Table of Contents

Interface Design: Bibliography

A

  • Abbott, C. 1982. “Remembering Performance Gestures.” In Proceedings of the 1982 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 188-193.
  • Accot, J. and S. Zhai. 1997. “Beyond Fitts' Law: Models for Trajectory-Based HCI Tasks.” In Proceedings of the 1997 ACM Conference on Human Factors in Computing Systems. New York, NY: ACM Press, pp. 295-302.
  • Accot, J. and S. Zhai. 1999. “Performance Evaluation of Input Devices in Trajectory-based Tasks: An Application of The Steering Law.” In Proceedings of the 1999 ACM Conference on Human Factors in Computing Systems. New York, NY: ACM Press, pp. 466-472.
  • Accot, J. and S. Zhai. 2001. “Scale Effects in Steering Law Tasks.” In Proceedings of the 2001 ACM Conference on Human Factors in Computing Systems. New York, NY:ACM Press, pp. 1-8.
  • Akamatsu, M., I. S. MacKenzie, and T. Hasbrouc. 1995. “A Comparison of Tactile, Auditory and Visual Feedback in a Pointing Task using a Mouse-Type Device.” Ergonomics 38:816-827.
  • Akamatsu, M., and I.S. MacKenzie. 1996. “Movement Characteristics Using a Mouse with Tactile and Force Feedback.” International Journal of Human-Computer Studies 45:483-493.
  • Allison, J. and T. Place. 2003. “SensorBox: Practical Audio Interface for Gestural Performance.”, In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression- NIME03, pp. 208-210.
  • Almeida, A. G. 1996. “Methodologies for Design and Evaluation of Interactive Musical Interfaces.” In Proceedings of the 3rd Brazilian Symposium on Computer Music, pp. 68-73.
  • Alt, F., Shirazi, A., Legien, S., Schmidt, A., Mennenoh, J., 2010. “Creating Meaningful Melodies from Text Messages”, In Proceedings of the 2010 Conference on New Interfaces for Musical Expression - NIME10 pp. 63
  • Andersen, T. H. 2003.”Mixxx:Towards Novel DJ Interfaces.”, In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression - NIME03, pp. 30-35.
  • Anderson, T., and D. Hearn. 1994. “Using Hyperinstruments for the Redistribution of the Performance Control Interface.” In Proceedings of the 1994 International Computer Music Conference. San Francisco: International Computer Music Association, pp. 183-184.
  • Anderton, C. 1994. “STEIM: In the Land of Alternate Controllers.” Keyboard 20(8): 54-62.
  • Appleton, J. 1989. ”21st-Century Musical Instruments: Hardware and Software.” New York: Institute for Studies in American Music, Brooklyn College of the City University of New York.
  • Arfib D., and J. Dudon. 2002. “A Digital Emulator of the Photosonic Instrument.”, In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression- NIME02, pp. 128-131.
  • Artaud, A. 1998. Review, “Big Briar Wavefront. Ethervox and Travel case theremins provide gestural MIDI control.” Electronic Musician 14(5):120-128.
  • Auer, V., M. M. Maes, M. C. Bonfim, M. M. Wanderley, and M. V. Lamar. 1996. “3D Position Signal Acquisition System with Application in Real-Time Processing.” In Proceedings of the ICSPAT '96 -International Congress on Signal Processing Applications Technology, pp. 505-509.
  • Azzolini, F., and S. Sapir. 1984. “Score and/or Gesture - The System RTI4I for Real Time Control of the Digital Processor 4I.” In Proceedings of the 1984 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 25-34.

