platform integrated development environment for Stride. Saturn M7 is an embedded audio development board by Okra Engineering, designed around an ARM Cortex-M7 processor based microcontroller. It targets high-end multi-channel audio processing and synthesis with very low latency and power consumption. The microcontroller has a rich set of audio and communication peripherals, capable of performing complex real-time DSP tasks with double precision floating point accuracy. This demonstration will showcase specific features of the Stride language, which facilitates the design of new interactive musical instruments. The Stride IDE will be used to compose Stride code and generate code for the Saturn M7 board. The various hardware capabilities of the Saturn M7 board will also be presented.
```
@inproceedings{jtilbian2017a,
  title = {Stride on Saturn M7 for Interactive Musical Instrument Design},
  author = {Tilbian, Joseph and Cabrera, Andres and Martin, Steffen and Olczyk, Lukasz},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0100.pdf},
  year = {2017},
  pages = {503--504}
}
```
Tetsuro Kitahara, Sergio Giraldo, and Rafael Ramírez. 2017. JamSketch: A Drawing-based Real-time Evolutionary Improvisation Support System. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 505–506.
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In this paper, we present JamSketch, a real-time improvisation support system which automatically generates melodies according to melodic outlines drawn by the users. The system generates the improvised melodies based on (1) an outline sketched by the user using a mouse or a touch screen, (2) a genetic algorithm based on a dataset of existing music pieces as well as musical knowledge, and (3) an expressive performance model for timing and dynamic transformations. The aim of the system is to allow people with no prior musical knowledge to be able to enjoy playing music by improvising melodies in real time.
```
@inproceedings{tkitahara2017,
  title = {JamSketch: A Drawing-based Real-time Evolutionary Improvisation Support System},
  author = {Kitahara, Tetsuro and Giraldo, Sergio and Ramírez, Rafael},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0101.pdf},
  year = {2017},
  pages = {505--506}
}
```
Jacob Harrison and Andrew McPherson. 2017. An Adapted Bass Guitar for One-Handed Playing. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 507–508.
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We present an attachment for the bass guitar which allows MIDI-controlled actuated fretting. This adapted instrument is presented as a potential method of augmenting the bass guitar for those with upper-limb disabilities. We conducted an online survey of 48 bassists in order to highlight the most important aspects of bass playing. We found that timbral and dynamic features related to the plucking hand were most important to the survey respondents. We designed an actuated fretting mechanism to replace the role of the fretting hand in order to preserve plucking hand techniques. We then conducted a performance study in which experienced bassists prepared and performed an accompaniment to a backing track with the adapted bass. The performances highlighted ways in which adapting a fretted string instrument in this way impacts plucking hand technique.
```
@inproceedings{jharrison2017,
  title = {An Adapted Bass Guitar for One-Handed Playing},
  author = {Harrison, Jacob and McPherson, Andrew},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0102.pdf},
  year = {2017},
  pages = {507--508}
}
```
Krzysztof Cybulski. 2017. Feedboxes. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 509–510.
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Feedboxes are interactive sound objects that generate rhythmic and harmonic patterns. Their purpose is to create intuitive tools for live improvisation, without the need for using computer with midi controller or fixed playback. Their only means of communication is sound - they "listen" wit the microphone and "speak" with the speaker, thus interaction with Feedboxes is very similar to playing with real musicians. The boxes could be used together with any instrument, or on their own – in this case they create a feedback loop by listening and responding to each other, creating ever-changing rhythmic structures. Feedboxes react to incoming sounds in simple, predefined manner. Yet, when used together, their behaviour may become quite complex. Each of two boxes has its own sound and set of simple rules.
```
@inproceedings{kcybulski2017,
  title = {Feedboxes},
  author = {Cybulski, Krzysztof},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0103.pdf},
  year = {2017},
  pages = {509--510}
}
```
Seth Glickman, Byunghwan Lee, Fu Yen Hsiao, and Shantanu Das. 2017. Music Everywhere - Augmented Reality Piano Improvisation Learning System. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 511–512.
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This paper describes the design and implementation of an augmented reality (AR) piano learning tool that uses a Microsoft HoloLens and a MIDI-over-Bluetooth-enabled electric piano. The tool presents a unique visual interface—a “mirror key overlay” approach—fitted for the AR environment, and opens up the possibility of on-instrument learning experiences. The curriculum focuses on teaching improvisation in blues, rock, jazz and classical genres. Users at the piano engage with interactive lessons, watch virtual hand demonstrations, see and hear example improvisations, and play their own solos and accompaniment along with AR-projected virtual musicians. The tool aims to be entertaining yet also effective in teaching core musical concepts.
```
@inproceedings{sglickman2017,
  title = {Music Everywhere - Augmented Reality Piano Improvisation Learning System},
  author = {Glickman, Seth and Lee, Byunghwan and Hsiao, Fu Yen and Das, Shantanu},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0104.pdf},
  year = {2017},
  pages = {511--512}
}
```
Juan Bender, Gabriel Lecup, and Sergio Fernandez. 2017. Song Kernel - Explorations in Intuitive Use of Harmony. Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University Copenhagen, pp. 513–514.
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Song Kernel is a chord-and-note harmonizing musical input interface applicable to electronic instruments in both hardware and software format. It enables to play chords and melodies while visualizing harmonic functions of chords within a scale of western music in one single static pattern. It provides amateur musicians, as well as people with no experience in playing music, a graphic and intuitive way to play songs, manage harmonic structures and identify composition patterns.
```
@inproceedings{jbender2017,
  title = {Song Kernel - Explorations in Intuitive Use of Harmony},
  author = {Bender, Juan and Lecup, Gabriel and Fernandez, Sergio},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  address = {Copenhagen, Denmark},
  publisher = {Aalborg University Copenhagen},
  url = {http://www.nime.org/proceedings/2017/nime2017_paper0105.pdf},
  year = {2017},
  pages = {513--514}
}
```

