======Interaction & Performance: Bibliography======

=====A=====

Arfib, D., and L. Kessous. 2000. "From 'Music V' to 'creative gestures in computer music'". Accessed at http://gsd.ime.usp.br/sbcm/2000/papers/arfib.pdf

Alexandraki, C., and D. Akoumanakis. Sum 2010. "Exploring New Perspectives in Network Music Performance: The DIAMOUSES Framework," Computer Music Journal, vol. 34, pp. 66-83.

Anderson, S., Apr 2008. "Microsound in public space: compositional methods to enhance site-specific sound," Organised Sound, vol. 13, pp. 51-60.

Andean, J. Aug 2011. "Ecological Psychology and the Electroacoustic Concert Context," Organised Sound, vol. 16, pp. 125-133.

=====B=====

Balin, W., and J. Lovischach. 2011. "Gestures to Operate DAW software." //Proceeding of the 130th Audio Engineering Society Convention//. New York: Audio Engineering Society. Paper no. 8456.

Barbosa, A., and M. Kaltenbrunner. 2002. "Public sound objects: A shared musical space on the web." //Second International Conference on Web Delivering of Music, Proceedings//.

Bayreuther, R., 2007. "Contemporary composition as musical disciplina - The example of sound installations of Robin Minard," Musiktheorie, vol. 22, pp. 357-364.

Belet, B. 2003. "Live performance interaction for humans and machines in the early twenty-first century: One composer's aesthetics for composition and performance practice," //Organised sound: An international journal of music technology//, vol. 8, p. 305.

Bertini, G. & Carosi, P. (1992). The light baton: a system for conducting computer music performance. //Proceedings International Computer Music Conference//, San Jose, California, USA, 73-76. San Francisco CA, USA: International Computer Music Association.

Black, D., Gohlke, K., and Lovischach, J. (2010). "Foley Sonic: Placing Sounds on a Timeline Through Gestures." //Proceedings of the 128th Audio Engineering Society Conference//. New York: Audio Engineering Society. Paper no. 8004.

Blaine, T. and T. Perkis. 2000. "The Jam-O-Drum interactive music system: a study in interaction design," pp. 165-173.

Boltz, M. G., B. Ebendorf, and B. Field. Sep 2009. "AUDIOVISUAL INTERACTIONS: THE IMPACT OF VISUAL INFORMATION ON MUSIC PERCEPTION AND MEMORY," //Music Perception//, vol. 27, pp. 43-59.

Bongers, B. (1994). The use of active tactile and force feedback in timbre controlling electronic instruments. In //Proceedings of the 1994 International Computer Music Conference//, (pp. 171-174).

Bongers, B. 1998. "An Interview with Sensorband." //Computer Music Journa// l 22(1): 13-24.

Bown, O., A. Eldridge, and J. McCormack. Aug 2009. "Understanding Interaction in Contemporary Digital Music: from instruments to behavioural objects," //Organised Sound//, vol. 14, pp. 188-196.

Brown, A. R. and A. Sorensen. 2009. "Interacting with Generative Music through Live Coding," //Contemporary Music Review//, vol. 28, pp. 17-29.

Brown, N. G. 2011. "Being Among the Living: On the interrelations between performers, witnesses and environment in As I Have Now Memoyre," //Organised Sound//, vol. 16, pp. 176-183.

Buxton, W., et. al. 1979. "A Computer-Based System for the Performance of Electroacoustic Music."// Proceedings of the 64th Annual Audio Engineering Society Convention.// New York: Audio Engineering Society. Paper no. 1529.

=====C=====
Camurri, A. et al (1987). Interactions between music and movement: A system for music generation from 3D animations. //Proceedings of the 4th international conference on event perception and action//, Trieste.

Camurri, A. (1995). Interactive dance/music systems. //Proceedings of the 1995 International Computer Music Conference//, (pp. 245-252).

Camurri, A. 1999. "Music content processing and multimedia: Case studies and emerging applications of intelligent interactive systems," //Journal of New Music Research//, vol. 28, pp. 351-363.