B

  • Baba, T., Hashida, M., Katayose, H., ““VirtualPhilharmony”: A Conducting System with Heuristics of Conducting an Orchestra”, In Proceedings of the 2010 Conference on New Interfaces for Musical Expression pp. 263
  • Baalman, M. A. J. 2003.”The STRIMIDILATOR, a String Controlled MIDI-Instrument.”, In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression- NIME03, pp. 19-23.
  • Baecker, R. M., and W. A. S. Buxton. 1987. “Readings in Human-Computer Interaction: A Multidisciplinary Approach.” San Mateo, Calif.:Morgan-Kauffmann Publishers, Inc.
  • Baecker, R. M., J. Grudin, W. A. S. Buxton, and S. Greenberg. 1995. Readings in Human-Computer Interaction: Toward the Year 2000. San Mateo, Calif.:Morgan-Kauffmann Publishers, Inc.
  • Bahn, C., and D. Trueman. 2001. “Interface: electronic chamber ensemble.” Presented at the NIME Workshop - CHI 2001.
  • Bahn, C., T. Hahn, and D. Trueman. 2001. “Physicality and Feedback: A Focus on the Body in the Performance of Electronic Music.” In Proceedings of the 2001 International Computer Music Conference. San Francisco, International Computer Music Association.
  • Bailey, N. J., A. Purvis, I. W. Bowler, and P. D. Manning. 1993. “Applications of the Phase Vocoder Interface in the Control of Real-Time Electronic Musical Instruments.” Interface 22:259-275.
  • Baird, K. C. 2003. “Multi-Conductor:An Onscreen Polymetrical Conducting and Notation Display System.”, In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression- NIME03, pp. 211-212.
  • Baki Kocaballi, A., Gemeinboeck, P., Saunders, R., 2010. “Investigating the Potential for Shared Agency using Enactive Interfaces”, In Proceedings of the 2010 Conference on New Interfaces for Musical Expression - NIME 2010 pp. 47
  • Balakrishnan, R., and I. S. MacKenzie. 1997. “Performance Differences in the Fingers, Wrist and Forearm in Computer Input Control.” In Proceedings of the CHI'97 Conference on Human factors in Computing Systems, Association of Computer Machinery, pp. 303-310.
  • Battier, M. 1981. Les musiques électroacoustiques et l'environnement informatique. PhD thesis, University of Paris X.
  • Bauer, W., and B. Foss. 1992. “GAMS: An Integrated Media Controller System.” Computer Music Journal 16(1):19-24.
  • Baumann A., and R. Sanchez. 2002. “Interdisciplinary Applications of New Instruments.”, In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression - NIME02, pp. 49-53.
  • Bernard D. 2002. “Experimental Controllers for Live Electronic Music Performance (vs. Copyright).”, In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression - NIME02, pp. 190-191.
  • Berthaut, F., Desainte-Catherine, M., Hachet, M., 2010. “DRILE: an immersive environment for hierarchical live-looping”, In Proceedings of the 2010 Conference on New Interfaces for Musical Expression - NIME10 pp. 192
  • Bertini, G., and P. Carosi. 1992. “Light Baton: a System for Conducting Computer Music Performance.” In Proceedings of the 1992 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 73-76.
  • Blaine, T. and T. Perkis. 2000. “The Jam-O-Drum Interactive Music System: A Study in Interaction Design.” Proceedings of the ACM Symposium on Designing Interactive Systems. New York, NY: ACM Press, pp. 165-173.
  • Blaine T., and C. Forlines. 2002. “JAM-O-WORLD:Evolution of the Jam-O-Drum into the Jam-O-Whirl Gaming Interface.”, In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression - NIME02, pp. 17-22.
  • Blaine, T. and S. Fels. 2003. “Contexts of Collaborative Musical Experiences.”, In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression - NIME03, pp. 129-134.
  • Bobick, A. 1997. “Movement, Motion.” MIT Activity, and Action: The Role of Knowledge in the Perception of Motion.” MIT Media Laboratory Perceptual Computing Section. Technical report, 413.
  • Boie, R., M. Mathews, and A. Schloss. 1989. “The Radio Drum as a Synthesizer Controller.” In Proceedings of the 1989 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 42-45.
  • Bolas, M., and P. Stone. 1992. “Virtual Mutant Theremin.” In Proceedings of the 1992 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 360-361.
  • 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. San Francisco, International Computer Music Association, pp. 171-174.
  • Bongers, B. 1998. “An interview with Sensorband.” Computer Music Journal 22(1):13-24.
  • Bongers, B. 1998. “Tactual Display of Sound Properties in Electronic Musical Instruments.” Displays 18:129- 133.
  • Bongers, B. 1999. “Exploring Novel Ways of Interaction in Musical Performance.” In Proceedings of the Creativity & Cognition Conference, pp. 76-81.
