l - Schulich School of Music

Transcription

l - Schulich School of Music
General Bibliography
on Gestural Control in Music
A
Abbott, C. 1982. "Remembering Performance Gestures." In Proceedings of the 1982 International
Computer Music Conference. San Francisco, International Computer Music Association, pp. 188193.
Aikin, J. 1991. Review, "Buchla Lightning. Optical MIDI Controller". Keyboard 17(9):148-154
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.
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.
Anderson, R. 2000. "Human Limits to HCI: A Conversation with Bill Buxton and Clifford Nass."
Interactions 7(1): 63-80.
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.
Aono, Y., H. Katayose, and S. Inokuchi. 1995. "An Improvisational Accompaniment System Observing
Performer's Musical Gesture." In Proceedings of the 1995 International Computer Music
Conference. San Francisco: International Computer Music Association, pp.106-107.
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.
Artaud, A. 1998. Review, "Big Briar Wavefront. Ethervox and Travel case theremins provide gestural MIDI
control." Electronic Musician 14(5):120-128.
Arveiller, J., M. Battier, and G. Englert. 1976. A computer Music Repertory. Paris, Como (Italy): I quaderni
dell’autunno musicale 4 and Artinfo/musinfo 23-24-25, Groupe art et informatique de Vincennes,
128 p.
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
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.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
439
Bailey, N. J., A. Purvis, I. W. Bowler, and P. D. Manning. 1993. "Applications of the Phase Vocoder in the
Control of Real-Time Electronic Musical Instruments." Interface 22:259-275.
———, and D. Cooper. 2000. "Sculptor: Exploring Timbral Spaces in Real Time" Journal of the Audio
Engineering Society 48(3): 174-180.
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.
Bargar, R. 1997. "Authoring Intelligent Sound for Synchronous Human-Computer Interaction." In Kansei,
The Technology of Emotion. Proceedings of the AIMI International Workshop, A. Camurri, ed.
Genoa: Associazione di Informatica Musicale Italiana, October 3-4, pp. 177-188.
———.
1998. "Multi-Modal Synchronization and the Automation of an Observer's Point of View." In
Proccedings of the 1998 IEEE International Conference on Systems, Man, and Cybernetics
(SMC'98), pp. 1107-1112.
Battier, M. 1981. Les musiques électroacoustiques et l'environnement informatique. PhD thesis, University
of Paris X.
———. 1995. "Une nouvelle géométrie du son." Cahiers de l'Ircam - Recherche musique 7:43-56.
———. 1995. "Entre l'idée et l'œuvre - Parcours de l'informatique musicale." In Louise Poissant,
ed.
Esthetique des Arts Mediatiques. Tome I, Sainte-Foy (Quebec): Presses de l'Université du Quebec,
pp. 319-335.
———.
1997. Métamorphose de l’instrument de musique au XXe siècle: les étapes de la lutherie
électronique (méthodologie et pensée musicale. Thèse d’habilitation à diriger des recherches,
Université de Strasbourg II.
———. 1998. "La musique électronique au regard de la mécanisation." In Proceedings of the Seminaire
Observatoire Musical Francais/AMEFA, 11/May/98, Université de Paris-Sorbonne (Paris IV).
———. 1999. "L'approche gestuelle dans l'histoire de la lutherie électronique. Etude de cas: le theremin."
In H. Genevois and R. de Vivo, eds. Les nouveaux gestes de la musique. Marseille: Editions
Parenthèses, pp. 139-150.
Baudel, T. 1996. "L'Interaction gestuelle : définitions, état de l'art et perspectives d'industrialisation." In
Nouvelles interfaces homme-machine. Paris: Observatoire français des Techniques Avancées.
Bauer, W., and B. Foss. 1992. "GAMS: An Integrated Media Controller System." Computer Music Journal
16(1):19-24.
Beaudoin-Lafon, M. 1997. "Interaction instrumentale: de la manipulation directe à la réalité augmentée."
In Actes Neuvièmes Journèes sur l’Ingénierie des Interfaces Homme-Machine, IHM’97.
———. 1999. "Moins d’interface pour plus d’interaction." In H. Vinet and F. Delalande, eds. Interfaces
homme-machine et création musicale. Paris: Hermes Science Publications, pp. 123-141.
