Table of Contents

Software Tools: Bibliography

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A

  • Amatriain, X. 2007. “CLAM: A Framework for Audio and Music Application Development.” Software, IEEE, 24(1): 82−85.
  • Anderson, T. 1999. “Using Music Performance Software with Flexible Control Interfaces for Live Performance by Severely Disabled Musicians.” Proceedings of the 25th EUROMICRO Conference. Milan, Italy. vol 2. pp. 20−27.
  • Assayag, G., and A. Gerzso. 2009. New Computational Paradigms for Computer Music. Sampzon: Delatour.

B

  • Baalman, M. A., H. C. Smoak, C. L. Salter, J. Malloch, and M. Wanderley. 2009. “Sharing Data in Collaborative, Interactive Performances: the SenseWorld DataNetwork.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2009). Pittsburg, PA, USA.
  • Baalman, M. A., V. d Belleval, C. L. Salter, J. Malloch, J. Thibodeau, and M. Wanderley. 2010. “Sense/Stage- Low Cost, Open Source Wireless Sensor Infrastructure for Liver Performance and Interactive, Real-Time Environments.” Proceedings of Linux Audio Conference (LAC 2010). Utrect, The Netherlands, pp. 242-249.
  • Barbosa, Á. J. Cardoso, and G. Geiger. 2005. “Network Latency Adaptive Tempo in the Public Sound Objects System.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2005). Vancouver, British Columbia: University of British Columbia. pp. 184−187.
  • Barrass, S. 1995. “Personify: A Toolkit for Perceptually Meaningful Sonification.” Proceedings of the Australian Conference on Computer Music (ACCM-95). Melbourne - University of Melbourne: Australasian Computer Music Association.
  • Beck, S., C. Branton, S. Maddineni, B. Ullmer, and S. Jha. 2011. “Tangible Performance Management of Grid-based Laptop Orchestras.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 207-210.
  • Bergsland, A. 2011. “The Six Fantasies Machine: an instrument modelling phrases from Paul Lansky’s Six Fantasies.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 523–526.
  • Beyer, G., and M. Meier. 2011. “Music Interfaces for Novice Users: Composing Music on a Public Display with Hand Gestures.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 507–510
  • Bevilacqua, F., Müller R., and Schnell N. 2005. “MnM: a Max/MSP Mapping Toolbox.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2005). Vancouver, British Columbia: University of British Columbia. pp. 85–88.
  • Boulanger, R. 2004. The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming. Cambridge, MA, USA: MIT Press.
  • Boulanger, R. C., and V. Lazzarini. 2011. The Audio Programming Book. Cambridge, Mass: MIT Press.
  • Bresson, J., Agon, C. and M. Schumacher. 2010. Représentation des données de contrôle pour la spatialisation dans OpenMusic. Actes des Journées d'Informatique Musicale, Rennes, France, 2010.
  • Bryan, N. J., J. Herrera, J. Oh, and G. Wang. 2010. “MoMu: A Mobile Music Toolkit.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2010). Sydney, Australia, pp. 174–177.
  • Bullock, J., D. Beattie, and J. Turner. 2011. “Integra Live: a new graphical user interface for live electronic music.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 387–392.
  • Burt, W. 2010. “Packages for ArtWonk: New Mathematical Tools for Composers.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2010). Sydney, Australia, pp. 493–496.

C

  • Camurri, A., B. Mazzarino, and G. Volpe. 2004. “Analysis of Expressive Gesture: The Eyesweb Expressive Gesture Processing Library.” Gesture-based Communication in Human- Computer Interaction, LNAI 2915. Springer Verlag, pp. 460-467.
  • Chabot, X. 1990. “Gesture Interfaces and a Software Toolkit for Performance with Electronics.” Computer Music Journal, 14(2): 15–27.
  • Chun, S., A. Hawryshkewich, K. Jung, and P. Pasquier. 2010. “Freepad: A Custom Paper-based MIDI Interface.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2010). Sydney, Australia, pp. 31-36.
  • Cook, P. R. 2002. Real Sound Synthesis for Interactive Applications. Natick, Mass: A K Peters.
  • Crevoisier, A., and C. Picard-Limpens. 2011. “Mapping Objects with the Surface Editor.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 236-239.

D

  • Dchelle, F., R. Borghesi, M. D. Cecco, E. Maggi, B. Rovan, and N. Schnell. 1999. “jMax: An Environment for Real-Time Musical Applications.” Computer Music Journal, 23(3): 50–58.