2016

Julian Jaramillo Arango and Daniel Melàn Giraldo. 2016. The Smartphone Ensemble. Exploring mobile computer mediation in collaborative musical performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 61–64.
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This paper reports the goals, procedures and recent activities of the Smartphone Ensemble, an academic group of musicians and designers exploring mobile phones social mediation in musical contexts. The SE was created in the Design and Creation program at the Caldas University in Manizales, Colombia and includes six regular members. The group intends to enhance links among musicians, and between the musicians and their audience, by leveraging the network capabilities and mobility of smart phones, and exploring the expressivity of urban space. Through the creation of pieces and interventions that are related to urban experiences, the Smartphone Ensemble envisions alternatives to the standard musical performance space. In this regard, the performances intend to be urban interventions, not traditional concerts, they progress according to previously defined tours around the city that the group embarks while playing
```
@inproceedings{Arango2016,
  title = {The Smartphone Ensemble. Exploring mobile computer mediation in collaborative musical performance},
  author = {Arango, Julian Jaramillo and Giraldo, Daniel Mel\`{a}n},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {61--64},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0013.pdf}
}
```
Alfonso Balandra, Hironori Mitake, and Shoichi Hasegawa. 2016. Haptic Music Player—Synthetic audio-tactile stimuli generation based on the notes’ pitch and instruments’ envelope mapping. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 90–95.
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An entertainment environment to enrich music listening experience is purposed. This environment is composed of 3 modules: a MIDI player, a music animation and a haptic module that translates the notes played by one instrument into a resemblant vibration. To create the haptic vibration, the notes’ relative pitch in the song are calculated, then these positions are mapped into the haptic signals’ amplitude and frequency. Also, the envelope of the haptic signal is modified, by using an ADSR filter, to have the same envelope as the audio signal. To evaluate the perceived cross-modal similarity between users, two experiments were performed. In both, the users used the complete entertainment environment to rank the similarity between 3 different haptic signals, with triangular, square and analogue envelopes and 4 different instruments in a classical song. The first experiment was performed with the purposed amplitude and frequency technique, while the second experiment was performed with constant frequency and amplitude. Results, show different envelope user preferences. The square and triangular envelopes were preferred in the first experiment, while only analogue envelopes were preferred in the second. This suggests that the users’ envelope perception was masked by the changes in amplitude and frequency.
```
@inproceedings{Balandra2016,
  title = {Haptic Music Player---Synthetic audio-tactile stimuli generation based on the notes' pitch and instruments' envelope mapping},
  author = {Balandra, Alfonso and Mitake, Hironori and Hasegawa, Shoichi},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {90--95},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0019.pdf}
}
```
Alex Baldwin, Troels Hammer, Edvinas Pechiulis, Peter Williams, Dan Overholt, and Stefania Serafin. 2016. Tromba Moderna: A Digitally Augmented Medieval Instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 14–19.
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An interactive museum exhibit of a digitally augmented medieval musical instrument, the tromba marina, is presented. The tromba marina is a curious single stringed instrument with a rattling bridge, from which a trumpet-like timbre is produced. The physical instrument was constructed as a replica of one found in Musikmuseet in Frederiksberg. The replicated instrument was augmented with a pickup, speakers and digital signal processing to create a more reliable, approachable and appropriate instrument for interactive display in the museum. We report on the evaluation of the instrument performed at the Danish museum of musical instruments.
```
@inproceedings{Baldwin2016,
  title = {Tromba Moderna: A Digitally Augmented Medieval Instrument},
  author = {Baldwin, Alex and Hammer, Troels and Pechiulis, Edvinas and Williams, Peter and Overholt, Dan and Serafin, Stefania},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {14--19},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0004.pdf}
}
```
Jan Banas, Razvan Paisa, Iakovos Vogiatzoglou, Francesco Grani, and Stefania Serafin. 2016. Design and evaluation of a gesture driven wave field synthesis auditory game. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 188–193.
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An auditory game has been developed as a part of research in Wavefield Synthesis. In order to design and implement this game, a number of technologies have been incorporated in the development process. By pairing motion capture with a WiiMote new dimension of movement input was achieved. We present an evaluation study where the game was assessed.
```
@inproceedings{Banas2016,
  title = {Design and evaluation of a gesture driven wave field synthesis auditory game},
  author = {Banas, Jan and Paisa, Razvan and Vogiatzoglou, Iakovos and Grani, Francesco and Serafin, Stefania},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {188--193},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0039.pdf}
}
```
Natasha Barrett and Alexander Refsum Jensenius. 2016. The ‘Virtualmonium’: an instrument for classical sound diffusion over a virtual loudspeaker orchestra. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 55–60.
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Despite increasingly accessible and user-friendly multi-channel compositional tools, many composers still choose stereo formats for their work, where the compositional process is allied to diffusion performance over a ‘classical’ loudspeaker orchestra. Although such orchestras remain common within UK institutions as well as in France, they are in decline in the rest of the world. In contrast, permanent, high-density loudspeaker arrays are on the rise, as is the practical application of 3-D audio technologies. Looking to the future, we need to reconcile the performance of historical and new stereo works, side-by-side native 3-D compositions. In anticipation of this growing need, we have designed and tested a prototype ‘Virtualmonium’. The Virtualmonium is an instrument for classical diffusion performance over an acousmonium emulated in higher-order Ambisonics. It allows composers to custom-design loudspeaker orchestra emulations for the performance of their works, rehearse and refine performances off-site, and perform classical repertoire alongside native 3-D formats in the same concert. This paper describes the technical design of the Virtualmonium, assesses the success of the prototype in some preliminary listening tests and concerts, and speculates how the instrument can further composition and performance practice.
```
@inproceedings{Barrett2016,
  title = {The `Virtualmonium': an instrument for classical sound diffusion over a virtual loudspeaker orchestra},
  author = {Barrett, Natasha and Jensenius, Alexander Refsum},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {55--60},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0012.pdf}
}
```
Mehmet Aydin Baytas, Tilbe Goksun, and Oguzhan Ozcan. 2016. The Perception of Live-sequenced Electronic Music via Hearing and Sight. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 194–199.
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In this paper, we investigate how watching a live-sequenced electronic music performance, compared to merely hearing the music, contributes to spectators’ experiences of tension. We also explore the role of the performers’ effective and ancillary gestures in conveying tension, when they can be seen. To this end, we conducted an experiment where 30 participants heard, saw, or both heard and saw a live-sequenced techno music performance recording while they produced continuous judgments on their experience of tension. Eye tracking data was also recorded from participants who saw the visuals, to reveal aspects of the performance that influenced their tension judgments. We analysed the data to explore how auditory and visual components and the performer’s movements contribute to spectators’ experience of tension. Our results show that their perception of emotional intensity is consistent across hearing and sight, suggesting that gestures in live-sequencing can be a medium for expressive performance.
```
@inproceedings{Baytas2016,
  title = {The Perception of Live-sequenced Electronic Music via Hearing and Sight},
  author = {Baytas, Mehmet Aydin and Goksun, Tilbe and Ozcan, Oguzhan},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {194--199},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0040.pdf}
}
```
Dominic Becking, Christine Steinmeier, and Philipp Kroos. 2016. Drum-Dance-Music-Machine: Construction of a Technical Toolset for Low-Threshold Access to Collaborative Musical Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 112–117.
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Most instruments traditionally used to teach music in early education, like xylophones or flutes, encumber children with the additional difficulty of an unfamiliar and unnatural interface. The most simple expressive interaction, that even the smallest children use in order to make music, is pounding at surfaces. Through the design of an instrument with a simple interface, like a drum, but which produces a melodic sound, children can be provided with an easy and intuitive means to produce consonance. This should then be further complemented with information from analysis and interpretation of childlike gestures and dance moves, reflecting their natural understanding of musical structure and motion. Based on these assumptions we propose a modular and reactive system for dynamic composition with accessible interfaces, divided into distinct plugins usable in a standard digital audio workstation. This paper describes our concept and how it can facilitate access to collaborative music making for small children. A first prototypical implementation has been designed and developed during the ongoing research project Drum-Dance-Music-Machine (DDMM), a cooperation with the local social welfare association AWO Hagen and the chair of musical education at the University of Applied Sciences Bielefeld.
```
@inproceedings{Becking2016,
  title = {Drum-Dance-Music-Machine: Construction of a Technical Toolset for Low-Threshold Access to Collaborative Musical Performance},
  author = {Becking, Dominic and Steinmeier, Christine and Kroos, Philipp},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {112--117},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0023.pdf}
}
```
Christopher Benson, Bill Manaris, Seth Stoudenmier, and Timothy Ward. 2016. SoundMorpheus: A Myoelectric-Sensor Based Interface for Sound Spatialization and Shaping. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 332–337.
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We present an innovative sound spatialization and shaping interface, called SoundMorpheus, which allows the placement of sounds in space, as well as the altering of sound characteristics, via arm movements that resemble those of a conductor. The interface displays sounds (or their attributes) to the user, who reaches for them with one or both hands, grabs them, and gently or forcefully sends them around in space, in a 360^∘ circle. The system combines MIDI and traditional instruments with one or more myoelectric sensors. These components may be physically collocated or distributed in various locales connected via the Internet. This system also supports the performance of acousmatic and electronic music, enabling performances where the traditionally central mixing board, need not be touched at all (or minimally touched for calibration). Finally, the system may facilitate the recording of a visual score of a performance, which can be stored for later playback and additional manipulation. We present three projects that utilize SoundMorpheus and demonstrate its capabilities and potential.
```
@inproceedings{Benson2016,
  title = {SoundMorpheus: A Myoelectric-Sensor Based Interface for Sound Spatialization and Shaping},
  author = {Benson, Christopher and Manaris, Bill and Stoudenmier, Seth and Ward, Timothy},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {332--337},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0065.pdf}
}
```
Edgar Berdahl, Danny Holmes, and Eric Sheffield. 2016. Wireless Vibrotactile Tokens for Audio-Haptic Interaction with Touchscreen Interfaces. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 5–6.
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New interfaces for vibrotactile interaction with touchscreens are realized. An electromagnetic design for wireless actuation of 3D-printed conductive tokens is analyzed. Example music interactions are implemented using physical modeling paradigms, each investigated within the context of a particular token that suggests a different interaction metaphor.
```
@inproceedings{Berdahl2016,
  title = {Wireless Vibrotactile Tokens for Audio-Haptic Interaction with Touchscreen Interfaces},
  author = {Berdahl, Edgar and Holmes, Danny and Sheffield, Eric},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {5--6},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Demonstrations},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper00032.pdf}
}
```
Edgar Berdahl, Andrew Pfalz, and Stephen David Beck. 2016. Very Slack Strings: A Physical Model and Its Use in the Composition Quartet for Strings. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 9–10.
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Virtual “slack” strings are designed for and employed by the Laptop Orchestra of Louisiana. These virtual strings are “slack” in the sense that they can be very easily displaced, bent, tugged upon, etc. This enables force-feedback control of widely ranging pitch glides, by as much as an octave or more, simply by bending the virtual string. To realize a slack string design, a virtual spring with a specific nonlinear characteristic curve is designed. Violin, viola, and cello-scale models are tuned and employed by the Laptop Orchestra of Louisiana in Quartet for Strings.
```
@inproceedings{Berdahl2016a,
  title = {Very Slack Strings: A Physical Model and Its Use in the Composition Quartet for Strings},
  author = {Berdahl, Edgar and Pfalz, Andrew and Beck, Stephen David},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {9--10},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Demonstrations},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper00052.pdf}
}
```
Henning Berg. 2016. Tango: Software for Computer-Human Improvisation. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 7–8.
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This demonstration describes Tango, software for Computer-Human Improvisation developed for more than 25 years by Henning Berg. Tango listens to an improvising musician, analyses what it hears and plays musical responses which relate directly to the musical input. If the improviser in turn reacts to these answers, a musical loop between the human and the machine can emerge. The way input and reaction correlate and the predictability of Tango’s responses can be defined by the user via a setup of improvising environments, called Rooms. Real-time sampling with knowledge of the musical content behind the samples and Midi-handling are unified via Tango’s own monophonic audio-to-Midi, time stretching and pitch shifting algorithms. Both audio and Midi can be used by Tango’s modules (e.g. Listeners, Players, Modifiers, Metronomes or Harmony) for input and output. A flexible real time control system allows for internal and external remote control and scaling of most parameters. The free software for Windows7 with all necessary folders, English and German manuals, many example-Rooms and a few videos can be downloaded at www.henning-berg.de.
```
@inproceedings{Berg2016,
  title = {Tango: Software for Computer-Human Improvisation},
  author = {Berg, Henning},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {7--8},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Demonstrations},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper00042.pdf}
}
```
Kirandeep Bhumber, Nancy Lee, and Brian Topp. 2016. Pendula: An Interactive Swing Installation and Performance Environment. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 277–285.
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This paper describes the processes involved in developing Pendula, a performance environment and interactive installation using swings, interactive video, and audio. A presentation of the project is described using three swings. Gyroscopic and accelerometer data were used in each of the setups to control audio and visual parameters.The installation was presented as both an interactive environment and as a performance instrument, with multiple public performances. Construction of the physical devices used, circuits built, and software created is covered in this paper, along with a discussion of problems and their solutions encountered during the development of Pendula.
```
@inproceedings{Bhumber2016,
  title = {Pendula: An Interactive Swing Installation and Performance Environment},
  author = {Bhumber, Kirandeep and Lee, Nancy and Topp, Brian},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {277--285},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0054.pdf}
}
```
S. Astrid Bin, Nick Bryan-Kinns, and Andrew P. McPherson. 2016. Skip the Pre-Concert Demo: How Technical Familiarity and Musical Style Affect Audience Response. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 200–205.
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This paper explores the roles of technical and musical familiarity in shaping audience response to digital musical instrument (DMI) performances. In an audience study conducted during an evening concert, we examined two primary questions: first, whether a deeper understanding of how a DMI works increases an audience’s enjoyment and interest in the performance; and second, given the same DMI and same performer, whether playing in a conventional (vernacular) versus an experimental musical style affects an audience’s response. We held a concert in which two DMI creator-performers each played two pieces in differing styles. Before the concert, each half the 64-person audience was given a technical explanation of one of the instruments. Results showed that receiving an explanation increased the reported understanding of that instrument, but had no effect on either the reported level of interest or enjoyment. On the other hand, performances in experimental versus conventional style on the same instrument received widely divergent audience responses. We discuss implications of these findings for DMI design.
```
@inproceedings{Bin2016,
  title = {Skip the Pre-Concert Demo: How Technical Familiarity and Musical Style Affect Audience Response},
  author = {Bin, S. Astrid and Bryan-Kinns, Nick and McPherson, Andrew P.},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {200--205},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0041.pdf}
}
```
John Bowers, John Richards, Tim Shaw, et al. 2016. One Knob To Rule Them All: Reductionist Interfaces for Expansionist Research. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 433–438.
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This paper describes an instance of what we call ‘curated research’, a concerted thinking, making and performance activity between two research teams with a dedicated interest in the creation of experimental musical instruments and the development of new performance practices. Our work builds theoretically upon critical work in philosophy, anthropology and aesthetics, and practically upon previous explorations of strategies for facilitating rapid, collaborative, publicly-oriented making in artistic settings. We explored an orientation to making which promoted the creation of a family of instruments and performance environments that were responses to the self-consciously provocative theme of ‘One Knob To Rule Them All’. A variety of design issues were explored including: mapping, physicality, the question of control in interface design, reductionist aesthetics and design strategies, and questions of gender and power in musical culture. We discuss not only the technologies which were made but also reflect on the value of such concerted, provocatively thematised, collective making activities for addressing foundational design issues. As such, our work is intended not just as a technical and practical contribution to NIME but also a reflective provocation into how we conduct research itself in a curated critical manner.
```
@inproceedings{Bowers2016,
  title = {One Knob To Rule Them All: Reductionist Interfaces for Expansionist Research},
  author = {Bowers, John and Richards, John and Shaw, Tim and Frieze, Jim and Freeth, Ben and Topley, Sam and Spowage, Neal and Jones, Steve and Patel, Amit and Rui, Li},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {433--438},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0085.pdf}
}
```
Oliver Bown and Sam Ferguson. 2016. A Musical Game of Bowls Using the DIADs. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 371–372.
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We describe a project in which a game of lawn bowls was recreated using Distributed Interactive Audio Devices (DIADs), to create an interactive musical experience in the form of a game. This paper details the design of the underlying digital music system, some of the compositional and design considerations, and the technical challenges involved. We discuss future directions for our system and compositional method.
```
@inproceedings{Bown2016,
  title = {A Musical Game of Bowls Using the DIADs},
  author = {Bown, Oliver and Ferguson, Sam},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {371--372},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Demonstrations},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0072.pdf}
}
```
Dom Brown, Nathan Renney, Adam Stark, Chris Nash, and Tom Mitchell. 2016. Leimu: Gloveless Music Interaction Using a Wrist Mounted Leap Motion. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 300–304.
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Camera-based motion tracking has become a popular enabling technology for gestural human-computer interaction. However, the approach suffers from several limitations which have been shown to be particularly problematic when employed within musical contexts. This paper presents Leimu, a wrist mount that couples a Leap Motion optical sensor with an inertial measurement unit to combine the benefits of wearable and camera-based motion tracking. Leimu is designed, developed and then evaluated using discourse and statistical analysis methods. The results indicate that the Leimu is an effective interface for gestural music interaction and offers improved tracking precision over Leap Motion positioned on a table top.
```
@inproceedings{Brown2016,
  title = {Leimu: Gloveless Music Interaction Using a Wrist Mounted Leap Motion},
  author = {Brown, Dom and Renney, Nathan and Stark, Adam and Nash, Chris and Mitchell, Tom},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {300--304},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0059.pdf}
}
```
Cem Cakmak, Anil Camci, and Angus Forbes. 2016. Networked Virtual Environments as Collaborative Music Spaces. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 106–111.
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In this paper, we describe a novel multimedia system for networked musical collaboration. Our system, called Monad, offers a 3D virtual environment that can be shared by multiple participants to collaborate remotely on a musical performance. With Monad, we explore how various features of this environment in relation to game mechanics, network architecture, and audiovisual aesthetics can be used to mitigate problems inherent to networked musical performance, such as time delays, data loss, and reduced agency of users. Finally, we describe the results of a series of qualitative user studies that illustrate the effectiveness of some of our design decisions with two separate versions of Monad.
```
@inproceedings{Cakmak2016,
  title = {Networked Virtual Environments as Collaborative Music Spaces},
  author = {Cakmak, Cem and Camci, Anil and Forbes, Angus},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {106--111},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0022.pdf}
}
```
Benedict Carey. 2016. SpectraScore VR: Networkable virtual reality software tools for real-time composition and performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 3–4.
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This paper describes a package of modular tools developed for use with virtual reality peripherals to allow for music composition, performance and viewing in ‘real-time’ across networks within a spectralist paradigm. The central tool is SpectraScore, a Max/MSP abstraction for analysing audio signals and ranking the resultant partials according to their harmonic pitch class profiles. This data triggers the generation of objects in a virtual world based on the ‘topography’ of the source sound, which is experienced by network clients via Google Cardboard headsets. They use their movements to trigger audio in various microtonal tunings and incidentally generate scores. These scores are transmitted to performers who improvise music from this notation using Leap Motion Theremins, also in VR space. Finally, the performance is broadcast via a web audio stream, which can be heard by the composer-audience in the initial virtual world. The ‘real-time composers’ and performers are not required to have any prior knowledge of complex computer systems and interact either using head position tracking, or with a Oculus Rift DK2 and a Leap Motion Camera.
```
@inproceedings{Carey2016a,
  title = {SpectraScore VR: Networkable virtual reality software tools for real-time composition and performance},
  author = {Carey, Benedict},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {3--4},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Demonstrations},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper00022.pdf}
}
```
Benjamin Carey and Andrew Johnston. 2016. Reflection On Action in NIME Research: Two Complementary Perspectives. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 377–382.
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This paper discusses practice-based research in the context of live performance with interactive systems. We focus on two approaches, both of which are concerned with documenting, examining and reflecting on the real-world behaviours and experiences of people and artefacts involved in the creation of new works. The first approach is primarily based on reflections by an individual performer/developer (auto-ethnography) and the second on interviews and observations. The rationales for both approaches are presented along with findings from research which applied them in order to illustrate and explore the characteristics of both. Challenges, including the difficulty of balancing rigour and relevance and the risks of negatively impacting on creative practices are articulated, as are the potential benefits.
```
@inproceedings{Carey2016,
  title = {Reflection On Action in NIME Research: Two Complementary Perspectives},
  author = {Carey, Benjamin and Johnston, Andrew},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {377--382},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0075.pdf}
}
```
Antonio Deusany de Carvalho Junior, Sang Won Lee, and Georg Essl. 2016. Understanding Cloud Support for the Audience Participation Concert Performance of Crowd in C[loud]. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 176–181.
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Cloud services allow musicians and developers to build audience participation software with minimal network configuration for audience and no need for server-side development. In this paper we discuss how a cloud service supported the audience participation music performance, Crowd in C[loud], which enables audience participation on a large scale using the audience audience’s smartphones. We present the detail of the cloud service technology and an analysis of the network transaction data regarding the performance. This helps us to understand the nature of cloud-based audience participation pieces based on the characteristics of a performance reality and provides cues about the technology’s scalability.
```
@inproceedings{CarvalhoJunior2016,
  title = {Understanding Cloud Support for the Audience Participation Concert Performance of Crowd in C[loud]},
  author = {de Carvalho Junior, Antonio Deusany and Lee, Sang Won and Essl, Georg},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {176--181},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0037.pdf}
}
```
Herbert H.C. Chang and Spencer Topel. 2016. Electromagnetically Actuated Acoustic Amplitude Modulation Synthesis. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 8–13.
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This paper discusses a new approach to acoustic amplitude modulation. Building on prior work with electromagnetic augmentation of acoustic instruments, we begin with a theory of operation model to describe the mechanical forces necessary to produce acoustic amplitude modulation synthesis. We then propose an implementation of our model as an instrumental prototype. The results illustrate that our acoustic amplitude modulation system produces controllable sideband components, and that synthesis generated from our corresponding numerical dynamic system model closely approximates the acoustic result of the physical system.
```
@inproceedings{Chang2016,
  title = {Electromagnetically Actuated Acoustic Amplitude Modulation Synthesis},
  author = {Chang, Herbert H.C. and Topel, Spencer},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {8--13},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0003.pdf}
}
```
Juliana Cherston, Ewan Hill, Steven Goldfarb, and Joseph Paradiso. 2016. Musician and Mega-Machine: Compositions Driven by Real-Time Particle Collision Data from the ATLAS Detector. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 78–83.
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We present a sonification platform for generating audio driven by real-time particle collision data from the ATLAS experiment at CERN. This paper provides a description of the data-to-audio mapping interfaces supported by the project’s composition tool as well as a preliminary evaluation of the platform’s evolution to meet the aesthetic needs of vastly distinct musical styles and presentation venues. Our work has been conducted in collaboration with the ATLAS Outreach team and is part of a broad vision to better harness real-time sensor data as a canvas for artistic expression. Data-driven streaming audio can be treated as a reimagined form of live radio for which composers craft the instruments but real-time particle collisions pluck the strings.
```
@inproceedings{Cherston2016,
  title = {Musician and Mega-Machine: Compositions Driven by Real-Time Particle Collision Data from the ATLAS Detector},
  author = {Cherston, Juliana and Hill, Ewan and Goldfarb, Steven and Paradiso, Joseph},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {78--83},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0017.pdf}
}
```
Matthew Dabin, Terumi Narushima, Stephen Beirne, Christian Ritz, and Kraig Grady. 2016. 3D Modelling and Printing of Microtonal Flutes. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 286–290.
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This project explores the potential for 3D modelling and printing to create customised flutes that can play music in a variety of microtonal scales. One of the challenges in the field of microtonality is that conventional musical instruments are inadequate for realising the abundance of theoretical tunings that musicians wish to investigate. This paper focuses on the development of two types of flutes, the recorder and transverse flute, with interchangeable mouthpieces. These flutes are designed to play subharmonic microtonal scales. The discussion provides an overview of the design and implementation process, including calculation methods for acoustic modelling and 3D printing technologies, as well as an evaluation of some of the difficulties encountered. Results from our 3D printed flutes suggest that whilst further refinements are necessary in our designs, 3D modelling and printing techniques offer new and valuable methods for the design and production of customised musical instruments. The long term goal of this project is to create a system in which users can specify the tuning of their instrument to generate a 3D model and have it printed on demand.
```
@inproceedings{Dabin2016,
  title = {{3D} Modelling and Printing of Microtonal Flutes},
  author = {Dabin, Matthew and Narushima, Terumi and Beirne, Stephen and Ritz, Christian and Grady, Kraig},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {286--290},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0056.pdf}
}
```
Benjamin James Eyes and Laurits Esben Jongejan. 2016. How to Stop Sound: Creating a light instrument and ‘Interruption’ a piece for the Mimerlaven, Norberg Festival 2015. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 373–374.
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During an electronic music performance it is common to see light and sound interacting electronically in many different ways. From sound and light shows, whereby light reacts to sound, or generated visuals are projected onto a screen behind the performer. However we asked the question what if we could convert sound to light and back again and control sound with light? Inspired by the huge acoustic of the Mimerlaven at Norberg festival we built a ‘light instrument’ that allowed us to interrupt and disrupt sound using light forming the basis of our piece ‘Interruption’.
```
@inproceedings{Eyes2016,
  title = {How to Stop Sound: Creating a light instrument and `Interruption' a piece for the Mimerlaven, Norberg Festival 2015.},
  author = {Eyes, Benjamin James and Jongejan, Laurits Esben},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {373--374},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Demonstrations},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0073.pdf}
}
```
Esteban Gómez and Javier Jaimovich. 2016. Designing a Flexible Workflow for Complex Real-Time Interactive Performances. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 305–309.
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This paper presents the design of a Max/MSP flexible workflow framework built for complex real-time interactive performances. This system was developed for Emovere, an interdisciplinary piece for dance, biosignals, sound and visuals, yet it was conceived to accommodate interactive performances of different nature and of heterogeneous technical requirements, which we believe to represent a common underlying structure among these. The work presented in this document proposes a framework that takes care of the signal input/output stages, as well as storing and recalling presets and scenes, thus allowing the user to focus on the programming of interaction models and sound synthesis or sound processing. Results are presented with Emovere as an example case, discussing the advantages and further challenges that this framework offers for other performance scenarios.
```
@inproceedings{Gnicode243mez2016,
  title = {Designing a Flexible Workflow for Complex Real-Time Interactive Performances},
  author = {G\'{o}mez, Esteban and Jaimovich, Javier},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {305--309},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0060.pdf}
}
```
Marcelo Gimenes, Pierre-Emmanuel Largeron, and Eduardo Miranda. 2016. Frontiers: Expanding Musical Imagination With Audience Participation. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 350–354.
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This paper introduces Performance Without Borders and Embodied iSound, two sound installations performed at the 2016 Peninsula Arts Contemporary Music Festival at Plymouth University. Sharing in common the use of smartphones to afford real-time audience participation, two bespoke distributed computer systems (Sherwell and Levinsky Music, respectively). Whilst the first one implements a cloud-based voting system, the second implements movement tracking and iBeacon-based indoor-positioning to control the choice of soundtracks, audio synthesis, and surround sound positioning, among other parameters. The general concepts of the installations, in particular design and interactive possibilities afforded by the computer systems are presented.
```
@inproceedings{Gimenes2016,
  title = {Frontiers: Expanding Musical Imagination With Audience Participation},
  author = {Gimenes, Marcelo and Largeron, Pierre-Emmanuel and Miranda, Eduardo},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {350--354},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0068.pdf}
}
```
Stewart Greenhill and Cathie Travers. 2016. Focal : An Eye-Tracking Musical Expression Controller. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 230–235.
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We present Focal, an eye-tracking musical expression controller which allows hands-free control over audio effects and synthesis parameters during peformance. A see-through head-mounted display projects virtual dials and switches into the visual field. The performer controls these with a single expression pedal, switching context by glancing at the object they wish to control. This simple interface allows for minimal physical disturbance to the instrumental musician, whilst enabling the control of many parameters otherwise only achievable with multiple foot pedalboards. We describe the development of the system, including the construction of the eye-tracking display, and the design of the musical interface. We also present a comparison of a performance between Focal and conventional controllers.
```
@inproceedings{Greenhill2016,
  title = {Focal : An Eye-Tracking Musical Expression Controller},
  author = {Greenhill, Stewart and Travers, Cathie},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {230--235},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0046.pdf}
}
```
Barah Héon-Morissette. 2016. Transdisciplinary Methodology: from Theory to the Stage, Creation for the SICMAP. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 253–258.
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The author’s artistic practice as a composer and performer is transdisciplinary. The body as a vector associated with sound, gesture, video, physical space, and technological space, constitute the six founding elements. They give rise to works between music and dance, between musical theater and multimedia works leading to a new hybrid performative practice. These works are realized using a motion capture system by computer vision, SICMAP (Systéme Interactif de Captation du Mouvement en Art Performatif — Interactive Motion Capture System For The Performative Arts). In this paper, the author situates her artistic practice founded by the three pillars of transdisciplinary research methodology. The path taken by the performer-creator, leading to the conception of the SICMAP, is then explained through a reflection on the ‘dream instrument’. Followed by a technical description, the SICMAP is contextualized using theoretical models: the instrumental continuum and energy continuum, the ‘dream instrument’ and the typology of the instrumental gesture. Initiated by the SICMAP, these are then applied to a new paradigm the gesture-sound space and subsequently put into practice through the creation of the work From Infinity To Within.
```
@inproceedings{Hnicode233on-Morissette2016,
  title = {Transdisciplinary Methodology: from Theory to the Stage, Creation for the {SIC}MAP},
  author = {H\'{e}on-Morissette, Barah},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {253--258},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0050.pdf}
}
```
Abram Hindle. 2016. Hacking NIMEs. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 359–364.
Download PDF