Camurri, A., et. al. 2000. "EyesWeb: Toward Gesture and Affect Recognition in Interactive Dance and Music Systems." //Computer Music Journal//, 24(1):57.

Canazza, S., et. al. Sep 2003. "An abstract control space for communication of sensory expressive intentions in music performance," //Journal of New Music Research//, vol. 32, pp. 281-294.

Cascella, D. Apr 2008. "Carl Michael von Hausswolff," //Organised Sound//, vol. 13, pp. 21-29.

Cerana, C. 2000. "Gesture Control of Musical processes: A MAX Environment for Buchla's Lightning."  //Organised Sound//, 5: 3-7.

Choi, I. 1998. "From Motion to Emotion: Synthesis of Interactivity with Gestural Primitives." //Emotional and Intelligent: The Tangled Knot of Cognition, AAAI Fall Symposium//, Orlando FL. (October):22-25. 

Coulter, J. Apr 2010. "Electroacoustic Music with Moving Images: the art of media pairing," //Organised Sound//, vol. 15, pp. 26-34, Apr 2010.

Cronkite, D. 2000. "Mediating Gesture: An Interactive Approach to Computer-Assisted Music." //Musicworks: Explorations in Sound//, 78: 20. 

Cseres, J. 2009. "In Between as a Permanent Status: Milan Adamciak's Version of Intermedia," //Leonardo Music Journal//, vol. 19, pp. 31-34.

=====D=====

Dipper, G. Dec 2009. "Interactive Interfaces: Installations produced at the ZKM vertical bar IMA," //Organised Sound//, vol. 14, pp. 286-298.

Downes, P. 1987. "Motion Sensing in Music and Dance Performance." //Proceedings of the 5th Audio Engineering Society Conference.// New York: Audio Engineering Society. Paper no. 105. 

Drummond, J. 2009. "Understanding Interactive Systems." //Organised Sound//, 14(2):124-133.

=====E=====

Eigenfeldt, A. Aug 2011. "Real-time Composition as Performance Ecosystem," //Organised Sound//, vol. 16, pp. 145-153.

Essl, G. and M. Rohs. Aug 2009. "Interactivity for Mobile Music-Making," //Organised Sound//, vol. 14, pp. 197-207.


=====F=====

Ferguson, S., and MM Wanderley. 2009. "The McGill Digital Orchestra: Interdisciplinarity in Digital musical Instrument Design."

Fléty, E. 2000. "3D Gesture Acquisition Using Ultrasonic Sensors." //Trends in Gestural Control of Music.// 193-208.

Frank, M., L. Mehr, A. Sontacchi, & F. Zotter. 2010. "Flexible and Intuitive Pointing Method for 3D Auditory Localization Experiments." //Proceedings of the 130th Audio Engineering Society Conference.// New York: Audio Engineering Society. Paper no. 38. 

Frengel, M. 2010. "A Multidimensional Approach to Relationships between Live and Non-live Sound Sources in Mixed Works". //Organised Sound// 15 (2):96-106.

Friberg, A. 1991. "Generative rules for music performance: A formal description of a rule system". //Computer Music Journal//:56-71.

Friberg, A., et al.1991. PERFORMANCE RULES FOR COMPUTER-CONTROLLED CONTEMPORARY KEYBOARD MUSIC. //Computer Music Journal// 15 (2):49-55.

=====G=====

Garnett, G. E. 2001. "The Aesthetics of Interactive Computer Music." //Computer Music Journal//, 25(1): 21-33.

Gibet, S. & Marteau, P.-F. (1990). Gestural control of sound synthesis. //Proceedings International Computer Music Conference//, Glasgow, UK, 387-391. San Francisco CA, USA: International Computer Music Association.

Gluck, R. J. 2005. "Sounds of a community: Cultural identity and interactive art". //Leonardo Music Journal// 15:37-43.

Goldstein, M. 1998. "Gestural Coherence and Musical Interaction Design." //In Proceedings of IEEE Systems, Man and Cybernetics Conference//, San Diego, CA.

Goudeseune, C. 2002. "Interpolated Mappings for Musical Instruments." //Organised Sound//, 7(2): 85-96.