Berthoz, A. 1997. Le sens du mouvement. Paris: Editions Odile Jacob.
———, ed. 1998. Le cerveau et le mouvement. Science et Vie - Hors série, n. 204.
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.
Bobick, A. 1997. "Movement, Activity, and Action: The Role of Knowledge in the Perception of Motion."
MIT Media Laboratory Perceptual Computing Section. Technical report, 413.
———,
and A. D. Wilson. 1997. "A State-Based Approach to the Representation and Recognition of
Gesture." IEEE Transactions on Pattern Analysis and Machine Intelligence 19(12):1325-1337
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. 360361.
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.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
440
———. 1998. "An interview with Sensorband." Computer Music Journal 22(1):13-24.
———. 1998. "Tactual Display of Sound Properties in Electronic Musical Instruments." Displays 18:129133.
———.
1999. "Exploring Novel Ways of Interaction in Musical Performance." In Proceedings of the
Creativity & Cognition Conference, pp. 76-81.
———, J.H. Eggen, D.V. Keyson, and S.C.Pauwls. 1998.
Multimodal Interaction Styles." HCI Letters 1(1):
3-5.
Bonnet, M., Y. Guiard, J. Requin, and A. Semjen. 1994. "Mécanismes généraux de la motricité. " In
M. Richelle, J. Requin, and M. Robert, eds. Traité de Psychologie Expérimentale. Paris: Presses
Universitaires de France, pp. 587-656.
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.
———, and M. Muhlheuser. 1998. "Design Patterns for Interactive Musical Systems." IEEE Multimedia
5(3):36-46
Bordegoni, M., and G. P. Faconti. 1997. "Architectural Models of Gesture Systems." In P. A. Harling and A.
D. N. Edwards, eds. Progress in Gestural Interaction. Proceedings of Gesture Workshop'96.
London: Springer-Verlag Limited, pp. 61-74.
———, and F. de Angelis. 1998. "Gesture-Based and Haptic Interaction for Human Skill Acquisition." In I.
Wachsmuth and M. Fröhlich, eds. Gesture and Sign Language Recognition in Human-Computer
Interaction. Heidelberg: Springer-Verlag, pp. 61-68.
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.
Bowler, I., A. Purvis, P. Manning, and N. Bailey. 1990. "On Mapping N Articulation onto M SynthesiserControl Parameters." In Proceedings of the 1990 International Computer Music Conference. San
Francisco, International Computer Music Association, pp. 181-184.
———, P. Manning, A. Purvis, and N. Bailey. 1990. "New Techniques for a Real-Time Phase Vocoder." In
Proceedings of the 1990 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 178-180.
Braffort, A., R. Gherbi, S. Gibet, J. Richardson, and D. Teil, eds. 1999. Gesture-Based Communication in
Human-Computer Interaction. Heidelberg: Springer Verlag.
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.
Brennan, S. 1990. "Conversation as Direct Manipulation: An Iconoclastic View." In B. Laurel, ed. The Art of
Human-Computer Interface Design. Reading, Mass.: Addison-Wesley, pp. 393-404.
Brill, L. M. 1992. "Mark Trayle. Making space for virtual music." Keyboard 18(10):38-39.
———. 1993. "The Body Synth. Maximizing muscle music." Keyboard 19(5):15.
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.
———, 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.
Buchla, D. "Lightning II MIDI Controller." Buchla and Associates' Homepage at http://www.buchla.com/.
Buxton, W. 1977. Computer Music 1976/77: a Directory to Current Work. Ottawa: The Canadian
Comission for Unesco and University of Toronto: Structured Sound Synthesis Project.
———. 1986. "Chuncking and Phrasing and the Design of Human-Computer Dialogues." In H.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.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
441
———.
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 HumanComputer Interaction. Hillsdale, NJ: Lawrence Erlbaum Associates, pp. 319-337. Reprinted in R.
Baecker and W.A.S. Buxton, eds. Human-Computer Interaction: A Multidisciplinary Approach. San
Mateo, Calif.: Morgan Kaufmann Publishers Inc., pp. 366-375.
———.