NIMEs typically focus on novelty but the cost of novelty is often to ignore other non-functional requirements and concerns such as usability or security. Digital security has probably not been a concern for performers due to the duration of their performances and lack of disrespectful hackers, known as crackers, in attendance carrying the appropriate equipment and software necessary to hack a performance. Yet many modern NIMEs could be hacked from smart-phones in the audience. The lack of security hardening makes NIMEs an easy target — but a question arises: if hacking can interrupt or modify a performance couldn’t hacking itself also be performance? Thus would music hacking, live-hacking, be similar to live-coding? In this paper we discuss how NIMEs are in danger of being hacked, and yet how hacking can be an act of performance too.
```
@inproceedings{Hindle2016,
  title = {Hacking NIMEs},
  author = {Hindle, Abram},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {359--364},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0070.pdf}
}
```
Alex Hofmann, Vasileios Chatziioannou, Alexander Mayer, and Harry Hartmann. 2016. Development of Fibre Polymer Sensor Reeds for Saxophone and Clarinet. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 65–68.
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Electronic pickup systems for acoustic instruments are often used in popular and contemporary music performances because they allow amplification and modification of a clean and direct signal. Strain gauge sensors on saxophone and clarinet reeds have been shown to be a useful tool to gain insight into tongue articulation during performance but also capture the reed vibrations. In our previous design, we used a procedure with epoxy adhesive to glue the strain gauge sensors to the flat side of the synthetic single reeds. The new design integrates the sensor inside a synthetic reed, respectively between layers of fibre polymer and wood. This allows an industrial production of sensor reeds. Sensor reeds open up new possibilities to pick up woodwind instruments and to analyse, to modify, and to amplify the signal. A signal-to-noise analysis of the signals from both designs showed that a sensor, glued to the outside of the reed, produced a cleaner signal.
```
@inproceedings{Hofmann2016,
  title = {Development of Fibre Polymer Sensor {Reed}s for Saxophone and Clarinet},
  author = {Hofmann, Alex and Chatziioannou, Vasileios and Mayer, Alexander and Hartmann, Harry},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {65--68},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0014.pdf}
}
```
Alex Hofmann, Bernt Waerstad, and Kristoffer Koch. 2016. Csound Instruments On Stage. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 291–294.
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Low cost, credit card size computers like the Raspberry Pi allow musicians to experiment with building software-based standalone musical instruments. The COSMO Project aims to provide an easy-to-use hardware and software framework to build Csound based instruments as hardware devices. Inside the instrument, the Csound software is running on a Raspberry Pi computer, connected to a custom designed interface board (COSMO-HAT) that allows to connect potentiometers, switches, LED’s, and sensors. A classic stomp box design is used to demonstrate how Csound can be brought on stage as a stand-alone hardware effect instrument.
```
@inproceedings{Hofmann2016a,
  title = {Csound Instruments On Stage},
  author = {Hofmann, Alex and Waerstad, Bernt and Koch, Kristoffer},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {291--294},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0057.pdf}
}
```
Cat Hope, Stuart James, and Aaron Wyatt. 2016. Headline grabs for music: The development of the iPad score generator for ‘Loaded (NSFW).’ Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 375–376.
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This paper-demonstration provides an overview of an generative music score adapted for the iPad by the Decibel new music ensemble. The original score ‘Loaded (NSFW)’ (2015) is by Western Australian composer Laura Jane Lowther, and is scored for ensemble and electronics, commissioned for a performance in April 2015 at the Perth Institute of Contemporary Arts. It engages and develops the Decibel Score Player application, a score reader and generator for the iPad as a tool for displaying an interactive score that requires performers to react to news headlines through musical means. The paper will introduce the concept for the player, how it was developed, and how it was used in the premiere performance. The associated demonstration shows how the score appears on the iPads.
```
@inproceedings{Hope2016,
  title = {Headline grabs for music: The development of the iPad score generator for `Loaded (NSFW)'},
  author = {Hope, Cat and James, Stuart and Wyatt, Aaron},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {375--376},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Demonstrations},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0074.pdf}
}
```
Madeline Huberth and Chryssie Nanou. 2016. Notation for 3D Motion Tracking Controllers: A Gametrak Case Study. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 96–105.
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Notation systems are used in almost all fields, especially for the communication and expression of ideas. This paper proposes and discusses a notation system for Gametrak-based computer music instruments. The notation system’s design is informed both by Western music notation and dance notation, as well as common mappings used in laptop orchestras. It is designed to be sound- agnostic, primarily instructing the performer in their motions. While the discussion of such a notation system may be particularly timely due to the growing commercially-available 3D motion tracking controllers, the notation system may prove especially useful in the context of Gametrak and laptop orchestra, for which score-based representation can help clarify performer interaction and serve as a teaching tool in documenting prior work.
```
@inproceedings{Huberth2016,
  title = {Notation for {3D} Motion Tracking Controllers: A Gametrak Case Study},
  author = {Huberth, Madeline and Nanou, Chryssie},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {96--105},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0020.pdf}
}
```
Javier Jaimovich. 2016. Emovere: Designing Sound Interactions for Biosignals and Dancers. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 316–320.
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This paper presents the work developed for Emovere: an interactive real-time interdisciplinary performance that measures physiological signals from dancers to drive a piece that explores and reflects around the biology of emotion. This document focuses on the design of a series of interaction modes and materials that were developed for this performance, and are believed to be a contribution for the creation of artistic projects that work with dancers and physiological signals. The paper introduces the motivation and theoretical framework behind this project, to then deliver a detailed description and analysis of four different interaction modes built to drive this performance using electromyography and electrocardiography. Readers will find a discussion of the results obtained with these designs, as well as comments on future work.
```
@inproceedings{Jaimovich2016,
  title = {Emovere: Designing Sound Interactions for Biosignals and Dancers},
  author = {Jaimovich, Javier},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {316--320},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0062.pdf}
}
```
Kasper buhl Jakobsen, Marianne Graves Petersen, Majken Kirkegaard Rasmussen, Jens Emil Groenbaek, jakob winge, and jeppe stougaard. 2016. Hitmachine: Collective Musical Expressivity for Novices. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 241–246.
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This paper presents a novel platform for expressive music making called Hitmachine. Hitmachine lets you build and play your own musical instruments from Legos and sensors and is aimed towards empowering everyone to engage in rich music making despite of prior musical experience. The paper presents findings from a 4-day workshop where more that 150 children from ages 3-13 built and played their own musical instruments. The children used different sensors for playing and performed with their instruments on stage. The findings show how age influenced the children’s musical understanding and expressivity, and gives insight into important aspects to consider when designing for expressive music for novices.
```
@inproceedings{Jakobsen2016,
  title = {Hitmachine: Collective Musical Expressivity for Novices},
  author = {buhl Jakobsen, Kasper and Petersen, Marianne Graves and Rasmussen, Majken Kirkegaard and Groenbaek, Jens Emil and jakob winge and jeppe stougaard},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {241--246},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0048.pdf}
}
```
Stuart James. 2016. A Multi-Point 2D Interface: Audio-Rate Signals for Controlling Complex Multi-Parametric Sound Synthesis. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 401–406.
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This paper documents a method of controlling complex sound synthesis processes such as granular synthesis, additive synthesis, timbre morphology, swarm-based spatialisation, spectral spatialisation, and timbre spatialisation via a multi-parametric 2D interface. This paper evaluates the use of audio-rate control signals for sound synthesis, and discussing approaches to de-interleaving, synchronization, and mapping. The paper also outlines a number of ways of extending the expressivity of such a control interface by coupling this with another 2D multi-parametric nodes interface and audio-rate 2D table lookup. The paper proceeds to review methods of navigating multi-parameter sets via interpolation and transformation. Some case studies are finally discussed in the paper. The author has used this method to control complex sound synthesis processes that require control data for more that a thousand parameters.
```
@inproceedings{James2016,
  title = {A Multi-Point {2D} Interface: Audio-Rate Signals for Controlling Complex Multi-Parametric Sound Synthesis},
  author = {James, Stuart},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {401--406},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0079.pdf}
}
```
Kunal Jathal and Tae-Hong Park. 2016. The HandSolo: A Hand Drum Controller for Natural Rhythm Entry and Production. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 218–223.
Download PDF