Green, O. 2011. "Agility and Playfulness: Technology and skill in the performance ecosystem". //Organised Sound// 16 (2):134-144.

Grollmisch, S. E. Cano Ceron, and C. Dittmar. 2011. "Songs 2 See: Learn to Play by Playing." //Proceedings of the 131st Audio Engineering Society Convention.// New York: Audio Engineering Society. pp. 2-3.

Grossmann, R. 2008. "The tip of the iceberg: laptop music and the information-technological transformation of music". //Organised Sound// 13 (1):5-11.

Gurevich, M., and A. C. Fyans. 2011. "Digital Musical Interactions: Performer-system relationships and their perception by spectators". //Organised Sound// 16 (2):166-175.

=====H=====

Harada, T., A. Sato, S. Hashimoto, and S. Ohteru. 1992. "Real Time Control of 3D Sound Space by Gesture." //Proceedings of the 1992 International Computer Music Conference.// Ann Arbor, MI: MPublishing, University of Michigan Library. pp. 85-88. 

Hashimoto, S., and H. Sawada. 2005. "A Grasping Device to Sense Hand Gesture for Expressive Sound Generation." //Journal of New Music Research//, 34(1): 115.

Hoadley, R. 2010. "Implementation and Developments of Interfaces for Music Performance Through Analysis of Improvised Dance Movements." //Proceedings of the 128th Audio Engineering Society Convention.// New York: Audio Engineering Society. Paper no. 8002.

Hunt, A., M. Wanderley, and M. Paradis. 2002. "The Importance of Parameter Mapping in Electronic Instrument Design." //Proceedings of the 2002 conference on New Interfaces for Musical Expression.// Singapore: National University of Singapore, pp. 1-6. 

Hunt, A., and M. Wanderley. 2002. "Mapping performer parameters to synthesis engines." //Organised Sound,// 7(2): 97-108.

=====I=====

Iaird, I., D. Murphy, R. Capman, and S. Jouan. 2011. "Development of a Virtual Performance Studio with Application of Virtual Acoustic Recording Methods." //Proceedings of the 130th Audio Engineering Society Convention.// New York: Audio Engineering Society. Paper no. 8358.

=====J=====
Jean, F., and A.B. Albu. 2008. "The Visual Keyboard: Real-Time Feet Tracking for the Control of Musical Meta-Instruments." //Signal Processing: Image Communication//, 23(7): 505-515.

Johnston, A., L. Candy, and E. Edmonds. 2008. "Designing and evaluating virtual musical instruments: facilitating conversational user interaction". //Design Studies// 29 (6):556-571.

Jordanous, A., and A. Smaill. 2009. "Investigating the Role of Score Following in Automatic Musical Accompaniment". //Journal of New Music Research// 38 (2):197-209.

=====K=====

Kapur, A., et al. 2005. "Wearable sensors for real-time musical signal processing". In 2005 Ieee Pacific Rim Conference on Communications, Computers and Signal Processing.

Karjalainen, M., T. Maki-patola, A. Kanerva, and A. Huovilainen. 2006. "Virtual Air Guitar." //Journal of Audio Engineering Society.// 54(10): 964-980. 

Katayose, H. and Inokuchi, S. 1993. "Learning Performance Rules in a Music Interpretation System." //Computers and the Humanities.// 27(1):31-40.

Katayose, H. and Okudaira, K. 2004. "iFP: A Music Interface Using an Expressive Performance Template." //Entertainment Computing - Icec 2004.// 3166: 529-540.

Kim-Boyle, D. 2009. "Network Musics: Play, Engagement and the Democratization of Performance." //Contemporary Music Review.// 28(4-5):363-375.

Kirlik, A. and Maruyama, S. 2004. "Human-technology Interaction and Music Perception and Performance: Toward the Robust Design of Sociotechnical Systems." //Proceedings of the IEEE// 92(4):616-631.

Krefeld, V. (1990). The Hand in the Web: An interview with Michel Waisvisz. //Computer Music Journal//, 14 (2), 28-33.

