Paper Schedule
MONDAY 1st AUGUST
Session 1: Spatial Sound (chair: Monty Adkins)
09.00-09.20
Sound Element Spatializer
09.20-09.40
Spatial Mastering - a new concept for spatial sound design in object-based audio scenes
09.40-10.00
Controlling Real Time Sound Spatialization Using The Radiodrum
10.00-10.30
COSM: A toolkit for composing immersive audio-visual worlds of agency and autonomy
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
11.05-11.25
Phenomenology, Spatial Music and the Composer: prelude to a phenomenology of space in acousmatic music
11.25-11.45
Why things don't work: What you need to know about spatial audio
11.45-12.15
The Spatialisation of Stereophony: Taking Positions in Post-War Electroacoustic Music
Session 2B: Synthesis Techniques (chair: Victor Lazzarini)
10.45-11.05
Developing methods for computer programming by musical performance and composition
11.05-11.25
Sound synthesis and composition with compression-controlled feedback
11.25-11.45
PhinGen: A Physically Informed Stochastic Synthesis Generator
11.45-12.15
The music21 Stream: A New Object Model for Representing, Filtering, and Transforming Symbolic Musical Structures
Session 3A: Systems for Composition (chair: Cat Hope)
15.30-15.50
Flood Tide See Further: Sonification as Musical Performance
15.50-16.10
Multi-dimensional spatial sound design for 'On the String'
16.10-16.30
CYCLIC-N,a real-time mobile multi-touch application for composition, improvisation and education
16.30-17.00
Representation and Interchange of Sound Spatialization Data for Compositional Applications
Session 3B: Synthesis Techniques (chair: Scott Wilson)
15.30-15.50
Unconventional Computing for Music: Sound Synthesis with Slime Mould
15.50-16.10
Aspects of second order feedback AM synthesis
16.10-16.30
Designing Synthetic Reverberators in Kronos
16.30-17.00
Composing with Swarm Algorithms - Creating interactive audio-visual pieces with flocking behavior
Session 4A: Demos
17.15-18.30
A Demonstration of Bow Articulation Recognition with Wekinator and K-Bow
17.15-18.30
Progress Report on the EAVI BCI Toolkit for Music: Musical Applications of Algorithms for use with consumer brain computer interfaces
Session 4B: Posters
17.15-18.30
The NLN-Player: A system for nonlinear music in games
Musical Tempo Curves
Gestural Mappings: Towards the Creation of a Three Dimensional Composition Environment
An ecologically valid experiment for the comparison of established spatial techniques
Anton - A Rule-Based Composition System
Cellular automata dynamic control for sound design with histogram mapping synthesis and the multitype voter model
PVOC KIT: new applications of the phase vocoder
Multi-modal instrument: towards a platform for comparative controller evaluation
Cloud chamber: a performance involving real time two-way interaction between subatomic radioactive particles and violinist
TUESDAY 2nd AUGUST
Session 5: Analytical Techniques (chair: Elainie Lillios)
09.00-09.20
Automatic Synthesiser Programming
09.20-09.40
Cloning in Max/MSP Patches
09.40-10.00
Stimulus Complexity and Time Judgments
10.00-10.30
Towards a comprehensive framework for electro-acoustic music analysis
Session 6A: Analytical Techniques (chair: Tae-Hong Park)
10.45-11.05
Mapping change over time within stereo Acousmatic Music – A Case Study
11.05-11.25
Sound-types: a new framework for symbolic sound analysis and synthesis
11.25-11.45
A Virtual Orchestra for Human-Computer Music Performance
11.45-12.15
Analysis-by-Performance: Gesturally-Controlled Voice Synthesis as an Input for Modelling of Vibrato in Singing
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
11.05-11.25
A Multi-perspective user interface for music signal analysis
11.25-11.45
Multimodal Control of Music and Fire Patterns
11.45-12.15
Real-time Musical Applications on an Experimental Operating System for Multi-Core Processors
Session 7A: Aesthetics/Physicality (chair: Rose Dodd)
15.30-15.50
Screen Scores: New Media Music Manuscripts
15.50-16.10
History of electroacoustic music through filmed sources: an example at IRCAM