The majority of electronic percussion controllers on the market today are based on location-oriented striking techniques, resulting in a finger drumming interaction paradigm, that is both fundamentally eclectic as well as imposingly contr. The few controllers that allow hand-drumming techniques also invariably conform to region-based triggering design, or, in trade-off for expressivity, end up excluding hardware connectivity options that are vital to the context of the modern electronic rhythm producer. The HandSolo is a timbre-based drum controller that allows the use of natural, hand-drumming strokes, whilst offering the same end-goal functionality that percussion controller users have come to expect over the past decade.
```
@inproceedings{Jathal2016,
  title = {The HandSolo: A Hand Drum Controller for Natural Rhythm Entry and Production},
  author = {Jathal, Kunal and Park, Tae-Hong},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {218--223},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0044.pdf}
}
```
Alexander Refsum Jensenius and Michael J. Lyons. 2016. Trends at NIME—Reflections on Editing A NIME Reader. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 439–443.
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This paper provides an overview of the process of editing the forthcoming anthology A NIME Reader—Fifteen years of New Interfaces for Musical Expression. The selection process is presented, and we reflect on some of the trends we have observed in re-discovering the collection of more than 1200 NIME papers published throughout the 15 yearlong history of the conference. An anthology is necessarily selective, and ours is no exception. As we present in this paper, the aim has been to represent the wide range of artistic, scientific, and technological approaches that characterize the NIME conference. The anthology also includes critical discourse, and through acknowledgment of the strengths and weaknesses of the NIME community, we propose activities which could further diversify and strengthen the field.
```
@inproceedings{Jensenius2016,
  title = {Trends at NIME---Reflections on Editing A NIME Reader},
  author = {Jensenius, Alexander Refsum and Lyons, Michael J.},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {439--443},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0086.pdf}
}
```
Bridget Johnson, Michael Norris, and Ajay Kapur. 2016. speaker.motion: A Mechatronic Loudspeaker System for Live Spatialisation. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 41–45.
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This paper provides an overview of a new mechatronic loudspeaker system: speaker.motion. The system affords automated positioning of a loudspeaker in real-time in order to manipulate the spatial qualities of electronic music. The paper gives a technical overview of how the system’s hardware and software were developed and the design criteria and methodology. There is discussion of the unique features of the speaker.motion spatialisation system and the methods of user interaction, as well as a look at the creative possibilities that the loudspeakers afford. The creative affordances are explored through the case study of two new pieces written for the speaker.motion system. It is hoped that the speaker.motion system will afford composers and performers with a new range of spatial aesthetics to use in spatial performances, and encourage exploration of the acoustic properties of physical performance and installation spaces in electronic music.
```
@inproceedings{Johnson2016,
  title = {speaker.motion: A Mechatronic Loudspeaker System for Live Spatialisation},
  author = {Johnson, Bridget and Norris, Michael and Kapur, Ajay},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {41--45},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0009.pdf}
}
```
Sergi Jordà, Daniel Gómez-Marín, Ángel Faraldo, and Perfecto Herrera. 2016. Drumming with style: From user needs to a working prototype. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 365–370.
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This paper presents a generative drumming agent built from the results of an extensive survey carried out with electronic music producers, in two phases. Following the techniques of user-centered interaction design, an international group of beat producers was reviewed on the possibility of using AI algorithms to help them in the beat production workflow. The analyzed results of these tests were used as design requirements for constructing a system that would indeed perform some tasks alongside the producer. The first results of this working prototype are presented with a description of the system. The prototype is a stylistic drum generator that creates new rhythmic patterns after being trained with a collection of drum tracks. Further stages of development and potential algorithms are discussed.
```
@inproceedings{Jordnicode2252016,
  title = {Drumming with style: From user needs to a working prototype},
  author = {Jord\`{a}, Sergi and G\'{o}mez-Mar\'{i}n, Daniel and \'{A}ngel Faraldo and Herrera, Perfecto},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {365--370},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0071.pdf}
}
```
Ajay Kapur, Jim Murphy, Michael Darling, Eric Heep, Bruce Lott, and Ness Morris. 2016. MalletOTon and the Modulets: Modular and Extensible Musical Robots. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 69–72.
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This paper presents two new musical robot systems and an accompanying driver electronics array. These systems are designed to allow for modular extensibility and ease of use with different instrument systems. The first system discussed is MalletOTon, a mechatronic mallet instrument player that may be re-configured to play a number of different instruments. Secondly, the Modulet mechatronic noisemakers are presented. These instruments are discrete modules that may be installed throughout a space in a wide variety of configurations. In addition to presenting the aforementioned new instruments, the Novalis system is shown. Novalis is an open-ended driver system for mechatronic instruments, designed to afford rapid deployment and modularity. Where prior mechatronic instruments are often purpose-built, the robots and robot electronics presented in this paper may be re-deployed in a wide-ranging, diverse manner. Taken as a whole, the design practices discussed in this paper go toward establishing a paradigm of modular and extensible mechatronic instrument development.
```
@inproceedings{Kapur2016,
  title = {MalletOTon and the Modulets: Modular and Extensible Musical Robots},
  author = {Kapur, Ajay and Murphy, Jim and Darling, Michael and Heep, Eric and Lott, Bruce and Morris, Ness},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {69--72},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0015.pdf}
}
```
Rebecca Kleinberger and Akito van Troyer. 2016. Dooremi: a Doorway to Music. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 160–161.
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The following paper documents the prototype of a musical door that interactively plays sounds, melodies, and sound textures when in use. We took the natural interactions people have with doors—grabbing and turning the knob and pushing and puling motions—and turned them into musical activities. The idea behind this project comes from the fact that the activity of using a door is almost always accompanied by a sound that is generally ignored by the user. We believe that this sound can be considered musically rich and expressive because each door has specific sound characteristics and each person makes it sound slightly different. By augmenting the door to create an unexpected sound, this project encourages us to listen to our daily lives with a musician’s critical ear, and reminds us of the musicality of our everyday activities.
```
@inproceedings{Kleinberger2016,
  title = {Dooremi: a Doorway to Music},
  author = {Kleinberger, Rebecca and van Troyer, Akito},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {160--161},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Demonstrations},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0033.pdf}
}
```
Otso Lähdeoja. 2016. Active Acoustic Instruments for Electronic Chamber Music. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 132–136.
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This paper presents an ongoing project for augmenting acoustic instruments with active acoustics. Active acoustics are defined as audio-rate vibration driven into the instruments physical structure, inducing air-borne sound output. The instrument’s acoustic sound is thus doubled by an electronic soundscape radiating from the same source. The article is centered on a case study on two guitars, one with hexaphonic sound capture and the other with monophonic pickup. The article discusses the design, implementation, acoustics, sound capture and processing of an active acoustic instrument, as well as gestural control using the Leap Motion sensor. Extensions towards other instruments are presented, in connection with related artistic projects and ‘electronic chamber music’ aesthetics.
```
@inproceedings{Lnicode228hdeoja2016,
  title = {Active Acoustic Instruments for Electronic Chamber Music},
  author = {L\"{a}hdeoja, Otso},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {132--136},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0027.pdf}
}
```
Jeppe Veirum Larsen, Dan Overholt, and Thomas B. Moeslund. 2016. The Prospects of Musical Instruments For People with Physical Disabilities. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 327–331.
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Many forms of enabling technologies exist today. While technologies aimed at enabling basic tasks in everyday life (locomotion, eating, etc.) are more common, musical instruments for people with disabilities can provide a chance for emotional enjoyment, as well as improve physical conditions through therapeutic use. The field of musical instruments for people with physical disabilities, however, is still an emerging area of research. In this article, we look at the current state of developments, including a survey of custom designed instruments, augmentations / modifications of existing instruments, music-supported therapy, and recent trends in the area. The overview is extrapolated to look at where the research is headed, providing insights for potential future work.
```
@inproceedings{Larsen2016,
  title = {The Prospects of Musical Instruments For People with Physical Disabilities},
  author = {Larsen, Jeppe Veirum and Overholt, Dan and Moeslund, Thomas B.},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {327--331},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0064.pdf}
}
```
Tomas Laurenzo. 2016. 5500: performance, control, and politics. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 36–40.
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In the period between June 2014 and June 2015, at least 5,500 immigrants died trying to reach Europe from Africa while crossing the Mediterranean Sea. In this paper we present 5500, a piano performance that is a part of an on-going project that investigates the incorporation of electrical muscle stimulation (EMS) into musical performances, with a particular interest in the political significance of the negotiation of control that arises. 5500 consists of a performance of Beethoven’s Sonata Pathétique, where the pianist’s execution is disrupted using computer-controlled electrodes which stimulate the muscles in his or her arms causing their involuntary contractions and affecting the final musical result.
```
@inproceedings{Laurenzo2016,
  title = {5500: performance, control, and politics},
  author = {Laurenzo, Tomas},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {36--40},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0008.pdf}
}
```
Sang Won Lee, Georg Essl, and Mari Martinez. 2016. Live Writing : Writing as a Real-time Audiovisual Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 212–217.
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This paper suggests a novel form of audiovisual performance- live writing- that transforms creative writing into a real-time performing art. The process of typing a poem on the fly is captured and augmented to create an audiovisual performance that establishes natural links among the components of typing gestures, the poem being written on the fly, and audiovisual artifacts. Live writing draws upon ideas from the tradition of live coding in which the process of programming is revealed to the audience in real-time. This paper discusses the motivation behind the idea, interaction schemes and a performance interface for such a performance practice. Our live writing performance system is enabled by a custom text editor, writing-sound mapping strategies of our choice, a poem-sonification, and temporal typography. We describe two live writing performances that take different approaches as they vary the degree of composition and improvisation in writing.
```
@inproceedings{Lee2016,
  title = {Live Writing : Writing as a Real-time Audiovisual Performance},
  author = {Lee, Sang Won and Essl, Georg and Martinez, Mari},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {212--217},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0043.pdf}
}
```
Sasha Leitman and John Granzow. 2016. Music Maker: 3d Printing and Acoustics Curriculum. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 118–121.
Download PDF

Music Maker is a free online resource that provides files for 3D printing woodwind and brass mouthpieces and tutorials for using those mouthpieces to learn about acoustics and music. The mouthpieces are designed to fit into standard plumbing and automobile parts that can be easily purchased at home improvement and automotive stores. The result is a musical tool that can be used as simply as a set of building blocks to bridge the gap between our increasingly digital world of fabrication and the real-world materials that make up our daily lives. An increasing number of schools, libraries and community groups are purchasing 3D printers but many are still struggling to create engaging and relevant curriculum that ties into academic subjects. Making new musical instruments is a fantastic way to learn about acoustics, physics and mathematics.
```
@inproceedings{Leitman2016,
  title = {Music Maker: 3d Printing and Acoustics Curriculum},
  author = {Leitman, Sasha and Granzow, John},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {118--121},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0024.pdf}
}
```
Anders Lind and Daniel Nylén. 2016. Mapping Everyday Objects to Digital Materiality in The Wheel Quintet: Polytempic Music and Participatory Art. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 84–89.
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Digitalization has enabled material decoupling of sound from the physical devices traditionally used to conceive it. This paper reports an artistic exploration of novel mappings between everyday objects and digital sound. The Wheel Quintet—a novel musical instrument comprising four bicycle wheels and a skateboard—was created using off-the-shelf components and visual programming in Max/MSP. The use of everyday objects sought to enable people to quickly master the instrument, regardless of their musical backgrounds, and collectively create polytempic musical textures in a participatory art context. Applying an action research approach, the paper examines in detail two key cycles of planning, action, and analysis related to the instrument, involving an interactive museum exhibition open to the public and a concert hall performance conducted by an animated music notation system. Drawing on insights from the study, the paper contributes new knowledge concerning the creation and use of novel interfaces for music composition and performance enabled by digitalization.
```
@inproceedings{Lind2016,
  title = {Mapping Everyday Objects to Digital Materiality in The Wheel Quintet: Polytempic Music and Participatory Art},
  author = {Lind, Anders and Nyl\'{e}n, Daniel},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {84--89},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0018.pdf}
}
```
Rikard Lindell, Koray Tahiroglu, Morten Riis, and Jennie Schaeffer. 2016. Materiality for Musical Expressions: an Approach to Interdisciplinary Syllabus Development for NIME. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 344–349.
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We organised an elven day intense course in materiality for musical expressions to explore underlying principles of New Interfaces for Musical Expression (NIME) in higher educa- tion. We grounded the course in different aspects of ma- teriality and gathered interdisciplinary student teams from three Nordic universities. Electronic music instrument mak- ers participated in providing the course. In eleven days the students designed and built interfaces for musical expres- sions, composed a piece, and performed at the Norberg elec- tronic music festival. The students explored the relationship between technology and possible musical expression with a strong connection to culture and place. The emphasis on performance provided closure and motivated teams to move forward in their design and artistic processes. On the basis of the course we discuss an interdisciplinary NIME course syllabus, and we infer that it benefits from grounding in materiality and in the place with a strong reference to culture.
```
@inproceedings{Lindell2016,
  title = {Materiality for Musical Expressions: an Approach to Interdisciplinary Syllabus Development for NIME},
  author = {Lindell, Rikard and Tahiroglu, Koray and Riis, Morten and Schaeffer, Jennie},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {344--349},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0067.pdf}
}
```
Jason Long, Dale Carnegie, and Ajay Kapur. 2016. The Closed-Loop Robotic Glockenspiel: Improving Musical Robots with Embedded Musical Information Retrieval. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 2–7.
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Musical robots provide artists and musicians with the ability to realise complex new musical ideas in real acoustic space. However, most musical robots are created with open-loop control systems, many of which require time consuming calibration and do not reach the level of reliability of other electronic musical instruments such as synthesizers. This paper outlines the construction of a new robotic musical instrument, the Closed-Loop Robotic Glockenspiel, and discusses the improved robustness, usability and expressive capabilities that closed-loop control systems and embedded musical information retrieval processes can afford robotic musical instruments. The hardware design of the instrument is described along with the firmware of the embedded MIR system. The result is a new desktop robotic musical instrument that is capable of continuous unaided re-calibration, is as simple to use as more traditional hardware electronic sound-sources and provides musicians with new expressive capabilities.
```
@inproceedings{Long2016,
  title = {The Closed-Loop Robotic Glockenspiel: Improving Musical Robots with Embedded Musical Information Retrieval},
  author = {Long, Jason and Carnegie, Dale and Kapur, Ajay},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {2--7},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0002.pdf}
}
```
Jason Long, Ajay Kapur, and Dale Carnegie. 2016. An Analogue Interface for Musical Robots. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 51–54.
Download PDF