=====L=====

Lehrman, P.D. 2009. "The Wii Remote as a Musical Instrument: Technology and Case Studies." //Proceedings of the 127th Audio Engineering Society Convention.// New York: Audio Engineering Society. Paper no. 7888.

Lovischach, J. 2009. "Music at Your Fingertips: An Electrotactile Fader." //Proceedings of the 123rd Audio Engineering Society Convention.// New York: Audio Engineering Society. Paper no. 7306.

Lee, M. & Wessel, D. (1992). Connectionist models for real-time control of synthesis and compositional algorithms. //Proceedings International Computer Music Conference//, San Jose, CA, USA, 277-280. San Fransisco CA, USA: International Computer Music Association.

Leman, M. and Camurri, A. 2005. "Understanding Musical Expressiveness using Interactive Multimedia Platforms." //Journal of Musicae Scientiae.// pp.209-233.

Lusted, H. S. and R. B. Knapp. 1996. "Controlling Computers with Neural Signals." //Scientific American// (October):58-63.

=====M=====
Machover, T. & Chung, J. (1989). Hyperinstruments: Musically intelligent and interactive performance and creativity systems. //Proceedings International Computer Music Conference//, Columbus, Ohio, USA. San Fransisco CA, USA: International Computer Music Association.

Maes, M., et. al. 1996. "Dance-Music Interface Based on Ultrasound Sensors and Computers." //Proceedings of the 3rd Brazilian Symposium on Computer Music.// Accessed at http://recherche.ircam.fr/equipes/analyse-synthese/wanderle/Gestes/Externe/sbcm96.pdf 

Maestre, E et al. 2007. "Acquisition of Violin Instrumental Gestures Using a Commercial EMF Tracking Device." //Proceedings of the 2007 International Computer Music Conference.// Copenhagen: Denmark. pp. 386–393.

Magnusson, T. 2009. "Of Epistemic Tools: Musical Instruments as Cognitive Extensions." //Jounal of Organised Sound.// 14(2):168-176.

Malloch, J., Birnbaum, D., Sinyor, E. and Wanerley, M.M. 2006. "Towards a New Conceptual Framework for Digital Musical Instruments." //Proceedings of the 9th International Conference on Digital Audio Effects.// Montreal, Canada, pp.49-52.

Malloch, J. Sinclair, S. and Wanderley, M.M. 2008. "A Network-based Framework for Collaborative Development and Performance of Digital Musical Instruments." //in Computer Music Modeling and Retrieval: Sense of Sounds.// pp. 401-405.

Merrill, D., Raffle, H. and Aimi, R. 2008. "The Sound of Touch: Physical Manipulation of Digital Sound." //in Proceedings of CHI(2008).// Florence, Italy, pp. 739-742.

McAlpine, K., M. Bett, and J. Scanlan. 2009. "Approaches to Creating Real-Time Adaptive Music in Interactive Entertainment: A Musical Perspective." //Proceedings of the 128th Audio Engineering Society Conference.// New York: Audio Engineering Society. 35(14).

Mion, L., D'Inca, G., de Gotzen, A. and Rapana, E. 2010. "Modeling Expression with Perceptual Audio Features to Enhance User Interaction." //Computer Music Journal.// 34(1):65-79.

Mulder, A. (1991). Viewing dance as instrumental to music. Interface 4 (2), 15-17. Columbus, Ohio, USA: ACCAD, Ohio state university.

Mulder, A. 1994. "Virtual musical instruments: Accessing the Sound Synthesis Universe as a Performer." //Proceedings of the first Brazilian
Symposium on Computer Music.// Caxambu, Minas Gerais: Brazil. pp. 243-250.

Mulder, A. 1996. "Hand Gestures for HCI." Technical Report 96-1. Simon Fraser University. 

Mulder, A. (2000). Toward a choice of gestural constraints for instrumental performers. //Trends in Gestural Control of Music//, 315-335.

Murray-Browne, T., et. al. 2010. "The Serendiptichord: A Wearable Instrument for Contemporary Dance Performance." //Proceedings of the 128th Audio Engineering Society Convention.// New York: Audio Engineering Society. Paper no. 8139.