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
16.30-17.00
XTH SENSE: sense: researching biological sounds of human body for an experimental paradigm of musical performance
Session 7B: Synthesis Techniques/Systems (chair: Georg Essl)
15.30-15.50
Real-time emulation of the Clavinet
15.50-16.10
Physical Thinking: two approached to mechanical sound design
16.10-16.30
Analysis and Synthesis of Hand Clapping Sounds Based on Adaptive Dictionary
16.30-17.00
Emergent Construction of melodic pitch and hierarchy through agents communicating emotion without melodic intelligence
Session 8A: Demos
17.15-18.30
A Graphical User Interface for Supercollider Audio Units
17.15-18.30
Maximillian: An easy to use, cross platform C++ Toolkit for interactive audio and synthesis applications
Session 8B: Posters
17.15-18.30
Towards using expressive performance algorithms for typist emotion detection
A perceptually based onset detector for real-time and offline audio parsing
The Harmonic Matrix: Exploring the geometry of Pitch
Mapping 3D Objects To Synthesised Sound Using A Simulated Physics System
The M2 Compositions: A Technical Overview of a Modular Work Flow Towards the Creation of a Video Score
KLANGPILOT - a new interface for "writing" (not only) synthetic sounds
Flexible spatial design for dance performance
Constructing Music Applications for Smartphones
Sound Level of Detail in Interactive Audiographic 3D Scenes
Untouchable instruments and Performances
WEDNESDAY 3rd AUGUST
Session 9A: Systems and Techniques (chair: Dale E. Parson)
09.00-09.20
Representing and Automating Rhythmic Pattern Transformations
09.20-09.40
Tiny Jungle: Psychedelic Techniques in Audio-Visual Composition
09.40-10.00
The Visible String, a Direct Audiovisual Model
10.00-10.30
The Control of the CHANT Synthesizer in OpenMusic: Modelling Continuous Aspects in Sound Synthesis
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
09.35-10.10
Composing with Absent Sound
10.10-10.45
Orphidian and the Uncanny Valley
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
11.35-12.10
Wii Play Piano: Composing for Piano and Wii Remote
12.10-12.45
Livecell: Real-Time Score Generation Through Interactive Generative Composition
Session 11: Keynote (chair: Michael Clarke)
14.00-15.00
Music – Imagination – Technology
Session 12: Education (chair: Lonce Wyse)
16.30-16.50
Studio based composers in collaboration: a socioculturally framed study
16.50-17.10
An interface to support creative studio practice
17.10-17.30
Innovation, Interaction, experience and imagination in computer music education
17.30-18.00
Design and Implementation of a Piano Practice Support System using a Real-Time Fingering Recognition Technique
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
09.20-09.40
Automated Ad Hoc Networking for Mobile and Hybrid Music Performance
09.40-10.00
Multi-touch interaction principles for collaborative real-time music activities: towards a pattern language
10.00-10.30
World Stage: A Crowd-sourcing Paradigm for Interactive Social / Mobile Music
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
11.05-11.25
Unnecessary Limits: A Challenge to Some Assumptions of Digital Musical Instrument Design
11.25-11.45
Control: Software for End-User Interface Programming and Interactive Performance
11.45-12.15
Aspects of gesture in Digital Music Instrument Design
Session 14B: Systems and Techniques (chair: Meg Schedel)
10.45-11.05
The Timelessness of Maximal Music
11.05-11.25
Sculpture as Music Interface
11.25-11.45
An autonomous timbre matching improviser
11.45-12.15
Variable 4: A Dynamical Composition For Weather Systems
Session 15A: NI/Virtuosity (chair: Elizabeth Dobson)
15.30-15.50
What are we making? The work-without-content in live computer music
15.50-16.10
Reconsidering Laptop Orchestras as a Computational Grid for Music Performance
16.10-16.30
Developing a user-relative motion detection interface for mobile devices
16.30-17.00
Interactive High Performance Computing for Music
Session 15B: Systems and Techniques (chair: Diemo Schwarz)
15.30-15.50
Scheduling and composing with Risset eternal accelerando rhythms