The majority of musical robotics performances, projects and installations utilise microcontroller hardware to digitally interface the robotic instruments with sequencer software and other musical controllers, often via a personal computer. While in many ways digital interfacing offers considerable power and flexibility, digital protocols, equipment and audio workstations often tend to suggest particular music-making work-flows and have resolution and timing limitations. This paper describes the creation of a hardware interface that allows direct communication between analogue synthesizer equipment and simple robotic musical instruments entirely in the analogue domain without the use of computers, microcontrollers or software of any kind. Several newly created musical robots of various designs are presented, together with a custom built hardware interface with circuitry that enables analogue synthesizers to interface with the robots without any digital intermediary. This enables novel methods of musical expression, creates new music-making work-flows for composing and improvising with musical robots and takes advantage of the low latency and infinite resolution of analogue circuits.
```
@inproceedings{Long2016a,
  title = {An Analogue Interface for Musical Robots},
  author = {Long, Jason and Kapur, Ajay and Carnegie, Dale},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {51--54},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0011.pdf}
}
```
Evan Lynch and Joseph Paradiso. 2016. SensorChimes: Musical Mapping for Sensor Networks. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 137–142.
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We present a composition framework that facilitates novel musical mappings for large-scale distributed networks of environmental sensors. A library of C-externals called ChainFlow for the graphical programming language Max/MSP that provides an interface to real-time and historical data for large sensor deployments was designed and implemented. This library along with spatialized audio techniques were used to create immersive musical compositions which can be presented on their own or complemented by a graphical 3D virtual world. Musical works driven by a sensor network deployed in a wetland restoration project called Tidmarsh are presented as case studies in augmented presence through musical mapping.
```
@inproceedings{Lynch2016,
  title = {SensorChimes: Musical Mapping for Sensor Networks},
  author = {Lynch, Evan and Paradiso, Joseph},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {137--142},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0028.pdf}
}
```
Andrew McPherson, Robert Jack, and Giulio Moro. 2016. Action-Sound Latency: Are Our Tools Fast Enough? Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 20–25.
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The importance of low and consistent latency in interactive music systems is well-established. So how do commonly-used tools for creating digital musical instruments and other tangible interfaces perform in terms of latency from user action to sound output? This paper examines several common configurations where a microcontroller (e.g. Arduino) or wireless device communicates with computer-based sound generator (e.g. Max/MSP, Pd). We find that, perhaps surprisingly, almost none of the tested configurations meet generally-accepted guidelines for latency and jitter. To address this limitation, the paper presents a new embedded platform, Bela, which is capable of complex audio and sensor processing at submillisecond latency.
```
@inproceedings{McPherson2016,
  title = {Action-Sound Latency: Are Our Tools Fast Enough?},
  author = {McPherson, Andrew and Jack, Robert and Moro, Giulio},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {20--25},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0005.pdf}
}
```
Aidan Meacham, Sanjay Kannan, and Ge Wang. 2016. The Laptop Accordion. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 236–240.
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The ‘Laptop Accordion’ co-opts the commodity laptop computer to craft an expressive, whimsical accordion-like instrument. It utilizes the opening and closing of the laptop screen as a physical metaphor for accordion bellows, and the laptop keyboard as musical buttonboard. Motion is tracked using the laptop camera via optical flow and mapped to continuous control over dynamics, while the sound is generated in real-time. The instrument uses both skeuomorphic and abstract onscreen graphics which further reference the core mechanics of ‘squeezebox’ instruments. The laptop accordion provides several game modes, while overall offering an unconventional aesthetic experience in music making.
```
@inproceedings{Meacham2016,
  title = {The Laptop Accordion},
  author = {Meacham, Aidan and Kannan, Sanjay and Wang, Ge},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {236--240},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0047.pdf}
}
```
Romain Michon, Julius Orion Iii Smith, Matthew Wright, and Chris Chafe. 2016. Augmenting the iPad: the BladeAxe. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 247–252.
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In this paper, we present the BladeAxe: an iPad-based musical instrument leveraging the concepts of augmented mobile device and hybrid physical model controller. By being almost fully standalone, it can be used easily on stage in the frame of a live performance by simply plugging it to a traditional guitar amplifier or to any sound system. Its acoustical plucking system provides the performer with an extended expressive potential compared to a standard controller. After presenting an intermediate version of the BladeAxe, we’ll describe our final design. We will also introduce a similar instrument: the PlateAxe.
```
@inproceedings{Michon2016,
  title = {Augmenting the iPad: the BladeAxe},
  author = {Michon, Romain and Smith, Julius Orion Iii and Wright, Matthew and Chafe, Chris},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {247--252},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0049.pdf}
}
```
Andrew J. Milne, Steffen A. Herff, David Bulger, William A. Sethares, and Roger T. Dean. 2016. XronoMorph: Algorithmic Generation of Perfectly Balanced and Well-Formed Rhythms. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 388–393.
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We present an application XronoMorph for the algorithmic generation of rhythms in the context of creative composition and performance, and of musical analysis and education. XronoMorph makes use of visual and geometrical conceptualizations of rhythms, and allows the user to smoothly morph between rhythms. Sonification of the user generated geometrical constructs is possible using a built-in sampler, VST and AU plugins, or standalone synthesizers via MIDI. The algorithms are based on two underlying mathematical principles: perfect balance and well-formedness, both of which can be derived from coefficients of the discrete Fourier transform of the rhythm. The mathematical background, musical implications, and their implementation in the software are discussed.
```
@inproceedings{Milne2016,
  title = {XronoMorph: Algorithmic Generation of Perfectly Balanced and Well-Formed Rhythms},
  author = {Milne, Andrew J. and Herff, Steffen A. and Bulger, David and Sethares, William A. and Dean, Roger T.},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {388--393},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0077.pdf}
}
```
Yoichi Nagashima. 2016. Multi Rubbing Tactile Instrument. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 168–169.
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This is a report of a novel tactile musical instrument. This instrument is called Multi Rubbing Tactile Instrument (MRTI2015), using ten pieces of PAW sensor produced by the RT corporation. Previous research was focused on untouchable instruments, but this approach is fully tactile—rub and touch. The ten PAW sensors are assigned on the surface of the egg-like plastic case to fit the ten fingers grasping the instrument. The controller is mbed (NucleoF401RE), and it communicates with the host PC via high speed serial (115200bps) by an MIDI-like protocol. Inside the egg- like plastic case, this instrument has eight blue-LEDs which are controlled by the host in order to display the grasping nuances. The prototype of this instrument contains realtime visualizing system with chaotic graphics by Open-GL. I will report on the principle of the sensor, and details about realizing the new system.
```
@inproceedings{Nagashim2016,
  title = {Multi Rubbing Tactile Instrument},
  author = {Nagashima, Yoichi},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {168--169},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Demonstrations},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0035.pdf}
}
```
Kyosuke Nakanishi, Paul Haimes, Tetsuaki Baba, and Kumiko Kushiyama. 2016. NAKANISYNTH: An Intuitive Freehand Drawing Waveform Synthesiser Application for iOS Devices. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 143–145.
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NAKANISYNTH is a synthesiser application available on iOS devices that provides a simple and intuitive interface, allowing users to produce sound loops by freehand drawing sound waves and envelope curves. The interface provides a simple way of interacting: the only input required involves drawing two waveforms, meaning that users can easily produce various sounds intuitively without the need for complex manipulation. The application’s interface comprises of an interchangeable ribbon and keyboard feature, plus two panels where users can edit waveforms, allowing users to make sounds. This simple approach to the interface means that it is easy for users to understand the relationship between a waveform and the sound that it produces.
```
@inproceedings{Nakanishi2016,
  title = {NAKANISYNTH: An Intuitive Freehand Drawing Waveform Synthesiser Application for iOS Devices},
  author = {Nakanishi, Kyosuke and Haimes, Paul and Baba, Tetsuaki and Kushiyama, Kumiko},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {143--145},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0029.pdf}
}
```
Chris Nash. 2016. The ’E’ in QWERTY: Musical Expression with Old Computer Interfaces. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 224–229.
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This paper presents a development of the ubiquitous computer keyboard to capture velocity and other continuous musical properties, in order to support more expressive interaction with music software. Building on existing ‘virtual piano’ utilities, the device is designed to provide a richer mechanism for note entry within predominantly non-realtime editing tasks, in applications where keyboard interaction is a central component of the user experience (score editors, sequencers, DAWs, trackers, live coding), and in which users draw on virtuosities in both music and computing. In the keyboard, additional hardware combines existing scan code (key press) data with accelerometer readings to create a secondary USB device, using the same cable but visible to software as a separate USB MIDI device aside existing USB HID functionality. This paper presents and evaluates an initial prototype, developed using an Arduino board and inexpensive sensors, and discusses design considerations and test findings in musical applications, drawing on user studies of keyboard-mediated music interaction. Without challenging more established (and expensive) performance devices; significant benefits are demonstrated in notation-mediated interaction, where the user’s focus rests with software.
```
@inproceedings{Nash2016,
  title = {The 'E' in QWERTY: Musical Expression with Old Computer Interfaces},
  author = {Nash, Chris},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {224--229},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0045.pdf}
}
```
Carl Jürgen Normark, Peter Parnes, Robert Ek, and Harald Andersson. 2016. The extended clarinet. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 162–167.
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This paper describes how a classical instrument, the clarinet, can be extended with modern technology to create a new and easy to use augmented instrument. The paper describes the design process, technical details and how a musician can use the instrument. The clarinet bell is extended with sensor technology in order to improve the ways the clarinet is traditionally played and improve the performing artist’s musical and performative expressions. New ways of performing music with a clarinet also opens up for novel ways of composing musical pieces. The design is iterated in two versions with improved hardware and form factor where everything is packaged into the clarinet bell. The clarinet uses electronics that wirelessly sends sensor data to a computer that processes a live audio feed via the software MAX 7 and plays it back via loudspeakers on the stage. The extended clarinet provides several ways of transforming audio and also adds several ways of making performances more visually interesting. It is shown that this way of using sensor technology in a traditional musical instrument adds new dimensions to the performance and allows creative persons to express themselves in new ways as well as giving the audience an improved experience.
```
@inproceedings{Normark2016,
  title = {The extended clarinet},
  author = {Normark, Carl J\"{u}rgen and Parnes, Peter and Ek, Robert and Andersson, Harald},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {162--167},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0034.pdf}
}
```
Doug Van Nort, Ian Jarvis, and Michael Palumbo. 2016. Towards a Mappable Database of Emergent Gestural Meaning. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 46–50.
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This paper presents our work towards a database of performance activity that is grounded in an embodied view on meaning creation that crosses sense modalities. Our system design is informed by the philosophical and aesthestic intentions of the laboratory context within which it is designed, focused on distribution of performance activity across temporal and spatial dimensions, and expanded notions of the instrumental system as environmental performative agent. We focus here on design decisions that result from this overarching worldview on digitally-mediated performance.
```
@inproceedings{Nort2016,
  title = {Towards a Mappable Database of Emergent Gestural Meaning},
  author = {Nort, Doug Van and Jarvis, Ian and Palumbo, Michael},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {46--50},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0010.pdf}
}
```
Càrthach Ó Nuanàin, Sergi Jordà, and Perfecto Herrera. 2016. An Interactive Software Instrument for Real-time Rhythmic Concatenative Synthesis. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 383–387.
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In this paper we describe an approach for generating and visualising new rhythmic patterns from existing audio in real-time using concatenative synthesis. We introduce a graph-based model enabling novel visualisation and manipulation of new patterns that mimics the rhythmic and timbral character of an existing target seed pattern using a separate database of palette sounds. Our approach is de- scribed, reporting on those features that may be useful in describing units of sound related to rhythm and how they might then be projected into two-dimensional space for visualisation using reduction techniques and clustering. We conclude the paper with our qualitative appraisal of using the interface and outline scope for future work.
```
@inproceedings{Nuannicode225in2016,
  title = {An Interactive Software Instrument for Real-time Rhythmic Concatenative Synthesis},
  author = {Nuan\`{a}in, C\`{a}rthach \'{O} and Jord\`{a}, Sergi and Herrera, Perfecto},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {383--387},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0076.pdf}
}
```
Reid Oda and Rebecca Fiebrink. 2016. The Global Metronome: Absolute Tempo Sync For Networked Musical Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 26–31.
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At a time in the near future, many computers (including devices such as smart-phones) will have system clocks that are synchronized to a high degree (less than 1 ms of error). This will enable us to coordinate events across unconnected devices with a degree of accuracy that was previously impossible. In particular, high clock synchronization means that we can use these clocks to synchronize tempo between humans or sequencers with little-to-no communication between the devices. To facilitate this low-overhead tempo synchronization, we propose the Global Metronome, which is a simple, computationally cheap method to obtain absolute tempo synchronization. We present experimental results demonstrating the effectiveness of using the Global Metronome and compare the performance to MIDI clock sync, a common synchronization method. Finally, we present an open source implementation of a Global Metronome server using a GPS-connected Raspberry Pi that can be built for under $100.
```
@inproceedings{Oda2016,
  title = {The Global Metronome: Absolute Tempo Sync For Networked Musical Performance},
  author = {Oda, Reid and Fiebrink, Rebecca},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {26--31},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0006.pdf}
}
```
Ireti Olowe, Giulio Moro, and Mathieu Barthet. 2016. residUUm: user mapping and performance strategies for multilayered live audiovisual generation. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 271–276.
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We propose residUUm, an audiovisual performance tool that uses sonification to orchestrate a particle system of shapes, as an attempt to build an audiovisual user interface in which all the actions of a performer on a laptop are intended to be explicitly interpreted by the audience. We propose two approaches to performing with residUUm and discuss the methods utilized to fulfill the promise of audience-visible interaction: mapping and performance strategies applied to express audiovisual interactions with multilayered sound-image relationships. The system received positive feedback from 34 audience participants on aspects such as aesthetics and audiovisual integration, and we identified further design challenges around performance clarity and strategy. We discuss residUUm’s development objectives, modes of interaction and the impact of an audience-visible interface on the performer and observer.
```
@inproceedings{Olowe2016,
  title = {residUUm: user mapping and performance strategies for multilayered live audiovisual generation},
  author = {Olowe, Ireti and Moro, Giulio and Barthet, Mathieu},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {271--276},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0053.pdf}
}
```
Ben Olson. 2016. Transforming 8-Bit Video Games into Musical Interfaces via Reverse Engineering and Augmentation. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 73–77.
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Video games and music have influenced each other since the beginning of the consumer video game era. In particular the chiptune genre of music uses sounds from 8-bit video games; these sounds have even found their way into contemporary popular music. However, in this genre, game sounds are arranged using conventional musical interfaces, meaning the games themselves (their algorithms, design and interactivity) play no role in the creation of the music. This paper describes a new way of creating music with 8-bit games, by reverse engineering and augmenting them with run-time scripts. A new API, Emstrument, is presented which allows these scripts to send MIDI to music production software. The end result is game-derived musical interfaces any computer musician can use with their existing workflow. This enhances prior work in repurposing games as musical interfaces by allowing musicians to use the original games instead of having to build new versions with added musical capabilities. Several examples of both new musical instruments and dynamic interactive musical compositions using Emstrument are presented, using iconic games from the 8-bit era.
```
@inproceedings{Olson2016,
  title = {Transforming 8-Bit Video Games into Musical Interfaces via Reverse Engineering and Augmentation},
  author = {Olson, Ben},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {73--77},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0016.pdf}
}
```
Gorkem Ozdemir, Anil Camci, and Angus Forbes. 2016. PORTAL: An Audiovisual Laser Performance System. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 338–343.
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PORTAL is an interactive performance tool that uses a laser projector to visualize computer-generated audio signals. In this paper, we first offer an overview of earlier work on audiovisual and laser art that inspired the current project. We then discuss our own implementation, focusing not only on the technical issues related to the use of a laser projector in an artistic context, but also on the aesthetic considerations in dealing with the translation of sounds into visuals, and vice versa. We provide detailed descriptions of our hardware implementation, our software system, and its desktop and mobile interfaces, which are made available online. Finally, we offer the results of a user study we conducted in the form of an interactive online survey on audience perception of the relationship between analogous sounds and visuals, which was explored as part of our performance practice.
```
@inproceedings{Ozdemir2016,
  title = {PORTAL: An Audiovisual Laser Performance System},
  author = {Ozdemir, Gorkem and Camci, Anil and Forbes, Angus},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {338--343},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0066.pdf}
}
```
Garth Paine. 2016. Now. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 425–426.
Download PDF