=====N=====
Nagashima, Y. 1998. "Biosensorfusion: New Interfaces For Interactive Multimedia Art." In //Proceedings of the International Computer Music Conference//, San Francisco: International Computer Music Association, pp. 129-132. 

Newton, D. and Marshall, M.T. 2011. "The Augmentalist: Enabling Musicians to Develop Augmented Musical Instruments." //in Proceedings of the 5th International Conference on Tangible, Embedded and Embodied Interaction.// pp. 249-252.

Ng, K.C. 2004. "Music via Motion: Transdomain Mapping of Motion and Sound for Interactive Performances." //in Proceedings of the IEEE.// 92(4):645-655.

=====O=====

O'Sullivan, L., and F.  Boland. 2011. "Visualizing and Controlling Sound with Graphical Interfaces." //Proceedings of the 131st Audio Engineering Society Convention.// New York: Audio Engineering Society. 41. pp.2-4.

Obrenovic, Z. 2005. "A flexible system for creating music while interacting with the computer." //in 13th Annual ACM International Conference on Multimedia.// New York, NY, USA, pp. 996-1004.

Overholt,D. Berdahl, E. and Hamilton, R. 2011. "Advancements in Actuated Musical Instruments". //Journal of Organised Sound.// 16(2):154-165.

Overholt, D. Thompson, J. Putnam, L. Bell, B. Kleban, J. Sturm, B. and Kuchera-Morin, J. 2009. "A Multimodal System for Gesture Recognition in Interactive Music Performance." //Computer Music Journal.// 33(4):69-82.

=====P=====

Paine, G. 2009. "Gesture and Morphology in Laptop Music Performance." In R. T. Dean (Ed.),// The Oxford Handbook of Computer Music and Digital Sound Culture.// Oxford: Oxford University Press. pp. 299-329.

Paradiso, J. 1999. "The Brain Opera Technology: New Instruments and Gestural Sensors for Musical Interaction and Performance." //Journal of New Music Research,// 28(2): 130.

Paradiso, J., and M. Ó Modhrain. 2003. "Current Trends in Electronic Music Interfaces." //Journal of New Music Research,// 32(4): 345. 

Paine, G. 2009. "Towards Unified Design Guidelines for New Interfaces for Musical Expression." //Journal of Organised Sound.// 14(2):142-155.

Petersen, K. Solis, J. and Takanishi, A. 2008. "Development of a Real-Time Instrument Tracking System for Enabling the Musical Interaction with the Waseda Flutist Robot." //in IEEE/RSJ International Conference on Intelligent Robots and Systems.// Nice, pp.313-318.

Petersen, K. Solis, J. and Takanishi, A. 2009. "Development of a Aural Real-Time Rhythmical and Harmonic Tracking to Enable the Musical Interaction with the Waseda Flutist Robot." //in IEEE/RSJ International Conference on Intelligent Robots and Systems.// St. Louis, MO, pp. 2303-2308.

Petersen, K. Solis, J. and Takanishi, A. 2010. "Musical-based interaction system for the Waseda Flutist Robot." //Autonomous Robots.// 28(4):471-488.

Pope, S.T. 1993. "Real-Time Performance via User Interfaces to Musical Structures." //Journal of Interface.// 22(3):195-212.

Pressing, J. (1990). Cybernetic issues in interactive performance systems. //Computer Music Journal//, 14 (1), 12-25.

Putnam, W. 1993. "The Use of the Electromyogram for the Control of Musical Performance." Masters Thesis, San Jose State University, CA

=====Q=====

=====R=====

Rasamimanana, N. et al. 2011. "Modular Musical Objects Towards Embodied Control of Digital Music." //in Proceedings of Tangible and Embedded Interaction.// pp.9-12.

Richards, J. 2008. "Getting the Hands Dirty." //Leonardo Music Journal.// 18:25-31.

Risset, J. and van Duyne, S. 1996. "Real-time performance interaction with a computer-controlled acoustic piano." //Computer Music Journal.// 20(1):62-75.