15.50-16.10
Modeling Speed Doubling in Carnatic Music
16.10-16.30
Towards musical interaction: 'Schismatics' for e-violin and computer
16.30-17.00
Dynamic, Instance-based, object-oriented programming in Max/MSP using open sound control message delegation
Session 16A: Demos
17.15-18.30
SCMIR: A SuperCollider Music Information Retrieval Library
17.15-18.30
The IXI Lang: A SuperCollider Parasite for Live Coding
Session 16B: Posters
17.15-18.30
An architecture for creating hosting plug-ins for use in digital audio workstations
Auksalaq, A telematic opera
Reproducibility and random access in sound synthesis
Electroacoustic Music: Overcoming Analysis Paralysis
Using gaming engine for virtual prototyping and impact assessment of complex interactive art installations
Towards the Beat of a Different Drummer: A Journey into the Loss of Fidelity in Drums and Electronics
The Effect of Visual Modalities on Human Perception of Emotion from Music
Suspended Imprints: An Exploration of Sound, Space and the Inner Monologue
Chor-Respondent: A dynamic system in the musical domain
Audio Technology at American University
Towards a Model for the Humanisation of Pitch Drift in Singing Voice Synthesis
FRIDAY 5th AUGUST
Session 17: AI/Music Systems (chair: Nick Collins)
09.00-09.20
Algorithmic Multi-genre classification of music: an empirical study
09.20-09.40
A musical instrument using in vitro neural networks
09.40-10.00
A similarity algorithm for interactive style imitation
10.00-10.30
Tracking Virtuosity and Flow in Computer Music
Session 18A: DSP/Synthesis Techniques (chair: Eduardo R. Miranda)
10.45-11.05
Real-time Grammar-based parsing and restructuring of musical streams
11.05-11.25
Real-time Sliding Phase Vocoder using a Commodity GPU
11.25-11.45
The ModFM Synthesis Vocoder
11.45-12.15
Sound Cross-synthesis and Morphing Using Dictionary-based Methods
Session 18B: Laptop/Coding/NI (chair: Anna Xambó)
10.45-11.05
Hypothesis for the foundation of a laptop orchestra
11.05-11.25
Confessions of a Live Coder
11.25-11.45
Real-time Visual Beat Tracking using a Comb Filter Matrix
11.45-12.15
Texture: Visual Notation for Live Coding of Pattern
Session 19A: DSP/Synthesis Techniques (chair: Eric Lyon)
15.30-15.50
Cabbage Audio Plugin Framework
15.50-16.10
Digital Modeling of the Vintage Telephone Sound
16.10-16.30
The Integra Framework for rapid modular audio application development
16.30-17.00
Supernova - A scalable parallel audio synthesis server for SuperCollider
Session 19B: Laptop/Coding/NI (chair: Thor Magnusson)
15.30-15.50
Characterizing Tempo Change In Musical Performances
15.50-16.10
Gesture Analysis of radiodrum data
16.10-16.30
Tactile Feedback Tool: approaching the foot pedal problem in live electronic music
16.30-17.00
Audience-Participation Techniques Based on Social Mobile Computing
Session 20A: Demos
17.15-18.30
Software for Schenkerian Analysis
17.15-18.30
Inclusive Interconnections: Retaining Diversity in Networked Laptop Performance
Session 20B: Posters
17.15-18.30
Flexibility, Subtlety and Spontaneity in New Instrument Design: the Feedback Joypad
Prioritizing Audio Features Selection Using Analysis Hierarchy Process As A Mean To Extend User Control in Concatenative Sound Synthesis
Exploring the potential of the dedicated XML syntax for diatonic harmonica tablatures
The Horizontal Spacing of Graphical Notation
The Prosthetic Mbira: Prosthesis as Design Strategy
Analytical and Compositional Applications of a Network-Based Scale Model in music21
CBPSC: Corpus-based Processing for SuperCollider
Combining EEG Frontal asymmetry studies with affective algorithmic composition and expressive performance models
UDKOSC: An immersive environment for multi-modal musical performance
Artaud's Snake: gesture, time and play - a composer's report on the use and development of the WiGI infra-red wireless gestural system
Concepts and Practical Considerations of Platform-Independent Design of Mobile Music Environments
Sound Synthesis with a New Elasticity Model
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