  • Bongers, B. 2000. “Physical Interfaces in the Electronic Arts. Interaction Theory and Interfacing Techniques for Real-time Performance.” In M. Wanderley and M. Battier, eds. Trends in Gestural Control of Music. Ircam - Centre Pompidou.
  • Bongers B., and Y. Harris. 2002. “A Structured Instrument Design Approach: The Video-Organ.”, In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression- NIME02, pp. 86-91.
  • Borchers, J.O. 1997. “WorldBeat: Designing a Baton-Based Interface for an Interactive Music Exhibit.” In Proceedings of the CHI’97 Conference on Human Factors in Computing Systems. Association for Computer Machinery, pp. 131-138.
  • Borchers, J.O., and M. Muhlheuser. 1998. “Design Patterns for Interactive Musical Systems.” IEEE Multimedia 5(3):36-46.
  • Boulanger, R., and M. V. Mathews. 1997. “The 1997 Mathews' Radio Baton and Improvisation Modes.” In Proceedings of the 1997 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 395-398.
  • Boulanger, R., Y. J. Choi, and L. Castelli. 2000. “Developing a Windows and Macintosh Graphical User Interface for the Mathews Radio-Baton System.” In Proceedings of the 2000 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 547-550.
  • Brecht, B., and G. Garnett. 1995. “Conductor follower.” In Proceedings of the 1995 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 185-186.
  • Bromwich, M. A. 1997. “The Metabone: An Interactive Sensory Control Mechanism for Virtuoso Trombone.” In Proceedings of the 1997 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 473-475.
  • Bromwich, M. A. and J. Wilson. 1998. “Bodycoder: A Sensor Suit and Vocal Performance Mechanism for Real-Time Performance.” In Proceedings of the 1998 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 292-295.
  • Brown, A., “Network Jamming: Distributed Performance using Generative Music”, In Proceedings of the 2010 Conference on New Interfaces for Musical Expression - NIME10 pp. 283
  • Bryan, N., Herrera J., Oh J., Wang, G., 2010. “MoMu: A Mobile Music Toolkit”, In Proceedings of the 2010 Conference on New Interfaces for Musical Expression - NIME10 pp. 174
  • Buchla, D. “Lightning II MIDI Controller.” Buchla and Associates' Homepage at http://www.buchla.com/.
  • Buchla, D., W. Buxton, C. Chafe, T. Machover, M. V. Matthews, R. Moog, J.-C. Risset, L. Sonami, and M. Waisvisz. 2000. “Round Table.” In M. M. Wanderley and M. Battier, eds. Trends in Gestural Control of Music.]] Ircam - Centre Pompidou.
  • Bukvic, I., Martin, T., Standley, E., Mathews, M., 2010. “Introducing L2Ork: Linux Laptop Orchestra”, In Proceedings of the 2010 Conference on New Interfaces for Musical Expression - NIME10 pp. 170
  • Burtner M. 2002. “Noisegate 67 for Metasaxophone: Composition and Performance Considerations of a New Computer Music Controller.”, In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression - NIME02, pp. 71-76.
  • Burtner, M. 2003. “Composing for the (dis)Embodied Ensemble: Notational Systems in (dis)Appearances.”, In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression - NIME03, pp. 63-69.
  • Buxton, W. 1977. Computer Music 1976/77: a Directory to Current Work. Ottawa: The Canadian Commission for Unesco and University of Toronto: Structured Sound Synthesis Project.
  • Buxton, W.A.S., R. Sniderman, W. Reeves, S. Patel, and R. Baecker. 1979. “The Evolution of the SSSP Score-Editing Tools.” Computer Music Journal 3(4):14-25.
  • Buxton, W.A.S. 1986. “Chuncking and Phrasing and the Design of Human-Computer Dialogues.” InH.J. Kugler, ed. Information Processing ‘86, Proceedings of the IFIP 10th World Computer Congress, North Holland, pp. 475-480. Reprinted in R. Baecker, J. Grudin, W.A.S. Buxton, and S. Greenberg, eds. Human-Computer Interaction: Towards the Year 2000. San Mateo, Calif.: Morgan Kaufmann Publishers Inc., pp. 494-499.
  • Buxton, W.A.S. 1986. “There’s More Interaction than Meets the Eye: Some Issues in Manual Input.” In D.A. Norman and S.W. Draper, eds. User Centered System Design: New Perspectives on Human-Computer Interaction. Hillsdale, NJ: Lawrence Erlbaum Associates, pp. 319-337. Reprinted in R. Baecker and W.A.S. Buxton, eds. Readings in Human-Computer Interaction: A Multidisciplinary Approach. San Mateo, Calif.: Morgan Kaufmann Publishers Inc., pp. 366-375.
  • Buxton, W.A.S. 1987. “The Haptic Channel.” In Baecker and Buxton, eds. Readings in Human-Computer Interaction: A Multidisciplinary Approach. San Mateo CA: Morgan Kaufmann Publishers, pp. 357-365.

