Paper Schedule

MONDAY 1st AUGUST

Session 1: Spatial Sound (chair: Monty Adkins)

09.00-09.20
Sound Element Spatializer
Ryan McGee, Matthew Wright
09.20-09.40
Spatial Mastering - a new concept for spatial sound design in object-based audio scenes
Frank Melchior, Uwe Michaelis, Robert Steffens
09.40-10.00
Controlling Real Time Sound Spatialization Using The Radiodrum
Steven Ness, Gabrielle Odowichuk, Peter Driessen, George Tzanetakis
10.00-10.30
COSM: A toolkit for composing immersive audio-visual worlds of agency and autonomy
Graham Wakefield, Wesley Smith

Session 2A: Spatial Sound (chair: Jean Bresson)

10.45-11.05
The influence of sub-woofer frequencies within a multi-channel loudspeaker configuration on the perception of spatial attributes in a concert hall environment
Robert Sazdov
11.05-11.25
Phenomenology, Spatial Music and the Composer: prelude to a phenomenology of space in acousmatic music
Frederico Macedo
11.25-11.45
Why things don't work: What you need to know about spatial audio
Gary S. Kendall, Andrés Cabrera
11.45-12.15
The Spatialisation of Stereophony: Taking Positions in Post-War Electroacoustic Music
Patrick Valiquet

Session 2B: Synthesis Techniques (chair: Victor Lazzarini)

10.45-11.05
Developing methods for computer programming by musical performance and composition
Alexis Kirke, Eduardo R. Miranda
11.05-11.25
Sound synthesis and composition with compression-controlled feedback
Brett Battey
11.25-11.45
PhinGen: A Physically Informed Stochastic Synthesis Generator
Luc Döbereiner
11.45-12.15
The music21 Stream: A New Object Model for Representing, Filtering, and Transforming Symbolic Musical Structures
Christopher Ariza, Michael Scott Cuthbert

Session 3A: Systems for Composition (chair: Cat Hope)

15.30-15.50
Flood Tide See Further: Sonification as Musical Performance
John Eacott
15.50-16.10
Multi-dimensional spatial sound design for 'On the String'
PerMagnus Lindborg, Joyce Beetuan Koh
16.10-16.30
CYCLIC-N,a real-time mobile multi-touch application for composition, improvisation and education
Mingfei Mike Gao
16.30-17.00
Representation and Interchange of Sound Spatialization Data for Compositional Applications
Jean Bresson, Marlon Schumacher

Session 3B: Synthesis Techniques (chair: Scott Wilson)

15.30-15.50
Unconventional Computing for Music: Sound Synthesis with Slime Mould
Eduardo R. Miranda, Andrew Adamatzky, Jeff Jones
15.50-16.10
Aspects of second order feedback AM synthesis
Victor Lazzarini, Jari Kleimola, Joseph Timoney, Vesa Välimäki
16.10-16.30
Designing Synthetic Reverberators in Kronos
Vesa Norilo
16.30-17.00
Composing with Swarm Algorithms - Creating interactive audio-visual pieces with flocking behavior
Jan C. Schacher, Daniel Bisig, Martin Neukom

Session 4A: Demos

17.15-18.30
A Demonstration of Bow Articulation Recognition with Wekinator and K-Bow
Margaret Schedel, Rebecca Fiebrink
17.15-18.30
Progress Report on the EAVI BCI Toolkit for Music: Musical Applications of Algorithms for use with consumer brain computer interfaces
Mike Grierson, Chris Kiefer, Matthew Yee-King

Session 4B: Posters

17.15-18.30
The NLN-Player: A system for nonlinear music in games
Than van Nispen tot Pannerden, Sander Huiberts, Sebastiaan Donders, Stan Koch
Musical Tempo Curves
Axel Berndt
Gestural Mappings: Towards the Creation of a Three Dimensional Composition Environment
Stephen A. Pearse
An ecologically valid experiment for the comparison of established spatial techniques
Hugh Lynch, Robert Sazdov
Anton - A Rule-Based Composition System
Georg Boenn, Martin Brain, Marina De Vos, John ffitch
Cellular automata dynamic control for sound design with histogram mapping synthesis and the multitype voter model
Jaime Serquera, Eduardo R. Miranda
PVOC KIT: new applications of the phase vocoder
Tom Erbe
Multi-modal instrument: towards a platform for comparative controller evaluation
Richard Polfreman
Cloud chamber: a performance involving real time two-way interaction between subatomic radioactive particles and violinist
Alexis Kirke, Eduardo Miranda, Antonino Chiaramonte, Anna R. Troisi, John Matthias, Jeff Radtke, Nicholas Fry, Catherine McCabe, Martyn Bull