E

F

  • Fyfe, L., A. Tindale, and S. Carpendale. 2011. “JunctionBox: A Toolkit for Creating Multi-touch Sound Control Interfaces.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 276–279.

G

  • Gold, N., and R. Dannenberg. 2011. “A Reference Architecture and Score Representation for Popular Music Human-Computer Music Performance Systems.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 36–39.

H

  • Hähnel, T., and A. Berndt. 2011. “Studying Interdependencies in Music Performance: An Interactive Tool.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 48–51.
  • Hunt, A., and R. Kirk. 2003. “MidiGrid: past, present and future.” Proceedings of the 2003 conference on New Interfaces for Musical Expression (NIME-2003). Montreal, Quebec: McGill University. pp. 135–139.
  • Huron, D. 2002. “Music Information Processing Using the Humdrum Toolkit: Concepts, Examples, and Lessons.” Computer Music Journal, 26(2): 11–26.

I

J

  • Kaltenbrunner, M., and R. Bencina. 2007. “reacTIVision: a computer-vision framework for table-based tangible interaction.” Proceedings of the 1st International Conference on Tangible and Embedded Interaction (TEI ’07). New York, NY, USA: ACM. pp. 69–74.

K

  • Kobayashi, S., T. Endo, K. Harada, and S. Oishi. 2006. “GAINER: a Reconfigurable I/O Module and Software Libraries for Education.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2006). Paris, France: IRCAM - Centre Pompidou. pp. 346–351.

L

  • Li, T., M. Ogihara, and G. Tzanetakis. 2012. Music Data Mining. Boca Raton: CRC Press.
  • Liang, D., G. Xia, and R. Dannenberg. 2011. “A Framework for Coordination and Synchronization of Media.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 167–172.
  • Luhtala, M., T. Kymäläinen, and J. Plomp. 2011. “Designing a Music Performance Space for Persons with Intellectual Learning Disabilities.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 429–432.

M

  • Magnusson, T. 2005. “ixi software: Open Controllers for Open Source Audio Software.” Proceedings of the International Computer Music Conference (ICMC 2005). Pompeu Fabra University, Barcelona.
  • Magnusson, T. 2005. “ixi software: The Interface as Instrument.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2005). University of British Columbia, Vancouver. pp. 212-215.
  • Magnusson, T. 2011. “ixi lang: A SuperCollider Parasite for Live Coding.” Proceedings of the International Computer Music Conference (ICMC 2011). Huddersfield University, Huddersfield, UK, pp. 198-200.
  • Malloch, J., Sinclair, S., and M. M. Wanderley. 2007. “From controller to sound: Tools for collaborative development of digital musical instruments.” Proceedings of the International Computer Music Conference (ICMC 2007). Copenhagen, Denmark, pp. 65-72.
  • Malloch, J., Sinclair, S., and M. M. Wanderley. 2008. A Network-based Framework for Collaborative Development and Performance of Digital Musical Instruments. Proceedings of the Computer Music Modeling and Retrieval Conference (CMMR 2008), LNCS 4969. Berlin Heidelberg: Springer-Verlag, pp. 401-425.
  • Manning, P. D. 1999. “The evolution of interactive graphical control interfaces for music applications.” Organised Sound, 4(1): 45–59.
  • Mills, III, J. A., D. D. Fede, and N. Brix. 2010. “Music Programming in Minim.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2010). Sydney, Australia, pp. 37-42.
  • Minnick, M. 1990. “A Graphical Editor for Building Unit Generator Patches.” Proceedings of the International Computer Music Conference (ICMC 1990). Glasgow, UK, pp. 253-255.

N

O

  • Overholt, D. 2006. “Musical Interaction Design with the CREATE USB Interface: Teaching HCI with CUIs instead of GUIs.” Proceedings of the International Computer Music Conference (ICMC-2006). New Orleans, USA. pp. 6-11.

P

  • Porcaro, N., D. Jaffe, P. Scandalis, J. Smith, T. Stilson, and S. V. Duyne. 1998. “SynthBuilder: A Graphical Rapid-Prototyping Tool for the Development of Music Synthesis and Effects Patches on Multiple Platforms.” Computer Music Journal, 22(2): 35–43.
  • Puckette, M. 1996. “Pure Data: Another Integrated Computer Music Environment.” Proceedings of the Second Intercollege Computer Music Concerts. Tachikawa, Japan, pp. 37–41.