Rovan, J., Wanderley, M. M., Dubnov, S., & Depalle, P. (1997). Instrumental gesture mapping strategies as expressivity determinants in computer music performance. Presented at //Kansei Technology of Emotion Workshop//, Genova, Italy

Rowe, R. 1993. //Interactive Music Systems: Machine Listening and Composing.// MIT Press Cambridge. 

Rubine, D. & McAvinney, P. (1990). Programmable finger tracking instrument controllers. //Computer Music Journal//, 14 (1), 26-41.

=====S=====

Sapir, S. 2002. "Gestural Control of Digital Audio Environments." //Journal of New Music Research,// 31(2): 119.

Selfridge, R. and J.D. Reiss. 2011. Interactive Mixing Using Wii Controller. //Proceedings of the 130th Audio Engineering Society Convention//. New York: Audio Engineering Society. Paper no. 8396.

Suzuki, K., and S. Hashimoto. 2004. "Robotic Interface for Embodied Interaction Via Dance and Musical Performance." //Proceedings of the IEEE.// 92(4): 656-671.

Schumacher, M. and Bresson, J. 2011. "Spatial Sound Synthesis in Computer-Aided Composition." //Journal of Organised Sound.// 15(3):271-289.

Spasov, M. 2011. "Music Composition as an Act of Cognition: ENACTIV -Interactive Multi-modal Composing System." //Journal of Organised Sound.// 16(1):69-86.

Shedel, M. and Rootberg, A. 2009. "Generative Techniques in Hypermedia Performance." //Contemporary Music Review.// 28(1): 57-73.

=====T=====

Tanaka, A. (1997). Musical technical issues in using interactive instrument technology with applications to the BioMuse. In //Proceedings of the 1993 International Computer Music Conference//, (pp. 124-126).

Tanaka, A. 2000. "Musical Performance Practice on Sensor-Based Instruments." //Trends in Gestural Control of Music.// 389-406.

Tobenfeld, E. 1992. "A System for Computer Assisted Gestural Improvisation." Accessed at http://quod.lib.umich.edu/cgi/p/pod/dod-idx?c=icmc;idno=bbp2372.1992.025

Tindale, A.R., A. Kapur, G. Tzanetakis, and W.A. Schloss. 2005. "Indirect Acquisition of Percussion Gestures Using Timbre Recognition." //Proceedings of the Conference on Interdisciplinary Musicology,// Montreal: Canada. 

=====U=====

Ungvary, T. and Vertegaal, R. 2000. "Designing Musical Cyberinstruments with body and soul in mind." //Journal of New Music Research.// 29(3):245-255.


=====V=====
Vertegaal, R., T. Ungvary, and M. Kieslinger. 1996. "Towards a Musicianʼs Cockpit: Transducers, Feedback and Musical Function." //Proceedings of the International Computer Music Conference//, pp. 308–311

=====W=====
Wanderley, M. M. (2001). //Performer-instrument interaction: Applications to gestural control of sound synthesis//, (Ph.D. dissertation)  Université Pierre et Marie Curie—Paris VI, Paris, France.

Wanderley, M., and N. Orio. 2002. "Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI." //Computer Music Journal//, 26(3): 62-76. 

Whalley, I. 2009. "Software Agents in Music and Sound Art Research/Creative Work: Current State adn a Possible Direction." //Journal of Organised Sound.// 14(2):156-167.

Weinberg, G. 2005. "Voice Networks: The Human Voice as a Creative Medium for Musical Collaboration." //Leonardo Music Journal.// 15:23-26.

Weinberg, G. and Thatcher, T. 2006. "Interactive Sonification: Aesthetics, Functionality and Performance." //Leonardo Music Journal.// 16:9-12.

=====X=====

=====Y=====

Yamaguchi, T. and Hashimoto, S. 2009. "Grasping Interface with Photo Sensor for a Musical Instrument." //in Proceedings of the 13th International Conference on Human-Computer Interaction. Part II: Novel Interaction Methods and Techniques.// San Diego, pp. 542-547.

=====Z=====
Zannos, I., P. Modler, and K. Naoi. 1997. “Gesture Controlled Music Performance in a Real-Time Network.” In //Proceedings of KANSEI - The Technology of Emotion Workshop//, pp. 60-63.