TUESDAY 2nd AUGUST

Session 5: Analytical Techniques (chair: Elainie Lillios)

09.00-09.20
Automatic Synthesiser Programming
Ross Clement
09.20-09.40
Cloning in Max/MSP Patches
Nicolas Gold, Jens Krinke, Mark Harman David Binkley
09.40-10.00
Stimulus Complexity and Time Judgments
Aki Pasoulas
10.00-10.30
Towards a comprehensive framework for electro-acoustic music analysis
Tae Hong Park, David Hyman, Peter Leonard, Phillip Hermans

Session 6A: Analytical Techniques (chair: Tae-Hong Park)

10.45-11.05
Mapping change over time within stereo Acousmatic Music – A Case Study
Jason Woolley
11.05-11.25
Sound-types: a new framework for symbolic sound analysis and synthesis
Carmine Emanuele Cella
11.25-11.45
A Virtual Orchestra for Human-Computer Music Performance
Roger B. Dannenberg
11.45-12.15
Analysis-by-Performance: Gesturally-Controlled Voice Synthesis as an Input for Modelling of Vibrato in Singing
Nicolas d’Alessandro, Thierry Dutoit, Sidney Fels, Christophe Ooge

Session 6B: Synthesis Techniques/Systems (chair: Tom Erbe)

10.45-11.05
Sound synthesis model based on the simulation of a gaussian bouncing wave packet
Javier Ramos, Rodrigo F. Cadiz
11.05-11.25
A Multi-perspective user interface for music signal analysis
Meinard Müller, Verena Konz, Nanzhu Jiang, Zhe Zuo
11.25-11.45
Multimodal Control of Music and Fire Patterns
Todor Todoroff, Radhwan Benmadhkour, Ricardo Chessini
11.45-12.15
Real-time Musical Applications on an Experimental Operating System for Multi-Core Processors
Juan A. Colmenares, Ian Saxton, Eric Battenberg, Rimas Avizienis, Nils Peters, Krste Asanovic, John D. Kubiatowicz, David Wessel

Session 7A: Aesthetics/Physicality (chair: Rose Dodd)

15.30-15.50
Screen Scores: New Media Music Manuscripts
Cat Hope, Lindsay Vickery
15.50-16.10
History of electroacoustic music through filmed sources: an example at IRCAM
Bruno Bossis
16.10-16.30
New forms of hybrid musical discourse: an exploration of stylistic and procedural cross-fertilisation between contemporary art music and electronic dance music
Robert Ratcliffe
16.30-17.00
XTH SENSE: sense: researching biological sounds of human body for an experimental paradigm of musical performance
Marco Donnarumma

Session 7B: Synthesis Techniques/Systems (chair: Georg Essl)

15.30-15.50
Real-time emulation of the Clavinet
Leonardo Gabrielli, Vesa Välimäki, Stefan Bilbao
15.50-16.10
Physical Thinking: two approached to mechanical sound design
Jon Pigott Alexandros Kontogeorgakopoulos
16.10-16.30
Analysis and Synthesis of Hand Clapping Sounds Based on Adaptive Dictionary
Wasim Ahmad, Ahmet M. Kondoz
16.30-17.00
Emergent Construction of melodic pitch and hierarchy through agents communicating emotion without melodic intelligence
Alexis Kirke, Eduardo R. Miranda

Session 8A: Demos

17.15-18.30
A Graphical User Interface for Supercollider Audio Units
Jan Trützschler von Falkenstein, Zlatko Baracskai
17.15-18.30
Maximillian: An easy to use, cross platform C++ Toolkit for interactive audio and synthesis applications
Mike Grierson, Chris Kiefer