C

  • Cadoz, C., A. Luciani, and J. L. Florens. 1981. “Synthèse musicale par simulation des mécanismes instrumentaux. Transducteurs Gestuels Rétroactifs pour l’'étude du jeu instrumental.” Revue d'’Acoustique 1984. “Responsive 59 : 279-292.
  • Cadoz, C., A. Luciani, and J. L. Florens. 1984. “Responsive Input Devices and Sound Synthesis by Simulation of Instrumental Mechanisms: The Cordis System.” Computer Music Journal 8(3): 60-73. Reprinted in C. Roads, ed., The Music Machine. Cambridge, Mass.: The MIT Press, pp. 495-508.
  • Cadoz, C., and C. Ramstein. 1990. “Capture, Representation and Composition of the Instrumental Gesture.” In Proceedings of the 1990 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 53-56.
  • Cadoz, C., L. Lisowski, and J. L. Florens. 1990. “A Modular Feedback Keyboard Design.” Computer Music Journal 14(2):47-51.
  • Cadoz, C. L. Lisowsky, and J. L. Florens. 1990. “Modular Feedback Keyboard.” In Proceedings of the 1990 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 379-382.
  • Cadoz, C., A. Luciani, J.-L. Florens, and N. Castagne. 2003. “ACROE-ICA. Artistic Creation and Computer Interactive Multisensory Simulation Force Feedback Gesture Transducers.”, In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression - NIME03, pp. 235-246.
  • Camurri, A. 1995. ” Interactive Dance/Music Systems.” In Proceedings of the 1995 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 245-252
  • Camurri, A. 1997. “Network Models for Music and Motor Control.” In Self-Organization, Computational Maps and Motor Control. Elsevier.
  • Camurri, A., M. Ricchetti, M. Di Stefano, and A. Stroscio. 1998. “EyesWeb - Toward Gesture and Affect Recognition in Dance/Music Interactive Systems.” In Proceedings of the Colloquio di Informatica Musicale CIM'98. AIMI.
  • Camurri, A., P. Coletta, M. Peri, M. Ricchetti, A. Ricci, R. Trocca, and G. Volpe. 2000. “A Real-time Platform for Interactive Dance and Music Systems.” In Proceedings of the 2000 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 262-265.
  • Camurri A., R. Trocca, and G. Volpe. 2002. “Interactive Systems Design: A KANSEI based Approach.”, In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression- NIME02, pp. 155-162.
  • Cannon, C., S. Hughes, and S. O'Modhrain. 2003. “EpipE:Exploration of the Uilleann Pipes as a Potential Controller for Computer-Based Music.”, In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression - NIME03, pp. 3-8.
  • Card, S.K., W. K. English, and B. J. Burr. 1978. “Evaluation of Mouse, Rate-controlled Isometric Joystick, Step keys, and Text keys for Text Selection on a CRT.” Ergonomics, 21, 8, pp. 601-613. Reprinted in R. Baecker and W.A.S. Buxton, eds. Readings in Human-Computer Interaction: A Multidisciplinary Approach. San Mateo, CA.: Morgan Kaufmann Publishers Inc., pp. 386-392.
  • Card, S. K., J. D. Mackinlay, and G. G. Robertson. 1991. “A Morphological Analysis of the Design Space of Input Devices.” ACM Transactions on Information Systems, 9, 2, pp. 99-122.
  • Cariou, B. 1992. “Design of an Alternate Controller from an Industrial Design Perspective.” In Proceedings of the 1992 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 366-367.
  • Cariou, B. 1994. “The aXi0 MIDI Controller.” In Proceedings of the 1994 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 163-166.