1987. "The Haptic Channel." In R. Baecker and W.A.S. Buxton, eds. Human-Computer
Interaction: A Multidisciplinary Approach. San Mateo, Calif.: Morgan Kaufmann Publishers Inc.,
pp. 357-365.
———.
1990. "The "Natural" Language of Interaction: A Perspective on Nonverbal Dialogues." In B.
Laurel, ed. The Art of Human Computer Interface Design. Reading, Mass.: Addison-Wesley, pp. 405416.
———.
1990. "A Three-State Model of Graphical Input." In D. Diaper et al., eds. Human-Computer
Interaction - INTERACT ‘90. North-Holland: Elsevier Science Publishers B.V., pp. 449-456.
———. 1995. "Touch, Gesture and Marking." 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. 469-482.
———, et al. 1979. “The Evolution of the SSSP Score Editing Tools.” Computer Music Journal 3(4): 14-25.
———, et al. 1980. “A Microcomputer-Based Conducting System.” Computer Music Journal 4(1): 8-21.
———, R. Hill, and P. Rowley. 1985. "Issues and Techniques in Touch -Sensitive Tablet Input." Computer
Graphics 19(3): 215-224. Reprinted in R. Baecker and W.A.S. Buxton, eds. Human-Computer
Interaction: A Multidisciplinary Approach. San Mateo, Calif.: Morgan Kaufmann Publishers Inc.,
pp. 376-385.
C
Cadoz, C. 1988. "Instrumental Gesture and Musical Composition." In Proceedings of the 1988
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 1-12.
———. 1990. "Realité du timbre? Virtualité de l'instrument!" Analyse Musicale 10:68-72.
———. 1994. "Le geste canal de communication homme-machine. La communication
instrumentale."
Sciences Informatiques - Numéro Spécial: Interface Homme-Machine 13(1):31-61.
———.
1994. "Simuler pour connaître / Connaître pour simmuler. Réflexions sur la répresentation, la
modélisation, la simulation et la création avec l’ordinateur." Modèles physiques, création musicale et
ordinateur, vol. III. Paris: Fondation de la Maison des sciences de l’homme, pp. 663-708.
———. 1994. Les réalites virtuelles. Collection Dominos, Paris: Flammarion.
———. 1999. "Musique, geste, technologie." In H. Genevois and R. de Vivo, eds. Les nouveaux gestes de la
musique. Marseille: Editions Parenthèses, pp. 47-92.
———. 1999. "Continuum énergétique du geste au son – simulation multisensorielle interactive d’objets
physiques." In H. Vinet and F. Delalande, eds. Interfaces homme-machine et création musicale.
Paris: Hermès Science Publications, pp. 165-182.
———,
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 59 : 279-292.
———, A. Luciani, and J. L. Florens.1984."Responsive Imput 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.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
442
———, 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.
———, L. Lisowski, and J. L. Florens. 1990. "A Modular Feedback Keyboard Design." Computer Music
Journal 14(2):47-51.
———, 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.
———, A. Luciani, and J.-L. Florens. 1993. "Cordis-Anima: A Modeling and Simulation System for Sound
and Image Synthesis - The General Formalism." Computer Music Journal 17(1):9-29.
Campbell, L., D. Becker, A. Azarbayejani, A. Bobick, and A. Pentland. 1996. "Invariant Features for 3-D
Gesture Recognition." In Proceedings of the Second International Workshop on Face and Gesture
Recognition.
Camurri, A. 1992. "Applications of Artificial Intelligence Methods and Tools for Music Description and
Processing." The Computer Music and Digital Audio Series 9:233-266. Madison: A-R Editions.
———.
1995. "Interactive Dance/Music Systems." In Proceedings of the 1995 International Computer
Music Conference. San Francisco, International Computer Music Association, pp. 245-252
———. 1997. "Network Models for Music and Motor Control." In Self-Organization, Computational Maps
and Motor Control. Elsevier.
———. ed.1997. Kansei, The Technology of Emotion. Proceedings of the AIMI International Workshop.
Genoa: Associazione di Informatica Musicale Italiana, October 3-4.