Q

R

  • Rowe, R. 2001. Machine Musicianship. Cambridge, Mass: MIT Press.

S

  • Sànchez, A., J. J. Pantrigo, J. Virseda, and G. Pérez. 2007. “Spieldose: An Interactive Genetic Software for Assisting to Music Composition Tasks.” Proceedings of the 2nd International work-conference on The Interplay Between Natural and Artificial Computation (IWINAC-2007). Berlin, Heidelberg: Springer-Verlag. pp. 617–626.
  • Schiemer, G., and M. Havryliv. 2005. “Pocket Gamelan: a Pure Data interface for java phones.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2005). Vancouver, British Columbia: University of British Columbia. pp. 156–159
  • Schumacher, M. and J. Bresson. 2010. “Compositional Control of Periphonic Sound Spatialization.” Proceedings of the 2nd International Symposium on Ambisonics and Spherical Acoustics. Paris, France.
  • Schumacher, M. and J. Bresson. 2010. “Spatial Sound Synthesis in Computer-Aided Composition.” Organised Sound, 15(3): 271-289.
  • Schnell, N., F. Bevilacqua, N. Rasamimana, J. Blois, F. Guedy, and E. Flety. 2011. “Playing the ”MO”- Gestural Control and Re-Embodiment of Recorded Sound and Music.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, 2011.
  • Seldess, Z., and T. Yamada. 2011. “Tahakum: A Multi-Purpose Audio Control Framework.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 161–166.
  • Sinclair, S. and M. Wanderley. 2007. “Using PureData to Control a Haptically-enabled Virtual Environment.” PureData Convention 2007. Montreal, Canada.
  • Sinclair, S. and M. Wanderley. 2007. “Extending DIMPLE: a Rigid Body Simulator for Interactive Control of Sound.” Proceedings of the the 4th International Conference on Enactive Interfaces (ENACTIVE'07). Grenoble, France.
  • Sioros, G., and C. Guedes. 2011. “Automatic Rhythmic Performance in Max/MSP: the kin.rhythmicator.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 88–91.
  • Sorensen, A. 2005. “Impromptu: An Interactive Programming Environment for Composition and Performance.” Proceedings of the Australasian Computer Music Conference. Queensland University of Technology, Brisbane, Australia, pp. 149–153.
  • Steiner, H. 2005. “[hid] toolkit: A Unified Framework for Instrument Design.” Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME-2005). University of British Columbia, Vancouver, Canada, pp. 140-143.
  • Steiner, H.-C. 2006. “Towards a Catalog and Software Library of Mapping Methods.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2006). Paris, France: IRCAM - Centre Pompidou, pp. 106–109
  • Steiner, H.-C., D. Merril, and O. Matthes. 2007. “A Unified Toolkit for Accessing Human Interface Devices in Pure Data and Max/MSP.” Proceedings of the Conference on New Interfaces for Musical Expression (NIME-2007). New York, New York: New York University, pp. 375–378.

T

U

  • Umetani, N., J. Mitani, and T. Igarashi. 2010. “Designing Custom-made Metallophone with Concurrent Eigenanalysis.” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME-2011). Oslo, Norway, pp. 26-30.

V

W

  • Wang, G. and Cook. P. R. 2003. “ChucK: A Concurrent, On-the-fly Audio Programming Language.” Proceedings of the International Computer Music Conference (ICMC 2003). pp. 219–226.
  • Wilson, S., N. Collins, and D. Cottle. 2011. The SuperCollider Book. Cambridge, Mass: MIT Press.

X

Y

Z

  • Zadel, M., and G. Scavone. 2006. “Different Strokes: a Prototype Software System for Laptop Performance and Improvisation.” Proceedings of the Conference on New Interfaces for Musical Expression (NIME-2006). Paris, France: IRCAM - Centre Pompidou, pp. 168—171.
  • Zadel, M., and G. Scavone. 2006. “Laptop Performance: Techniques, Tools, and a New Interface Design.” Proceedings of the International Computer Music Conference (ICMC-2006). New Orleans, USA, pp. 643—648.
  • Zadel, M. 2006. “A Software System for Laptop Performance and Improvisation.” Master’s thesis, McGill University.
  • Zicarelli, D. 1998 “An Extensible Real-Time Signal Processing Environment for Max”. Proceedings of the International Computer Music Conference (ICMC-1998). Ann Arbor, Michigan, USA.

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