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  • Castine, P. An Evaluation of the User Interface in Digital Audio Systems. Master's Thesis. Technical University Berlin. 1988.
  • Chabot, X. 1989. “Performance with Electronics: Gesture Interfaces and Software Toolkit.” In Proceedings of the 1989 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 65-68.
  • Chabot, X. 1990. “Gesture Interfaces and a Software Toolkit for Performance with Electronics.” Computer Music Journal 14(2):15-27.
  • Chabot, X. 1993. “To Listen and to See: Making and Using Electronic Instruments.” Leonardo Music Journal vol. 3, pp. 11-16.
  • Chadabe, J. 1977. “Some reflections on the Nature of the Landscape within which Computer Music Systems are Designed.” Computer Music Journal 1(3): 5-11.
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  • Chafe, C. 1989. “Simulating Performance on a Bowed Instrument.” In M. V. Mathews and J. R. Pierce, eds. Current Directions in Computer Music Research. Cambridge, Mass.:The MIT Press, pp. 185-198.
  • Chafe, C. 1993. “Tactile Audio Feedback.” In Proceedings of the 1993 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 76-79.
  • Choi, I., R. Bargar, and C. Goudeseune. 1995. “A Manifold Interface for a High Dimensional Control Space.”, In Proceedings of the 1995 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 385-392.
  • Choi, I., and C. Ricii. 1997. “Foot-Mounted Gesture Detection and its Application in Virtual Environments.” In Proceedings of the IEEE International Conference on Systems, Man and Cybernetics.
  • Choi, I., G. Zheng, and K. Chen. 2000. “Embedding a Sensory Data Retrieval System in a Movement-Sensitive Space and a Surround Sound System.” In Proceedings of the 2000 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 141-144.
  • Choi, I. 2003. “A Component Model of Gestural Primitive Throughput.”, In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression- NIME03, pp. 201-204.
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  • Collins, N. 1991. “Low Brass: the Evolution of the Trombone Propelled Electronics.” Leonardo Music Journal 1(1): 41-44.
  • Cook, P. R. 1992. “A Meta-Wind-Instrument Physical Model, and a Meta-Controller for Real Time Performance Control.” In Proceedings of the 1992 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 273-276.
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  • Cook, P. R., and D. Trueman. 1998. “NBody: Interactive Multidirectional Musical Instrument Body Radiation Simulations, and a Database of Measured Impulse Responses.” In Proceedings of the 1998 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 353-356.
  • Cook, P., and C. N. Leider. 2000. “SqueezeVox: A New Controller for Vocal Synthesis Models.” In Proceedings of the 2000 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 519-522.
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  • Couturier JM. 2002.”Scanned Synthesis virtual instrument.”, In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression - NIME02, pp. 176-178.
  • Couturier, J.-M. and D. Arfib. 2003. “Pointing Fingers: Using Multiple Direct Interactions with Visual Objects to Perform Music.”, In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression - NIME03, pp. 184-187.