———, P. Morasso, V. Tagliasco, and R. Zaccaria. 1986. "Dance and Movement Notation." In Morasso and
Tagliasco, eds. Human Movement Understanding. North Holland, pp. 85-124,
———,
M. Frixione, and C. Innocenti. 1994. "A Cognitive Model and a Knowledge Representation
Architecture for Music and Multimedia." Interface - Journal of New Music Research 23(4):317-347.
Lisse, The Netherlands: Swetz and Zeitlinger.
———,
A. Catorcini, C. Innocenti, and A. Massari. 1995. "Music and Multimedia Knowledge
Representation and Reasoning: The HARP System." Computer Music Journal 19(2):34-58.
———, Coglio, P. Coletta, and C. Massucco. 1997. "An Architecture for Multimodal Environment Agents."
In Kansei, The Technology of Emotion. Proceedings of the AIMI International Workshop, A.
Camurri, ed. Genoa: Associazione di Informatica Musicale Italiana, October 3-4, pp. 48-53.
———, R. Chiarvetto, A. Coglio, M. Di Stefano, C. Liconte, A. Massari, C. Massuco, D. Murta, G. Palmieri,
R. Rossi, A. Stroscio, and R. Trocca. 1997. "Toward Kansei Evaluation of Movement and Gesture in
Music/Dance Interactive Multimodal Environments." In Kansei, The Technology of Emotion.
Proceedings of the AIMI International Workshop, A. Camurri, ed. Genoa: Associazione di
Informatica Musicale Italiana, October 3-4, pp. 74-78.
———,
and P. Ferrentino. 1997. "A Computational Model of Artificial Emotion." In Kansei, The
Technology of Emotion. Proceedings of the AIMI International Workshop, A. Camurri, ed. Genoa:
Associazione di Informatica Musicale Italiana, October 3-4, pp. 16-23.
———,
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.
———,
and P. Ferrentino. 1998. "The Other Way - A Change of Viewpoint in Artificial Emotions." In
Proceedings of the Colloquio di Informatica Musicale CIM'98. AIMI.
———,
and P. Ferrentino. 1998. "The Other Way - a Change of Viewpoint in the Field of Artificial
Emotions." In Proceedings of the 1998 IEEE International Conference on Systems, Man and
Cybernetics (SMC'98), pp. 1051-1054.
———, and A. Coglio. 1998. "An Architecture for Emotional Agents." IEEE Multimedia 5(4):24-33.
———, S. Hashimoto, M. Ricchetti, R. Trocca, K. Suzuki, G. Volpe (In Press). "EyesWeb – Toward Gesture
and Affect Recognition in Dance/Music Interactive Systems." Computer Music Journal. MIT Press.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
443
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): 601-613. Reprinted in R.
Baecker and W.A.S. Buxton, eds. Human-Computer Interaction: A Multidisciplinary Approach. San
Mateo, Calif.: Morgan Kaufmann Publishers Inc., pp. 386-392.
———,
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):99-122.
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
Cassell, J. 1998. "A Framework for Gesture Generation and Interpretation." In R. Cipolla and A. Pentland,
eds. Computer Vision in Human-Machine Interaction. Cambridge University Press.
Cerana, C. 1999. "Gesture Control of Musical Processes: A MAX Environment for the Lightning." In
Proceedings of the Sixth Brazilian Symposium on Computer Music, pp. 169-178.
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.
———.
1990. "Gesture Interfaces and a Software Toolkit for Performance with Electronics." Computer
Music Journal 14(2):15-27.
———. 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.
———. 1983. "Interactive Composing: An Overview." In C. Roads, ed. The Music Machine. Cambridge,
Mass.: The MIT Press, pp. 143-148.
———. 1997. Electric Sound: The Past and Promisse of Electronic Music. New Jersey: Prentice Hall.
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.
———.
1993. "Tactile Audio Feedback." In Proceedings of the 1993 International Computer Music
Conference. San Francisco, International Computer Music Association, pp. 76-79.
Chénerilles, B. de. 1998. "Contrôle MIDI par infrarouges." Available from Audiorama Homepage recherche et création en cours.
Choi, I. 1997. "Interactivity vs. Control: Human-Machine Performance Basis of Emotion." In Kansei, The
Technology of Emotion. Proceedings of the AIMI International Workshop, A. Camurri, ed. Genoa:
Associazione di Informatica Musicale Italiana, October 3-4, pp. 24-35.