Session 8B: Posters

17.15-18.30
Towards using expressive performance algorithms for typist emotion detection
Alexis Kirke, Matthieu Bonnot, Eduardo R. Miranda
A perceptually based onset detector for real-time and offline audio parsing
William Brent
The Harmonic Matrix: Exploring the geometry of Pitch
Daryn Bond
Mapping 3D Objects To Synthesised Sound Using A Simulated Physics System
Rhys Perkins
The M2 Compositions: A Technical Overview of a Modular Work Flow Towards the Creation of a Video Score
Rob Canning
KLANGPILOT - a new interface for "writing" (not only) synthetic sounds
Johannes Kretz
Flexible spatial design for dance performance
Felipe Otondo
Constructing Music Applications for Smartphones
Masathoshi Hamanaka, Mikito Yoshiya, Shyuhei Yoshida
Sound Level of Detail in Interactive Audiographic 3D Scenes
Diemo Schwarz, Roland Cahen, François Brument, Hui Ding, Christian Jacquemin
Untouchable instruments and Performances
Yoichi Nagashima

WEDNESDAY 3rd AUGUST

Session 9A: Systems and Techniques (chair: Dale E. Parson)

09.00-09.20
Representing and Automating Rhythmic Pattern Transformations
Lonce Wyse, Keith Tan, Peter Kellock
09.20-09.40
Tiny Jungle: Psychedelic Techniques in Audio-Visual Composition
Jonathan Weinel
09.40-10.00
The Visible String, a Direct Audiovisual Model
Benjamin Schroeder, Marc Ainger, Richard Parent
10.00-10.30
The Control of the CHANT Synthesizer in OpenMusic: Modelling Continuous Aspects in Sound Synthesis
Jean Bresson, Marco Stroppa

Session 9B: Piece and Paper I (chair: Natasha Barrett)

09.00-09.35
CACIE CB: Genetic programming based composition-aid system by shopping basket interface
Daichi Ando
09.35-10.10
Composing with Absent Sound
Christopher Haworth
10.10-10.45
Orphidian and the Uncanny Valley
David Bessell

Session 10: Piece and Paper II (chair: Manuella Blackburn)

11.00-11.35
Application of multi-agent whale modeling to an interactive saxophone and whales duet
Alexis Kirke, Samuel Freeman, Eduardo. R. Miranda, Simon Ingram
11.35-12.10
Wii Play Piano: Composing for Piano and Wii Remote
Christopher Jette, Keith Kirchoff
12.10-12.45
Livecell: Real-Time Score Generation Through Interactive Generative Composition
Kingsley Michael Ash, Nikos Stavropoulos

Session 11: Keynote (chair: Michael Clarke)

14.00-15.00
Music – Imagination – Technology
Professor Simon Emmerson

Session 12: Education (chair: Lonce Wyse)

16.30-16.50
Studio based composers in collaboration: a socioculturally framed study
Elizabeth Dobson, Rosie Flewitt, Karen Littleton, Dorothy Miell
16.50-17.10
An interface to support creative studio practice
Andrew King
17.10-17.30
Innovation, Interaction, experience and imagination in computer music education
Alessandro Cipriani, Maurizio Giri
17.30-18.00
Design and Implementation of a Piano Practice Support System using a Real-Time Fingering Recognition Technique
Yoshinari Takegawa, Masahiko Tsukamoto, Tsutomu Terada

THURSDAY 4th AUGUST

Session 13: Laptop/Coding/NI (chair: Nicolas d'Alessandro)

09.00-09.20
Using the iPhone for live-electronics in my composition Irrgaerten for two pianos
Hans Tutschku
09.20-09.40
Automated Ad Hoc Networking for Mobile and Hybrid Music Performance
Georg Essl
09.40-10.00
Multi-touch interaction principles for collaborative real-time music activities: towards a pattern language
Anna Xambó, Robin Laney, Chris Dobbyn, Sergi Jordà
10.00-10.30
World Stage: A Crowd-sourcing Paradigm for Interactive Social / Mobile Music
Ge Wang, Jieun Oh, Spencer Salazar, Robert Hamilton

Session 14A: NI/Virtuosity (chair: Hans Tutschku)