D

  • D'Arcangelo, G. 2001.”Creating Contexts of Creativity: Musical Composition with Modular Components.”, Presented at the NIME Workshop - CHI 2001.
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  • Dannenberg,R., Brown, B., Zeglin, G., Lupish, L., “McBlare: A Robotic Bagpipe Player”, In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression- NIME05 pp. 80
  • Dobrian, C. and F. Bevilacqua. 2003. “Gestural Control of Music Using the Vicon 8 Motion Capture System.”, In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression- NIME03, pp. 161-163.
  • Downes, P. 1987. “Motion Sensing in Music and Dance Performance.” In AES 5th International Conference. New York, NY: Audio Engineering Society, pp. 165 - 172.
  • Dubost, G. 1993. “Technologies de capteurs et leurs applications musicales.” Master's thesis. UniversitéParis Sud Orsay, 1993.

E

  • Egozy, E. B. 1995. “Deriving Musical Control Features from a Real-Time Timbre Analysis of the Clarinet.” Master's thesis. Massachusetts Institute of Technology.
  • Ellis, S.R. 1991. “Nature and Origins of Virtual Environments: A Bibliographical Essay.” Excerpt reprinted in R. Baecker, J. Grudin, W.A.S. Buxton, and S. Greenberg, eds. Human-Computer Interaction: Towards the Year 2000. San Mateo, Calif.: Morgan Kaufmann Publishers Kaufmann Publishers Inc., pp. 913-932.
  • Essl, G., O’Modhrain, S., “Scrubber: An Interface for Friction-induced Sounds”, In Proceedings of the 2005 Conference on New Interfaces for Musical Expression - NIME05 pp. 70
  • Essl, G., Muller, A., 2010. “Designing Mobile Musical Instruments and Environments with urMus”, In Proceedings of the 2010 Conference on New Interfaces for Musical Expression - NIME10 pp. 76
  • Essl, G., Rohs, M., Kratz, S., “Use the Force (or something) - Pressure and Pressure- Like Input for Mobile Music Performance”, In Proceedings of the 2010 Conference on New Interfaces for Musical Expression - NIME10 pp. 182

F

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  • Favilla, S. 1997. “Real-time Control of Synthesis Parameters for LightHarp MIDI Controller.”, In Proceedings of the 1997 ACMA Conference. Auckland, New Zealand.
  • Fels, S. 1994. Glove-Talk II: Mapping Hand Gestures to Speech Using Neural Networks - An Approach to Building Adaptive Interfaces. PhD Thesis, University of Toronto, Canada.
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  • Fléty, E. 1997. “Sonars à ultrasons.” Technical report. Ircam Centre Pompidou.
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  • Fléty E. 2002. “AtoMIC Pro: A Multiple Sensor Acquisition Device.”, In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression- NIME02, pp. 96-101.
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  • Florens, J.-L. 1978. Coupleur gestuel rétroactif pour la commande et le contrôle de sons de synthèse. PhD. Thesis. Institut National Polytechnique de Grenoble.
  • Florens, J.-L, C. Cadoz, and A. Luciani. 1998. “A Real-Time Workstation for Physical Model of Multi-Sensorial and Gesturally Controlled Instrument.” In Proceedings of the 1998 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 518-525.
  • Florens, J.-L., and C. Henry. 2001. “Bowed String Synthesis with Force Feedback Gesture Interaction.” In Proceedings of the 2001 International Computer Music Conference. San Francisco, International Computer Music Association.
  • Freed, A., and R. Avizienis. 2000. “A New Music Keyboard with Continuous Key-Position Sensing and High-Speed Communication.” In Proceedings of the 2000 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 515-518.
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G

  • Gadd A., and S. Fels. 2002. “MetaMuse:Metaphors for Expressive Instruments.”, In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression - NIME02, pp. 143-148.
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isidm/interface_design/bibliography.txt · Last modified: 2011/01/07 16:29 by mghamsar
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