———.
1998. "Cognitive Engineering of Gestural Primitives for Multi-Modal Interaction in a Virtual
Environment." In Proceedings of the 1998 IEEE International Conference on Systems, Man and
Cybernetics (SMC'98), pp. 1101-1106.
———. 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), pp.
22-25.
———, 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.
———, 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.
———, A. Betts, and R. Bargar. 1998. "Scoregraph: Dynamically Activated Connectivity among Parallel
Processes for Interactive Computer Music Performance." In Proceedings of the 1998 International
Computer Music Conference. San Francisco, International Computer Music Association, pp. 527535.
Chu, L. 1996. "Haptic Feedback in Computer Music Performance." In Proceedings of the 1996
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 57-58.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
444
———.
1999. "MusiCloth: A Design Methodology for the Development of a Performance Interface." In
Proceedings of the 1999 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 449 – 452.
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.
———, D. Morrill, and J. O. Smith. 1992. "An Automatic Pitch Detection and MIDI Control System for
Brass Instruments," Acoustical Society of America Conference, New Orleans.
———,
D. Morrill, and J. O. Smith. 1993. "A MIDI Control and Performance System for Brass
Instruments," in Proceedings of the 1993 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 130-133.
———, 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.
Cuxac, C. 1999. "French Sign Language: Proposition of a Structural Explanation by Iconicity." In A.
Braffort, R. Gherbi, S. Gibet, J. Richardson, and D. Teil, eds. Gesture-Based Communication in
Human-Computer Interaction. Heidelberg: Springer-Verlag, pp. 149 – 168.
D
Damiani, F., J. Manzolli, and G. Mendes. 1998. "Controle Paramétrico MIDI Usando Interface Gestual
Ultrasônica." In Proceedings of the Fifth Brazilian Symposium on Computer Music, pp. 17-20.
Darrell, T. J., and A. Pentland. 1991. "Recognition of Space-Time Gestures using a Distributed
Representation." MIT Media Laboratory Vision and modeling Group. Technical report, 197.
———,
I. A. Essa, and A. P. Pentland. 1996. "Task-Specific Gesture Analysis in Real-Time Using
Interpolated Views." IEEE Transactions on Pattern Analysis and Machine Intelligence 18(12): 12361242.
Darter, T. 1991. "Computer Music’s Big Noise. Tod Machover. Hyper-Instruments and Science Fiction
Opera." Keyboard 17(7): 34-40, 54, 143
Delalande, F. 1988. "La gestique de Gould: elements pour une sémiologie du geste musical." In G. Guertin,
ed. Glenn Gould, Pluriel. Louise Courteau Editrice Inc, pp. 83-111.
———. 1993. "Il gesto musicale - dal senso motorio al simbolico." In P. Boggi Cavallo, ed. Dall’ato Motorio
alla Interpretazione Musicale, Atti del secondo colloquio internazionale di psicologia della musica.
Salerno: Edizioni 10/17.
———. 1993. Le Condotte Musicali. Comportamenti e motivazioni del fare e ascoltare musica. Bologna:
Cooperativa Libraria Universitaria Editrice Bologna.
Depalle, P., S. Tassart, and M. Wanderley. 1997. "Instruments Virtuels." Résonance 12:5-8.
Dittrich, W. 1999. "Seeing Biological Motion - Is There a Role for Cognitive Strategies?" in A. Braffort, R.
Gherbi, S. Gibet, J. Richardson, and D. Teil, eds. Gesture-Based Communication in HumanComputer Interaction. Heidelberg: Springer-Verlag, pp. 1-20.
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. Université
Paris Sud Orsay, 1993.
Dufour, H. 1999. "Prolégomènes à la simulation du geste instrumental." In H. Genevois and R. de Vivo, eds.
Les nouveaux gestes de la musique. Marseille: Editions Parenthèses, pp. 9-17.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
445
E
Eaglestone, B., and R. Vertegaal. 1995. "Intuitive Human Interfaces for an Audio-Database." In Peter
Sawyer, ed. Interfaces to Database Systems (IDS94), Proceedings of the Second International
Workshop on Interfaces to Database Systems, Lancaster University, 13-15 July 1994. Workshops in
Computing, Springer, pp. 329-342.