10.45-11.05
The measurement of performer and audience emotional state as a new means of computer music interaction: a performance case study
R. Benjamin Knapp, Eric Lyon
11.05-11.25
Unnecessary Limits: A Challenge to Some Assumptions of Digital Musical Instrument Design
Adam Linson
11.25-11.45
Control: Software for End-User Interface Programming and Interactive Performance
Charles Roberts
11.45-12.15
Aspects of gesture in Digital Music Instrument Design
William Brent

Session 14B: Systems and Techniques (chair: Meg Schedel)

10.45-11.05
The Timelessness of Maximal Music
Flo Menezes
11.05-11.25
Sculpture as Music Interface
Richard Hoadley
11.25-11.45
An autonomous timbre matching improviser
Matthew John Yee-King
11.45-12.15
Variable 4: A Dynamical Composition For Weather Systems
James Bulley, Daniel Jones

Session 15A: NI/Virtuosity (chair: Elizabeth Dobson)

15.30-15.50
What are we making? The work-without-content in live computer music
Jonathan Impett
15.50-16.10
Reconsidering Laptop Orchestras as a Computational Grid for Music Performance
Stephen David Beck, Chris Branton
16.10-16.30
Developing a user-relative motion detection interface for mobile devices
Matt Benatan, Ian Symonds, Kia Ng
16.30-17.00
Interactive High Performance Computing for Music
Benjamin D. Smith, Guy E. Garnett

Session 15B: Systems and Techniques (chair: Diemo Schwarz)

15.30-15.50
Scheduling and composing with Risset eternal accelerando rhythms
Dan Stowell
15.50-16.10
Modeling Speed Doubling in Carnatic Music
Srikumar K. Subramanian, Lonce Wyse, Kevin McGee
16.10-16.30
Towards musical interaction: 'Schismatics' for e-violin and computer
Sam Hayden, Mieko Kanno
16.30-17.00
Dynamic, Instance-based, object-oriented programming in Max/MSP using open sound control message delegation
Adrian Freed, John MacCallum, Andrew Schmeder

Session 16A: Demos

17.15-18.30
SCMIR: A SuperCollider Music Information Retrieval Library
Nick Collins
17.15-18.30
The IXI Lang: A SuperCollider Parasite for Live Coding
Thor Magnusson

Session 16B: Posters

17.15-18.30
An architecture for creating hosting plug-ins for use in digital audio workstations
Darrell Gibson, Richard Polfreman
Auksalaq, A telematic opera
Scott Deal, Matthew Burtner
Reproducibility and random access in sound synthesis
Hanns Holger Rutz, Eduardo Miranda, Gerhard Eckel
Electroacoustic Music: Overcoming Analysis Paralysis
Kevin Dahan
Using gaming engine for virtual prototyping and impact assessment of complex interactive art installations
Ivica Ico Bukvic, Scott Betz
Towards the Beat of a Different Drummer: A Journey into the Loss of Fidelity in Drums and Electronics
Rodrigo Constanzo
The Effect of Visual Modalities on Human Perception of Emotion from Music
Kwan Kim, Samuel Lee, Woon Seung Yeo
Suspended Imprints: An Exploration of Sound, Space and the Inner Monologue
Samantha Horseman
Chor-Respondent: A dynamic system in the musical domain
Oliver Hancock
Audio Technology at American University
Paul Oehlers, William Brent, Michael Harvey
Towards a Model for the Humanisation of Pitch Drift in Singing Voice Synthesis
Ryan Stables, Cham Athwal, Jamie Bullock

FRIDAY 5th AUGUST

Session 17: AI/Music Systems (chair: Nick Collins)

09.00-09.20
Algorithmic Multi-genre classification of music: an empirical study
Chris Sanden, John Z. Zhang
09.20-09.40
A musical instrument using in vitro neural networks
Eduardo R. Miranda, Slawomir J Nasuto, Anna R. Troisi, Julia Downes, Antonino Chiaramonte, Matthew Spencer, Mark Hammond, Dimitris Xydas, Ben Whalley, Victor Becerra, Kevin Warwick
09.40-10.00
A similarity algorithm for interactive style imitation
Aengus Martin, Craig T. Jin, Alistair McEwan, William L. Martens
10.00-10.30
Tracking Virtuosity and Flow in Computer Music
Chris Nash, Alan Blackwell