The question of sound as an experience of now, as a conduit to the quality of our belonging to the present, is challenging. Yet it is a crucial issue in discussions about ecological listening. I have come to think of sound as a viscous material, a vibrating field of energy that has texture and density and a physicality that is unlike most other media. Now suggests a desire of becoming present in the resonating sound field of our immediate environment. The energy in the field constantly modulates and drifts. I draw on voices and forces from the natural environment, humans and machines. The work seeks to draw the listeners into an inner space in which they can be both present and aware of their sonic environment and become immersed in it. Now is partly inspired by Samuel Beckett’s novel Watt, specifically Watt’s mysterious journey into to the unknown.
```
@inproceedings{Paine2016,
  title = {Now},
  author = {Paine, Garth},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {425--426},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0083.pdf}
}
```
Sarah Reid, Ryan Gaston, Colin Honigman, and Ajay Kapur. 2016. Minimally Invasive Gesture Sensing Interface (MIGSI) for Trumpet. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 419–424.
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This paper describes the design of a Minimally Invasive Gesture Sensing Interface (MIGSI) for trumpet. The interface attaches effortlessly to any B-flat or C trumpet and requires no permanent modifications to the host-instrument. It was designed first and foremost with accessibility in mind an approach that is uncommon in augmented instrument design and seeks to strike a balance between minimal design and robust control. MIGSI uses sensor technology to capture gestural data such as valve displacement, hand tension, and instrument position, to offer extended control and expressivity to trumpet players. Several streams of continuous data are transmitted wirelessly from MIGSI to the receiving computer, where MIGSI Mapping application (a simple graphical user interface) parses the incoming data into individually accessible variables. It is our hope that MIGSI will be adopted by trumpet players and composers, and that over time a new body of repertoire for the augmented trumpet will emerge.
```
@inproceedings{Reid2016,
  title = {Minimally Invasive Gesture Sensing Interface (MIGSI) for Trumpet},
  author = {Reid, Sarah and Gaston, Ryan and Honigman, Colin and Kapur, Ajay},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {419--424},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0082.pdf}
}
```
Thomas Resch and Stefan Bilbao. 2016. Controlling complex virtuel instruments—A setup with note for Max and prepared piano sound synthesis. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 295–299.
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This paper describes a setup for embedding complex virtual instruments such as a physical model of the prepared piano sound synthesis in the sequencing library note for Max. Based on the requirements of contemporary music and media arts, note introduces computer-aided composition techniques and graphical user interfaces for sequencing and editing into the real time world of Max/MSP. A piano roll, a microtonal musical score and the capability to attach floating-point lists of (theoretically) arbitrary length to a single note-on event, enables artists to play, edit and record compound sound synthesis with the necessary precision.
```
@inproceedings{Resch2016,
  title = {Controlling complex virtuel instruments---A setup with note~ for Max and prepared piano sound synthesis},
  author = {Resch, Thomas and Bilbao, Stefan},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {295--299},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0058.pdf}
}
```
Alexandra Rieger and Spencer Topel. 2016. Driftwood: Redefining Sound Sculpture Controllers. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 158–159.
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The Driftwood is a maneuverable sculptural instrument & controller. Tactilely, it is a micro-terrain one can explore with the hands as with the ears. Closed circuit sensors, moving wooden parts and Piezo microphones are discussed in the design phase alongside background and musical implementation concepts. Electronics and nature converge in this instrument harmoniously referencing our changing world and environment. When engaging with the sonic sculpture silent objects become audible and rest-wood is venerated. It is revealed to the musician interacting with Driftwood that our actions intervene directly with issues relating to sustainability and the amount of value we place on the world we live in. Every scrap of wood was once a tree, Driftwood reminds us of this in a multi-sensory playing experience. The Driftwood proposes a reinterpretation of the process of music creation, awareness and expression.
```
@inproceedings{Rieger2016,
  title = {Driftwood: Redefining Sound Sculpture Controllers},
  author = {Rieger, Alexandra and Topel, Spencer},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {158--159},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Demonstrations},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0032.pdf}
}
```
Ene Alicia Söderberg, Rasmus Emil Odgaard, Sarah Bitsch, et al. 2016. Music Aid—Towards a Collaborative Experience for Deaf and Hearing People in Creating Music. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 321–326.
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This paper explores the possibility of breaking the barrier between deaf and hearing people when it comes to the subject of making music. Suggestions on how deaf and hearing people can collaborate in creating music together, are presented. The conducted research will focus on deaf people with a general interest in music as well as hearing musicians as target groups. Through reviewing different related research areas, it is found that visualization of sound along with a haptic feedback can help deaf people interpret and interact with music. With this in mind, three variations of a collaborative user interface are presented, in which deaf and hearing people are meant to collaborate in creating short beats and melody sequences. Through evaluating the three prototypes, with two deaf people and two hearing musicians, it is found that the target groups can collaborate to some extent in creating beats. However, in order for the target groups to create melodic sequences together in a satisfactory manner, more detailed visualization and distributed haptic output is necessary, mostly due to the fact that the deaf test participants struggle in distinguishing between higher pitch and timbre.
```
@inproceedings{Snicode248derberg2016,
  title = {Music Aid---Towards a Collaborative Experience for Deaf and Hearing People in Creating Music},
  author = {S\"{o}derberg, Ene Alicia and Odgaard, Rasmus Emil and Bitsch, Sarah and H\"{o}eg-Jensen, Oliver and Christensen, Nikolaj Schildt and Poulsen, S\"{o}ren Dahl and Gelineck, Steven},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {321--326},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0063.pdf}
}
```
Kevin Schlei, Chris Burns, and Aidan Menuge. 2016. PourOver: A Sensor-Driven Generative Music Platform. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 355–358.
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The PourOver Sensor Framework is an open iOS framework designed to connect iOS control sources (hardware sensors, user input, custom algorithms) to an audio graph’s parameters. The design of the framework, motivation, and use cases are discussed. The framework is demonstrated in an end-user friendly iOS app PourOver, in which users can run Pd patches with easy access to hardware sensors and iOS APIs.
```
@inproceedings{Schlei2016,
  title = {PourOver: A Sensor-Driven Generative Music Platform},
  author = {Schlei, Kevin and Burns, Chris and Menuge, Aidan},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {355--358},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0069.pdf}
}
```
Dominik Schlienger. 2016. Acoustic Localisation for Spatial Reproduction of Moving Sound Source: Application Scenarios & Proof of Concept. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 407–412.
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Despite the near ubiquitous availability of interfaces for spatial interaction, standard audio spatialisation technology makes very little use of it. In fact, we find that audio technology often impedes spatial interaction: In the workshop on music, space and interaction we thus developed the idea of a real-time panning whereby a moving sound source is reproduced as a virtual source on a panning trajectory. We define a series of application scenarios where we describe in detail what functionality is required to inform an implementation. In our earlier work we showed that Acoustic Localisation (AL) potentially can provide a pervasive technique for spatially interactive audio applications. Playing through the application scenarios with AL in mind provides interesting approaches. For one scenario we show an example implementation as proof of concept.
```
@inproceedings{Schlienger2016,
  title = {Acoustic Localisation for Spatial Reproduction of Moving Sound Source: Application Scenarios \& Proof of Concept},
  author = {Schlienger, Dominik},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {407--412},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0080.pdf}
}
```

Jacob T. Sello. 2016. The Hexenkessel: A Hybrid Musical Instrument for Multimedia Performances. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 122–131.

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This paper introduces the Hexenkessel—an augmented musical instrument for interactive multimedia arts. The Hexenkessel is a classical timpani with its drumhead acting as a tangible user interface for expressive multimedia performances on stage.

@inproceedings{Sello2016,
  title = {The Hexenkessel: A Hybrid Musical Instrument for Multimedia Performances},
  author = {Sello, Jacob T.},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {122--131},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0025.pdf}
}

R. Benjamin Shapiro, Rebecca Fiebrink, Matthew Ahrens, and Annie Kelly. 2016. BlockyTalky: A Physical and Distributed Computer Music Toolkit for Kids. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 427–432.
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NIME research realizes a vision of performance by means of computational expression, linking body and space to sound and imagery through eclectic forms of sensing and interaction. This vision could dramatically impact computer science education, simultaneously modernizing the field and drawing in diverse new participants. We describe our work creating a NIME-inspired computer music toolkit for kids called BlockyTalky; the toolkit enables users to create networks of sensing devices and synthesizers. We offer findings from our research on student learning through programming and performance. We conclude by suggesting a number of future directions for NIME researchers interested in education.
```
@inproceedings{Shapiro2016,
  title = {BlockyTalky: A Physical and Distributed Computer Music Toolkit for Kids},
  author = {Shapiro, R. Benjamin and Fiebrink, Rebecca and Ahrens, Matthew and Kelly, Annie},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {427--432},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0084.pdf}
}
```
Tim Shaw, Simon Bowen, and John Bowers. 2016. Unfoldings: Multiple Explorations of Sound and Space. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 152–157.
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This paper describes a long term, collaborative project Sound Spaces. Within this project we creatively investigated various environments and built a collection of artworks in response to material gathered through a number of practical field visits. Our responses were presented in numerous, idiosyncratic ways and took shape through a number of concerted making activities. The work was conducted both in and with the public, allowing participants to inform the creative decisions made throughout the project as well as experiencing the building of the artworks. Within this essay we report on our process, presentation and offer alternative methods for collecting material and presenting representations of space. We describe the many responses made during our time and related these to research concerns relevant to the NIME community. We conclude with our findings and, through the production of an annotated portfolio, offer our main emerging themes as points of discussion.
```
@inproceedings{Shaw2016,
  title = {Unfoldings: Multiple Explorations of Sound and Space},
  author = {Shaw, Tim and Bowen, Simon and Bowers, John},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {152--157},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0031.pdf}
}
```

Eric Sheffield, Edgar Berdahl, and Andrew Pfalz. 2016. The Haptic Capstans: Rotational Force Feedback for Music using a FireFader Derivative Device. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 1–2.

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The Haptic Capstans are two rotational force-feedback knobs circumscribed by eye-catching LED rings. In this work, the Haptic Capstans are programmed using physical models in order to experiment with audio-visual-haptic interactions for music applications.

@inproceedings{Sheffield2016,
  title = {The Haptic Capstans: Rotational Force Feedback for Music using a FireFader Derivative Device},
  author = {Sheffield, Eric and Berdahl, Edgar and Pfalz, Andrew},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {1--2},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Demonstrations},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper00012.pdf}
}

Scott Smallwood. 2016. Coronium 3500: A Solarsonic Installation for Caramoor. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 32–35.
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This paper describes the development, creation, and deployment of a sound installation entitled Coronium 3500 (Lucie’s Halo), commissioned by the Caramoor Center for Music and the Arts. The piece, a 12-channel immersive sound installation driven by solar power, was exhibited as part of the exhibition In the Garden of Sonic Delights from June 7 to Nov. 4, 2014, and again for similar duration in 2015. Herein I describe the aesthetic and technical details of the piece and its ultimate deployment, as well as reflecting on the results and the implications for future work.
```
@inproceedings{Smallwood2016,
  title = {Coronium 3500: A Solarsonic Installation for Caramoor},
  author = {Smallwood, Scott},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {32--35},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0007.pdf}
}
```
Sean Soraghan, Alain Renaud, and Ben Supper. 2016. Towards a perceptual framework for interface design in digital environments for timbre manipulation. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 413–418.
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Many commercial software applications for timbre creation and manipulation feature an engineering-focused, parametric layout. This paper argues the case for a perceptually motivated approach to interface design in such tools. ‘Perceptually motivated’ in this context refers to the use of common semantic timbre descriptors to influence the digital representation of timbre. A review is given of existing research into semantic descriptors of timbre, as well as corresponding acoustic features of timbre. Discussion is also given on existing interface design techniques. The perceptually motivated approach to interface design is demonstrated using an example system, which makes use of perceptually relevant mappings from acoustic timbre features to semantic timbre descriptors and visualises sounds as physical objects.
```
@inproceedings{Soraghan2016,
  title = {Towards a perceptual framework for interface design in digital environments for timbre manipulation},
  author = {Soraghan, Sean and Renaud, Alain and Supper, Ben},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {413--418},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0081.pdf}
}
```
Koray Tahiroglu, Juan Carlos Vasquez, and Johan Kildal. 2016. Non-intrusive Counter-actions: Maintaining Progressively Engaging Interactions for Music Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 444–449.
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In this paper we present the new development of a semi-autonomous response module for the NOISA system. NOISA is an interactive music system that predicts performer’s engagement levels, learns from the performer, decides what to do and does it at the right moment. As an improvement for the above, we implemented real-time adaptive features that respond to a detailed monitoring of the performer’s engagement and to overall sonic space, while evaluating the impact of its actions. Through these new features, the response module produces meaningful and non-intrusive counter actions, attempting to deepen and maintain the performer’s engagement in musical interaction. In a formative study we compared our designed response module against a random control system of events, in which the former performed consistently better than the latter.
```
@inproceedings{Tahironicode287lu2016,
  title = {Non-intrusive Counter-actions: Maintaining Progressively Engaging Interactions for Music Performance},
  author = {Tahiroglu, Koray and Vasquez, Juan Carlos and Kildal, Johan},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {444--449},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0087.pdf}
}
```
Lindsay Vickery. 2016. Rhizomatic approaches to screen-based music notation. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 394–400.
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The rhizome concept explored by Deleuze and Guatarri has had an important influence on formal thinking in music and new media. This paper explores the development of rhizomatic musical scores that are arranged cartographically with nodal points allowing for alternate pathways to be traversed. The challenges of pre-digital exemplars of rhizomatic structure are discussed. It follows the development of concepts and technology used in the creation of five works by the author Ubahn c. 1985: the Rosenberg Variations [2012], The Last Years [2012], Sacrificial Zones [2014], detritus [2015] and trash vortex [2015]. The paper discusses the potential for the evolution of novel formal structures using rhizomatic structures.
```
@inproceedings{Vickery2016,
  title = {Rhizomatic approaches to screen-based music notation},
  author = {Vickery, Lindsay},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {394--400},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0078.pdf}
}
```
Richard Vindriis and Dale Carnegie. 2016. StrumBot—An Overview of a Strumming Guitar Robot. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 146–151.
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StrumBot is a novel standalone six stringed robotic guitar consisting of mechanisms designed to enable musical expressivity and minimise acoustic noise. It is desirable for less than 60 dBA of noise at 1 m to be emitted to allow StrumBot to play in intimate venues such as cafés or restaurants without loud motor noises detracting from the musical experience. StrumBot improves upon previous RMI’s by allowing additional expressive opportunities for a composer to utilise. StrumBot can perform slides, vibrato, muting techniques, pitch bends, pluck power variances, timbre control, complex chords and fast strumming patterns. A MIDI input allows commercial or custom controllers to operate StrumBot. Novel note allocation algorithms were created to allow a single MIDI stream of notes to be allocated across the six guitar strings. Latency measurements from MIDI input to string pluck are as low as 40 ms for a best case scenario strum, allowing StrumBot to accompany a live musician with minimal audible delay. A relay based loop switcher is incorporated, allowing StrumBot to activate standard commercial guitar pedals based on a MIDI instruction.
```
@inproceedings{Vindriis2016,
  title = {StrumBot---An Overview of a Strumming Guitar Robot},
  author = {Vindriis, Richard and Carnegie, Dale},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {146--151},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0030.pdf}
}
```
Christina Volioti, Sotiris Manitsaris, Eleni Katsouli, and Athanasios Manitsaris. 2016. x2Gesture: how machines could learn expressive gesture variations of expert musicians. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 310–315.
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There is a growing interest in ‘unlocking’ the motor skills of expert musicians. Motivated by this need, the main objective of this paper is to present a new way of modeling expressive gesture variations in musical performance. For this purpose, the 3D gesture recognition engine ‘x2Gesture’ (eXpert eXpressive Gesture) has been developed, inspired by the Gesture Variation Follower, which is initially designed and developed at IRCAM in Paris and then extended at Goldsmiths College in London. x2Gesture supports both learning of musical gestures and live performing, through gesture sonification, as a unified user experience. The deeper understanding of the expressive gestural variations permits to define the confidence bounds of the expert’s gestures, which are used during the decoding phase of the recognition. The first experiments show promising results in terms of recognition accuracy and temporal alignment between template and performed gesture, which leads to a better fluidity and immediacy and thus gesture sonification.
```
@inproceedings{Volioti2016,
  title = {x2Gesture: how machines could learn expressive gesture variations of expert musicians},
  author = {Volioti, Christina and Manitsaris, Sotiris and Katsouli, Eleni and Manitsaris, Athanasios},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {310--315},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0061.pdf}
}
```
Si Waite. 2016. Church Belles: An Interactive System and Composition Using Real-World Metaphors. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 265–270.
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This paper presents a brief review of current literature detailing some of the issues and trends in composition and performance with interactive music systems. Of particular interest is how musicians interact with a separate machine entity that exercises agency over the creative process. The use of real-world metaphors as a strategy for increasing audience engagement is also discussed. The composition and system Church Belles is presented, analyzed and evaluated in terms of its architecture, how it relates to existing studies of musician-machine creative interaction and how the use of a real-world metaphor can promote audience perceptions of liveness. This develops previous NIME work by offering a detailed case study of the development process of both a system and a piece for popular, non-improvisational vocal/guitar music.
```
@inproceedings{Waite2016,
  title = {Church Belles: An Interactive System and Composition Using Real-World Metaphors},
  author = {Waite, Si},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {265--270},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0052.pdf}
}
```
Ge Wang. 2016. Game Design for Expressive Mobile Music. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 182–187.
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This article presents observations and strategies for designing game- like elements for expressive mobile musical interactions. The designs of several popular commercial mobile music instruments are discussed and compared, along with the different ways they integrate musical information and game-like elements. In particular, issues of designing goals, rules, and interactions are balanced with articulating expressiveness. These experiences aim to invite and engage users with game design while maintaining and encouraging open-ended musical expression and exploration. A set of observations is derived, leading to a broader design motivation and philosophy.
```
@inproceedings{Wang2016,
  title = {Game Design for Expressive Mobile Music},
  author = {Wang, Ge},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {182--187},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0038.pdf}
}
```
Jiayue Cecilia Wu, Madeline Huberth, Yoo Hsiu Yeh, and Matt Wright. 2016. Evaluating the Audience’s Perception of Real-time Gestural Control and Mapping Mechanisms in Electroacoustic Vocal Performance. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 206–211.
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This paper presents an empirical evaluation of a digital music instrument (DMI) for electroacoustic vocal performance, the Tibetan Singing Prayer Wheel (TSPW). Specifically, we study audience preference for the way it maps horizontal spinning gestures to vocal processing parameters. We filmed six songs with the singer using the TSPW, and created two alternative soundtracks for each song: one desynchronized, and one with the mapping inverted. Participants viewed all six songs with either the original or desynchronized soundtrack (Experiment 1), or either the original or inverted-mapping soundtrack (Experiment 2). Participants were asked several questions via questionnaire after each song. Overall, they reported higher engagement and preference for the original versions, suggesting that audiences of the TSPW prefer more highly synchronized performances, as well as more intuitive mappings, though level of perceived expression of the performer only significantly differed in Experiment 1. Further, we believe that our experimental methods contribute to how DMIs can be evaluated from the audience’s (a recently noted under- represented stakeholder) perspective.
```
@inproceedings{Wu2016,
  title = {Evaluating the Audience's Perception of Real-time Gestural Control and Mapping Mechanisms in Electroacoustic Vocal Performance},
  author = {Wu, Jiayue Cecilia and Huberth, Madeline and Yeh, Yoo Hsiu and Wright, Matt},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {206--211},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0042.pdf}
}
```
Xiao Xiao, Donald Derek Haddad, Thomas Sanchez, et al. 2016. Kinéphone: Exploring the Musical Potential of an Actuated Pin-Based Shape Display. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 259–264.
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This paper explores how an actuated pin-based shape display may serve as a platform on which to build musical instruments and controllers. We designed and prototyped three new instruments that use the shape display not only as an input device, but also as a source of acoustic sound. These cover a range of interaction paradigms to generate ambient textures, polyrhythms, and melodies. This paper first presents existing work from which we drew interactions and metaphors for our designs. We then introduce each of our instruments and the back-end software we used to prototype them. Finally, we offer reflections on some central themes of NIME, including the relationship between musician and machine.
```
@inproceedings{Xiao2016,
  title = {Kin\'{e}phone: Exploring the Musical Potential of an Actuated Pin-Based Shape Display},
  author = {Xiao, Xiao and Haddad, Donald Derek and Sanchez, Thomas and van Troyer, Akito and Kleinberger, R\'{e}becca and Webb, Penny and Paradiso, Joe and Machover, Tod and Ishii, Hiroshi},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {259--264},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0051.pdf}
}
```
Leshao Zhang, Yongmeng Wu, and Mathieu Barthet. 2016. A Web Application for Audience Participation in Live Music Performance: The Open Symphony Use Case. Proceedings of the International Conference on New Interfaces for Musical Expression, Queensland Conservatorium Griffith University, pp. 170–175.
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This paper presents a web-based application enabling audiences to collaboratively contribute to the creative process during live music performances. The system aims at enhancing audience engagement and creating new forms of live music experiences. Interaction between audience and performers is made possible through a client/server architecture enabling bidirectional communication of creative data. Audience members can vote for pre-determined musical attributes using a smartphone-friendly and cross-platform web application. The system gathers audience members’ votes and provide feedback through visualisations that can be tailored for specific needs. In order to support multiple performers and large audiences, automatic audience-to-performer groupings are handled by the application. The framework was applied to support live interactive musical improvisations where creative roles are shared amongst audience and performers (Open Symphony). Qualitative analyses of user surveys highlighted very positive feedback related to themes such as engagement and creativity and also identified further design challenges around audience sense of control and latency.
```
@inproceedings{Zhang2016,
  title = {A Web Application for Audience Participation in Live Music Performance: The Open Symphony Use Case},
  author = {Zhang, Leshao and Wu, Yongmeng and Barthet, Mathieu},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2016},
  address = {Brisbane, Australia},
  pages = {170--175},
  publisher = {Queensland Conservatorium Griffith University},
  series = {2220-4806},
  volume = {16},
  isbn = {978-1-925455-13-7},
  track = {Papers},
  url = {http://www.nime.org/proceedings/2016/nime2016_paper0036.pdf}
}
```