Session 18A: DSP/Synthesis Techniques (chair: Eduardo R. Miranda)

10.45-11.05
Real-time Grammar-based parsing and restructuring of musical streams
Dale E. Parson, Ryan R. Panuski
11.05-11.25
Real-time Sliding Phase Vocoder using a Commodity GPU
Russell Bradford, John ffitch, Richard Dobson
11.25-11.45
The ModFM Synthesis Vocoder
Victor Lazzarini, Joseph Timoney
11.45-12.15
Sound Cross-synthesis and Morphing Using Dictionary-based Methods
Nick Collins, Bob L. Sturm

Session 18B: Laptop/Coding/NI (chair: Anna Xambó)

10.45-11.05
Hypothesis for the foundation of a laptop orchestra
Marco Gasperini
11.05-11.25
Confessions of a Live Coder
Thor Magnusson
11.25-11.45
Real-time Visual Beat Tracking using a Comb Filter Matrix
Andrew Robertson, Adam M. Stark, Mark D. Plumbley
11.45-12.15
Texture: Visual Notation for Live Coding of Pattern
Alex McLean, Geraint Wiggins

Session 19A: DSP/Synthesis Techniques (chair: Eric Lyon)

15.30-15.50
Cabbage Audio Plugin Framework
Rory Walsh
15.50-16.10
Digital Modeling of the Vintage Telephone Sound
Sami Oksanen, Vesa Välimäki
16.10-16.30
The Integra Framework for rapid modular audio application development
Jamie Bullock, Henrik Frisk
16.30-17.00
Supernova - A scalable parallel audio synthesis server for SuperCollider
Tim Blechmann

Session 19B: Laptop/Coding/NI (chair: Thor Magnusson)

15.30-15.50
Characterizing Tempo Change In Musical Performances
Roger B. Dannenberg, Sukrit Mohan
15.50-16.10
Gesture Analysis of radiodrum data
Steven R. Ness, Sonmez Methabi, Gabrielle Odowichuk, George Tzanetakis, Andrew W. Schloss
16.10-16.30
Tactile Feedback Tool: approaching the foot pedal problem in live electronic music
Tychonas Michailidis, Sebastian Berweck
16.30-17.00
Audience-Participation Techniques Based on Social Mobile Computing
Jieun Oh, Ge Wang

Session 20A: Demos

17.15-18.30
Software for Schenkerian Analysis
Alan Marsden
17.15-18.30
Inclusive Interconnections: Retaining Diversity in Networked Laptop Performance
Graham Booth

Session 20B: Posters

17.15-18.30
Flexibility, Subtlety and Spontaneity in New Instrument Design: the Feedback Joypad
Tom Mudd
Prioritizing Audio Features Selection Using Analysis Hierarchy Process As A Mean To Extend User Control in Concatenative Sound Synthesis
Noris Mohd Norowi, Eduardo Miranda
Exploring the potential of the dedicated XML syntax for diatonic harmonica tablatures
Vladimir Tomberg, Eugene Ivanov, Mart Laanpere
The Horizontal Spacing of Graphical Notation
Mike Solomon
The Prosthetic Mbira: Prosthesis as Design Strategy
Ciska Vriezenga, Pedro Rebelo
Analytical and Compositional Applications of a Network-Based Scale Model in music21
Christopher Ariza, Michael Scott Cuthbert
CBPSC: Corpus-based Processing for SuperCollider
Thomas Stoll
Combining EEG Frontal asymmetry studies with affective algorithmic composition and expressive performance models
Alexis Kirke, Eduardo Miranda
UDKOSC: An immersive environment for multi-modal musical performance
Robert Hamilton
Artaud's Snake: gesture, time and play - a composer's report on the use and development of the WiGI infra-red wireless gestural system
Richard Scott
Concepts and Practical Considerations of Platform-Independent Design of Mobile Music Environments
Jong Wook Kim, Georg Essl
Sound Synthesis with a New Elasticity Model
Patrick Sanan