2015

Mikkel Jörgensen, Aske Knudsen, Thomas Wilmot, Kasper Lund, Stefania Serafin, and Hendrik Purwins. 2015. A Mobile Music Museum Experience for Children. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 36–37.
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An interactive music instrument museum experience for children of 10-12 years is presented. Equipped with tablet devices, the children are sent on a treasure hunt. Based on given sound samples, the participants have to identify the right musical instrument (harpsichord, double bass, viola) out of an instrument collection. As the right instrument is located, a challenge of playing an application on the tablet is initiated. This application is an interactive digital representation of the found instrument, mimicking some of its key playing techniques, using a simplified scrolling on screen musical notation. The musical performance of the participant is graded on a point scale. After completion of the challenge, the participants’ performances of the three instruments are played back simultaneously, constituting a composition. A qualitative evaluation of the application in a focus group interview with school children revealed that the children were more engaged when playing with the interactive application than when only watching a music video.
```
@inproceedings{hpurwins2015,
  title = {A Mobile Music Museum Experience for Children},
  author = {J\"{o}rgensen, Mikkel and Knudsen, Aske and Wilmot, Thomas and Lund, Kasper and Serafin, Stefania and Purwins, Hendrik},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {36--37},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_267.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/267/0267-file1.mov}
}
```
Nicolas d’Alessandro, Joëlle Tilmanne, Ambroise Moreau, and Antonin Puleo. 2015. AirPiano: A Multi-Touch Keyboard with Hovering Control. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 255–258.
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In this paper, we describe the prototyping of two musical interfaces that use the LeapMotion camera in conjunction with two different touch surfaces: a Wacom tablet and a transparent PVC sheet. In the Wacom use case, the camera is between the hand and the surface. In the PVC use case, the camera is under the transparent sheet and tracks the hand through it. The aim of this research is to explore hovering motion surrounding the touch interaction on the surface and include properties of such motion in the musical interaction. We present our unifying software, called AirPiano, that discretises the 3D space into ’keys’ and proposes several mapping strategies with the available dimensions. These control dimensions are mapped onto a modified HandSketch sound engine that achieves multitimbral pitch-synchronous point cloud granulation.
```
@inproceedings{ndalessandro2015,
  title = {AirPiano: A Multi-Touch Keyboard with Hovering Control},
  author = {d'Alessandro, Nicolas and Tilmanne, Jo\"elle and Moreau, Ambroise and Puleo, Antonin},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {255--258},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_261.pdf}
}
```
Mohammad Akbari and Howard Cheng. 2015. claVision: Visual Automatic Piano Music Transcription. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 313–314.
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One important problem in Musical Information Retrieval is Automatic Music Transcription, which is an automated conversion process from played music to a symbolic notation such as sheet music. Since the accuracy of previous audio-based transcription systems is not satisfactory, we propose an innovative visual-based automatic music transcription system named claVision to perform piano music transcription. Instead of processing the music audio, the system performs the transcription only from the video performance captured by a camera mounted over the piano keyboard. claVision can be used as a transcription tool, but it also has other applications such as music education. The claVision software has a very high accuracy (over 95%) and a very low latency in real-time music transcription, even under different illumination conditions.
```
@inproceedings{makbari2015,
  title = {claVision: Visual Automatic Piano Music Transcription},
  author = {Akbari, Mohammad and Cheng, Howard},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {313--314},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_105.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/105/0105-file1.avi}
}
```

Simon Alexander-Adams and Michael Gurevich. 2015. A Flexible Platform for Tangible Graphic Scores. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 174–175.

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This paper outlines the development of a versatile platform for the performance and composition of tangible graphic scores, providing technical details of the hardware and software design. The system is conceived as a touch surface facilitating modular textured plates, coupled with corresponding visual feedback.

@inproceedings{salexander-adams2015,
  title = {A Flexible Platform for Tangible Graphic Scores},
  author = {Alexander-Adams, Simon and Gurevich, Michael},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {174--175},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_172.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/172/0172-file1.mov}
}

Hans Anderson, Kin Wah Edward Lin, Natalie Agus, and Simon Lui. 2015. Major Thirds: A Better Way to Tune Your iPad. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 365–368.
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Many new melodic instruments use a touch sensitive surface with notes arranged in a two-dimensional grid. Most of these arrange notes in chromatic half-steps along the horizontal axis and in intervals of fourths along the vertical axis. Although many alternatives exist, this arrangement, which resembles that of a bass guitar, is quickly becoming the de facto standard. In this study we present experimental evidence that grid based instruments are significantly easier to play when we tune adjacent rows in Major thirds rather than fourths. We have developed a grid-based instrument as an iPad app that has sold 8,000 units since 2012. To test our proposed alternative tuning, we taught a group twenty new users to play basic chords on our app, using both the standard tuning and our proposed alternative. Our results show that the Major thirds tuning is much easier to learn, even for users that have previous experience playing guitar.
```
@inproceedings{klin2015,
  title = {Major Thirds: A Better Way to Tune Your iPad},
  author = {Anderson, Hans and Lin, Kin Wah Edward and Agus, Natalie and Lui, Simon},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {365--368},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_157.pdf}
}
```
Jerônimo Barbosa, Filipe Calegario, João Tragtenberg, Giordano Cabral, Geber Ramalho, and Marcelo M. Wanderley. 2015. Designing DMIs for Popular Music in the Brazilian Northeast: Lessons Learned. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 277–280.
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Regarding the design of new DMIs, it is possible to fit the majority of projects into two main cases: those developed by the academic research centers, which focus on North American and European contemporary classical and experimental music; and the DIY projects, in which the luthier also plays the roles of performer and/or composer. In both cases, the design process is not focused on creating DMIs for a community with a particular culture - with established instruments, repertoire and playing styles - outside European and North American traditions. This challenge motivated our research. In this paper, we discuss lessons learned during an one-year project called Batebit. Our approach was based on Design Thinking methodology, comprising cycles of inspiration, ideation and implementation. It resulted in two new DMIs developed collaboratively with musicians from the Brazilian Northeast.
```
@inproceedings{fcalegario2015,
  title = {Designing DMIs for Popular Music in the {Brazil}ian Northeast: Lessons Learned},
  author = {Barbosa, Jer\^onimo and Calegario, Filipe and Tragtenberg, Jo\~ao and Cabral, Giordano and Ramalho, Geber and Wanderley, {Marcelo M.}},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {277--280},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_207.pdf}
}
```
Jeronimo Barbosa, Joseph Malloch, Marcelo Wanderley, and Stéphane Huot. 2015. What does ’Evaluation’ mean for the NIME community? Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 156–161.
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Evaluation has been suggested to be one of the main trends in current NIME research. However, the meaning of the term for the community may not be as clear as it seems. In order to explore this issue, we have analyzed all papers and posters published in the proceedings of the NIME conference from 2012 to 2014. For each publication that explicitly mentioned the term evaluation, we looked for: a) What targets and stakeholders were considered? b) What goals were set? c) What criteria were used? d) What methods were used? e) How long did the evaluation last? Results show different understandings of evaluation, with little consistency regarding the usage of the word. Surprisingly in some cases, not even basic information such as goal, criteria and methods were provided. In this paper, we attempt to provide an idea of what evaluation means for the NIME community, pushing the discussion towards how could we make a better use of evaluation on NIME design and what criteria should be used regarding each goal.
```
@inproceedings{jbarbosa2015,
  title = {What does 'Evaluation' mean for the NIME community?},
  author = {Barbosa, Jeronimo and Malloch, Joseph and Wanderley, Marcelo and Huot, St\'ephane},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {156--161},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_301.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/301/0301-file1.xlsx}
}
```
Timothy J. Barraclough, Dale A. Carnegie, and Ajay Kapur. 2015. Musical Instrument Design Process for Mobile Technology. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 289–292.
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This paper presents the iterative design process based upon multiple rounds of user studies that guided the the design of a novel social music application, Pyxis Minor. The application was designed based on the concept of democratising electronic music creation and performance. This required the development to be based upon user studies to inform and drive the development process in order to create a novel musical interface that can be enjoyed by users of any prior musicianship training.
```
@inproceedings{tbarraclough2015,
  title = {Musical Instrument Design Process for Mobile Technology},
  author = {Barraclough, {Timothy J.} and Carnegie, {Dale A.} and Kapur, Ajay},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {289--292},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_313.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/313/0313-file1.mp4}
}
```
Natasha Barrett. 2015. Creating tangible spatial-musical images from physical performance gestures. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 191–194.
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Electroacoustic music has a longstanding relationship with gesture and space. This paper marks the start of a project investigating acousmatic spatial imagery, real gestural behaviour and ultimately the formation of tangible acousmatic images. These concepts are explored experimentally using motion tracking in a source-sound recording context, interactive parameter-mapping sonification in three-dimensional high-order ambisonics, composition and performance. The spatio-musical role of physical actions in relation to instrument excitation is used as a point of departure for embodying physical spatial gestures in the creative process. The work draws on how imagery for music is closely linked with imagery for music-related actions.
```
@inproceedings{nbarrett2015,
  title = {Creating tangible spatial-musical images from physical performance gestures},
  author = {Barrett, Natasha},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {191--194},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_216.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/216/0216-file1.zip}
}
```
Steve Benford, Adrian Hazzard, Alan Chamberlain, and Liming Xu. 2015. Augmenting a Guitar with its Digital Footprint. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 303–306.
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We explore how to digitally augment musical instruments by connecting them to their social histories. We describe the use of Internet of Things technologies to connect an acoustic guitar to its digital footprint – a record of how it was designed, built and played. We introduce the approach of crafting interactive decorative inlay into the body of an instrument that can then be scanned using mobile devices to reveal its digital footprint. We describe the design and construction of an augmented acoustic guitar called Carolan alongside activities to build its digital footprint through documented encounters with twenty-seven players in a variety of settings. We reveal the design challenge of mapping the different surfaces of the instrument to various facets of its footprint so as to afford appropriate experiences to players, audiences and technicians. We articulate an agenda for further research on the topic of connecting instruments to their social histories, including capturing and performing digital footprints and creating personalized and legacy experiences.
```
@inproceedings{ahazzardb2015,
  title = {Augmenting a Guitar with its Digital Footprint},
  author = {Benford, Steve and Hazzard, Adrian and Chamberlain, Alan and Xu, Liming},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {303--306},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_264.pdf}
}
```
Ethan Benjamin and Jaan Altosaar. 2015. MusicMapper: Interactive 2D representations of music samples for in-browser remixing and exploration. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 325–326.
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Much of the challenge and appeal in remixing music comes from manipulating samples. Typically, identifying distinct samples of a song requires expertise in music production software. Additionally, it is difficult to visualize similarities and differences between all samples of a song simultaneously and use this to select samples. MusicMapper is a web application that allows nonexpert users to find and visualize distinctive samples from a song without any manual intervention, and enables remixing by having users play back clusterings of such samples. This is accomplished by splitting audio from the Soundcloud API into appropriately-sized spectrograms, and applying the t-SNE algorithm to visualize these spectrograms in two dimensions. Next, we apply k-means to guide the user’s eye toward related clusters and set k=26 to enable playback of the clusters by pressing keys on an ordinary keyboard. We present the source code (https://github.com/fatsmcgee/MusicMappr) and a demo video (http://youtu.be/mvD6e1uiO8k) of the MusicMapper web application that can be run in most modern browsers.
```
@inproceedings{jaltosaar2015,
  title = {MusicMapper: Interactive {2D} representations of music samples for in-browser remixing and exploration},
  author = {Benjamin, Ethan and Altosaar, Jaan},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {325--326},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_161.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/161/0161-file1.mp4}
}
```
Peter Bennett, Jarrod Knibbe, Florent Berthaut, and Kirsten Cater. 2015. Resonant Bits: Controlling Digital Musical Instruments with Resonance and the Ideomotor Effect. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 176–177.
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Resonant Bits proposes giving digital information resonant dynamic properties, requiring skill and concerted effort for interaction. This paper applies resonant interaction to musical control, exploring musical instruments that are controlled through both purposeful and subconscious resonance. We detail three exploratory prototypes, the first two illustrating the use of resonant gestures and the third focusing on the detection and use of the ideomotor (subconscious micro-movement) effect.
```
@inproceedings{pbennett2015,
  title = {Resonant Bits: Controlling Digital Musical Instruments with Resonance and the Ideomotor Effect},
  author = {Bennett, Peter and Knibbe, Jarrod and Berthaut, Florent and Cater, Kirsten},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {176--177},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_235.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/235/0235-file1.mp4}
}
```
Edgar Berdahl and Denis Huber. 2015. The Haptic Hand. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 303–306.
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The haptic hand is a greatly simplified robotic hand that is designed to mirror the human hand and provide haptic force feedback for applications in music. The fingers of the haptic hand device are laid out to align with four of the fingers of the human hand. A key is placed on each of the fingers so that a human hand can perform music by interacting with the keys. The haptic hand is distinguished from other haptic keyboards in the sense that each finger is meant to stay with a particular key. The haptic hand pro- motes unencumbered interaction with the keys. The user can easily position a finger over a key and press downward to activate it—the user does not need to insert his or her fingers into an unwieldy exoskeleton or set of thimbles. An example video demonstrates some musical ideas afforded by this open-source software and hardware project.
```
@inproceedings{eberdahl2015,
  title = {The Haptic Hand},
  author = {Berdahl, Edgar and Huber, Denis},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {303--306},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_281.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/281/0281-file1.mov},
  urlsuppl2 = {http://www.nime.org/proceedings/2015/281/0281-file2.mov}
}
```
Andreas Bergsland and Robert Wechsler. 2015. Composing Interactive Dance Pieces for the MotionComposer, a device for Persons with Disabilities. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 20–23.
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The authors have developed a new hardware/software device for persons with disabilities (the MotionComposer), and in the process created a number of interactive dance pieces for non- disabled professional dancers. The paper briefly describes the hardware and motion tracking software of the device before going into more detail concerning the mapping strategies and sound design applied to three interactive dance pieces. The paper concludes by discussing a particular philosophy championing transparency and intuitiveness (clear causality) in the interactive relationship, which the authors apply to both the device and to the pieces that came from it.
```
@inproceedings{abergsland2015,
  title = {Composing Interactive Dance Pieces for the MotionComposer, a device for Persons with Disabilities},
  author = {Bergsland, Andreas and Wechsler, Robert},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {20--23},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_246.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/246/0246-file2.mp4},
  urlsuppl2 = {http://www.nime.org/proceedings/2015/246/La_Danse_II.mp4},
  urlsuppl3 = {http://www.nime.org/proceedings/2015/246/SongShanMountain-SD.mp4}
}
```
Florent Berthaut, David Coyle, James Moore, and Hannah Limerick. 2015. Liveness Through the Lens of Agency and Causality. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 382–386.
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Liveness is a well-known problem with Digital Musical Instruments (DMIs). When used in performances, DMIs provide less visual information than acoustic instruments, preventing the audience from understanding how the musicians influence the music. In this paper, we look at this issue through the lens of causality. More specifically, we investigate the attribution of causality by an external observer to a performer, relying on the theory of apparent mental causation. We suggest that the perceived causality between a performer’s gestures and the musical result is central to liveness. We present a framework for assessing attributed causality and agency to a performer, based on a psychological theory which suggests three criteria for inferred causality. These criteria then provide the basis of an experimental study investigating the effect of visual augmentations on audience’s inferred causality. The results provide insights on how the visual component of performances with DMIs impacts the audience’s causal inferences about the performer. In particular we show that visual augmentations help highlight the influence of the musician when parts of the music are automated, and help clarify complex mappings between gestures and sounds. Finally we discuss the potential wider implications for assessing liveness in the design of new musical interfaces.
```
@inproceedings{hlimerick2015,
  title = {Liveness Through the Lens of Agency and Causality},
  author = {Berthaut, Florent and Coyle, David and Moore, James and Limerick, Hannah},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {382--386},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_272.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/272/0272-file1.mp4}
}
```
Florent Berthaut, Diego Martinez, Martin Hachet, and Sriram Subramanian. 2015. Reflets: Combining and Revealing Spaces for Musical Performances. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 116–120.
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We present Reflets, a mixed-reality environment for musical performances that allows for freely displaying virtual content on stage, such as 3D virtual musical interfaces or visual augmentations of instruments and performers. It relies on spectators and performers revealing virtual objects by slicing through them with body parts or objects, and on planar slightly reflective transparent panels that combine the stage and audience spaces. In this paper, we describe the approach and implementation challenges of Reflets. We then demonstrate that it matches the requirements of musical performances. It allows for placing virtual content anywhere on large stages, even overlapping with physical elements and provides a consistent rendering of this content for large numbers of spectators. It also preserves non-verbal communication between the audience and the performers, and is inherently engaging for the spectators. We finally show that Reflets opens musical performance opportunities such as augmented interaction between musicians and novel techniques for 3D sound shapes manipulation.
```
@inproceedings{fberthaut2015,
  title = {Reflets: Combining and Revealing Spaces for Musical Performances},
  author = {Berthaut, Florent and Martinez, Diego and Hachet, Martin and Subramanian, Sriram},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {116--120},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_190.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/190/0190-file1.mp4}
}
```
Rhushabh Bhandari, Avinash Parnandi, Eva Shipp, Beena Ahmed, and Ricardo Gutierrez-Osuna. 2015. Music-based respiratory biofeedback in visually-demanding tasks. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 78–82.
Download PDF

Biofeedback tools generally use visualizations to display physiological information to the user. As such, these tools are incompatible with visually demanding tasks such as driving. While auditory or haptic biofeedback may be used in these cases, the additional sensory channels can increase workload or act as a nuisance to the user. A number of studies, however, have shown that music can improve mood and concentration, while also reduce aggression and boredom. Here, we propose an intervention that combines the benefits of biofeedback and music to help users regulate their stress response while performing a visual task (driving a car simulator). Our approach encourages slow breathing by adjusting the quality of the music in response to the user’s breathing rate. We evaluate the intervention on a 2\times2 design with music and auditory biofeedback as independent variables. Our results indicate that our music-biofeedback intervention leads to lower arousal (reduced electrodermal activity and increased heart rate variability) than music alone, auditory biofeedback alone and a control condition.
```
@inproceedings{rbhandari2015,
  title = {Music-based respiratory biofeedback in visually-demanding tasks},
  author = {Bhandari, Rhushabh and Parnandi, Avinash and Shipp, Eva and Ahmed, Beena and Gutierrez-Osuna, Ricardo},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {78--82},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_149.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/149/0149-file1.mp4}
}
```
Matthew Blessing and Edgar Berdahl. 2015. Textural Crossfader. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 180–181.
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A LapBox derivative, the Textural Crossfader is a keyboard-based embedded acoustic instrument, which sits comfortably across the performer’s lap and radiates sound out of integrated stereo speakers. The performer controls the sound by manipulating the keys on a pair of mini-keyboard interfaces. A unique one-to-one mapping enables the performer to precisely crossfade among a set of looped audio wave files, creating a conveniently portable system for navigating through a complex timbre space. The axes of the timbre space can be reconfigured by replacing the wave files stored in the flash memory.
```
@inproceedings{mblessing2015,
  title = {Textural Crossfader},
  author = {Blessing, Matthew and Berdahl, Edgar},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {180--181},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_337.pdf},
  urlsuppl1 = {http://www.nime.org/proceedings/2015/337/0337-file1.mp4},
  urlsuppl2 = {http://www.nime.org/proceedings/2015/337/0337-file2.mov}
}
```
Brennon Bortz, Javier Jaimovich, and R. Benjamin Knapp. 2015. Emotion in Motion: A Reimagined Framework for Biomusical/Emotional Interaction. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 44–49.
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Our experiment, Emotion in Motion, has amassed the world’s largest database of human physiology associated with emotion in response to the presentation of various selections of musical works. What began as a doctoral research study has grown to include the emotional responses to musical experience from over ten thousand participants across the world, from installations in Dublin, New York City, Norway, Singapore, the Philippines, and Taiwan. The most recent iteration of is currently underway in Taipei City, Taiwan. Preparation for this installation provided an opportunity to reimagine the architecture of , allowing for a wider range of potential applications than were originally possible with the original tools that drove the experiment. Now more than an experiment, is a framework for developing myriad emotional/musical/biomusical interactions with multiple co-located or remote participants. This paper describes the development of this open-source framework and includes discussion of its various components: hardware agnostic sensor inputs, refined physiological signal processing tools, and a public database of data collected during various instantiations of applications built on the framework. We also discuss our ongoing work with this tool, and provide the reader with other potential applications that they might realize in using .
```
@inproceedings{bbortz2015,
  title = {Emotion in Motion: A Reimagined Framework for Biomusical/Emotional Interaction},
  author = {Bortz, Brennon and Jaimovich, Javier and Knapp, {R. Benjamin}},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {44--49},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_291.pdf}
}
```
Courtney Brown, Sharif Razzaque, and Garth Paine. 2015. Rawr! A Study in Sonic Skulls: Embodied Natural History. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 5–10.
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Lambeosaurine hadrosaurs are duck-billed dinosaurs known for their large head crests, which researchers hypothesize were resonators for vocal calls. This paper describes the motivation and process of iteratively designing a musical instrument and interactive sound installation based on imagining the sounds of this extinct dinosaur. We used scientific research as a starting point to create a means of sound production and resonator, using a 3D model obtained from Computed Topology (CT) scans of a Corythosaurus skull and an endocast of its crest and nasal passages. Users give voice to the dinosaur by blowing into a mouthpiece, exciting a larynx mechanism and resonating the sound through the hadrosaur’s full-scale nasal cavities and skull. This action allows an embodied glimpse into an ancient past. Users know the dinosaur through the controlled exhalation of their breath, how the compression of the lungs leads to a whisper or a roar.
```
@inproceedings{cbrown2015,
  title = {Rawr! A Study in Sonic Skulls: Embodied Natural History},
  author = {Brown, Courtney and Razzaque, Sharif and Paine, Garth},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {5--10},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_325.pdf}
}
```
Jamie Bullock and Ali Momeni. 2015. ml.lib: Robust, Cross-platform, Open-source Machine Learning for Max and Pure Data. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 265–270.
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This paper documents the development of ml.lib: a set of open-source tools designed for employing a wide range of machine learning techniques within two popular real-time programming environments, namely Max and Pure Data. ml.lib is a cross-platform, lightweight wrapper around Nick Gillian’s Gesture Recognition Toolkit, a C++ library that includes a wide range of data processing and machine learning techniques. ml.lib adapts these techniques for real-time use within popular data-flow IDEs, allowing instrument designers and performers to integrate robust learning, classification and mapping approaches within their existing workflows. ml.lib has been carefully de-signed to allow users to experiment with and incorporate ma-chine learning techniques within an interactive arts context with minimal prior knowledge. A simple, logical and consistent, scalable interface has been provided across over sixteen exter-nals in order to maximize learnability and discoverability. A focus on portability and maintainability has enabled ml.lib to support a range of computing architectures—including ARM—and operating systems such as Mac OS, GNU/Linux and Win-dows, making it the most comprehensive machine learning implementation available for Max and Pure Data.
```
@inproceedings{amomenib2015,
  title = {ml.lib: Robust, Cross-platform, Open-source Machine Learning for Max and Pure Data},
  author = {Bullock, Jamie and Momeni, Ali},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {265--270},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_201.pdf}
}
```
Andres Cabrera. 2015. Serverless and Peer-to-peer distributed interfaces for musical control. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 355–358.
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This paper presents the concept and implementation of a decentralized, server-less and peer-to-peer network for the interchange of musical control interfaces and data using the OSC protocol. Graphical control elements that form the control interface can be freely edited and exchanged to and from any device in the network, doing away with the need for a separate server or editing application. All graphical elements representing the same parameter will have their value synchronized through the network mechanisms. Some practical considerations surrounding the implementation of this idea like automatic layout of control, editing interfaces on mobile touch-screen devices and auto-discovery of network nodes are discussed. Finally, GoOSC, a mobile application implementing these ideas is presented.
```
@inproceedings{acabrera2015,
  title = {Serverless and Peer-to-peer distributed interfaces for musical control},
  author = {Cabrera, Andres},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {355--358},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_351.pdf}
}
```
Dario Cazzani. 2015. Posture Identification of Musicians Using Non-Intrusive Low-Cost Resistive Pressure Sensors. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 54–57.
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The following paper documents the creation of a prototype of shoe-soles designed to detect various postures of standing musicians using non-intrusive pressure sensors. In order to do so, flexible algorithms were designed with the capacity of working even with an imprecise placement of the sensors. This makes it easy and accessible for all potential users. At least 4 sensors are required: 2 for the front and 2 for the back; this prototype uses 6. The sensors are rather inexpensive, widening the economic availability. For each individual musician, the algorithms are capable of “per- sonalising” postures in order to create consistent evaluations; the results of which may be, but are not limited to: new musical interfaces, educational analysis of technique, or music controllers. In building a prototype for the algorithms, data was acquired by wiring the sensors to a data-logger. The algorithms and tests were implemented using MATLAB. After designing the algorithms, various tests were run in order to prove their reliability. These determined that indeed the algorithms work to a sufficient degree of certainty, allowing for a reliable classification of a musician’s posture or position.
```
@inproceedings{dcazzani2015,
  title = {Posture Identification of Musicians Using Non-Intrusive Low-Cost Resistive Pressure Sensors},
  author = {Cazzani, Dario},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  year = {2015},
  address = {Baton Rouge, Louisiana, USA},
  editor = {Berdahl, Edgar and Allison, Jesse},
  month = may,
  pages = {54--57},
  publisher = {Louisiana State University},
  url = {http://www.nime.org/proceedings/2015/nime2015_220.pdf}
}
```
Nuno N. Correia and Atau Tanaka. 2015. Prototyping Audiovisual Performance Tools: A Hackathon Approach. Proceedings of the International Conference on New Interfaces for Musical Expression, Louisiana State University, pp. 319–321.
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