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 Inc., pp.913-932.
F
Fantapie, H. C. 1988. "L'analyse de la partition dans la pratique du chef d'orchestre. De l'analyse de l'ecrit à
l'analyse du geste." Revue d'Analyse Musicale, pp. 26-30.
Favilla, S. 1996. "Non-Linear Controller Mapping for Gestural Control of the Gamaka." In Proceedings of
the 1996 International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 89-92.
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.
———,
K. Nishimoto, and K. Mase. 1998. MusiKalscope: A Graphical Musical Instrument." IEEE
Multimedia 5(3):26-35.
Feyerheisen, P. 1994. Le cerveau et la commuication. Une approche neurophysiologique de la
communication orale et gestuelle. Paris: Presses Universitaires de France.
———, and J.-D. de Lannoy. 1991. Gestures and Speech: Psychological Investigations. Cambridge/Paris:
Cambridge University Press/Editions de la Maison des Sciences de l'Homme
Fisher, C. R. 1991. "DIY: Fun under pressure". Electronic Musician 7(9):80-83.
Fisher, S. 1990. "Virtual Interface Environments." In B. Laurel, ed. The Art of Human Computer Interface
Design. Reading, Mass.: Addison-Wesley, pp. 423-438.
Fitzmaurice, G.W., and W. Buxton. 1997. "An Empirical Evaluation of Graspable User Interfaces: towards
specialized, space-multiplexed input." In Proceedings of the CHI'97 Conference on Human factors in
Computing Systems, Association of Computer Machinery, pp. 43-50.
Fletcher, R. 1996. "Aplying Transduction Materials for Human-Technology Interfaces." IBM Systems
Journal 35(3/4):630-638.
Fléty, E. 1997. "Sonars à ultrasons." Technical report. Ircam Centre Pompidou.
———, and M.-H. Serra. 1998. "Utilisations récentes de capteurs gestuels en création musicale à l'Ircam."
Proceedings of the Journées d'Informatique Musicale, pp. D3-1-D3-4.
Florens, J.-L. 1978. Coupleur gestuel rétroactif pour la commande et le contrôle de sons de synthèse. PhD.
Thesis. Institut National Polytechnique de Grenoble.
———, 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.
Freed, A. 1992. "New Tools for Rapid Prototyping of Musical Sound Synthesis Algorithms and Control
Strategies." In Proceedings of the 1992 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 178-181.
———,
and D. Wessel. 1991. "Max Objects for Media Integration." In Proceedings of the 1991
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 397-400.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
446
———,
and D. Wessel. 1998. "Communication of Musical Gesture using the AES/EBU Digital Audio
Standard." In Proceedings of the 1998 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 220-223.
G
Garnett, G., and C. Goudeseune. 1999. "Performance Factors in Control of High-Dimensional Spaces." In
Proceedings of the 1999 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 268 – 271.
———, F. Malvar-Ruiz, and F. Stoltzfus. 1999. "Virtual Conducting Practice Environment." In Proceedings
of the 1999 International Computer Music Conference. San Francisco, International Computer
Music Association, pp. 371 – 374.
Genevois, H., and R. de Vivo, eds. 1999. Les nouveaux gestes de la musique. Marseille: Editions
Parenthèses.
———. 1999. "Geste et pensée musicale: de l'outil à l'instrument." In H. Genevois and R. de Vivo, eds. Les
nouveaux gestes de la musique. Marseille: Editions Parenthèses, pp. 35-45.
Gershenfeld, G., and J. Paradiso. 1997. "Musical Applications of Electric Field Sensing." Computer Music
Journal 21(2):69-89.
Gibet, S. 1987. Codage, Représentation et Traitement du Geste Instrumental. PhD thesis, Institut National
Polytechnique de Grenoble.
———,
and J. L. Florens. 1988. "Instrumental Gesture Modeling by Identification with Time-Varying
Mechanical Models." In Proceedings of the 1988 International Computer Music Conference. San
Francisco, International Computer Music Association, pp. 28-40.
———,
and P. F. Marteau. 1990. "Gestural Control of Sound Synthesis." In Proceedings of the 1990
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 387-391.
———, A. Brafffort, C. Collet, F. Forest, R. Gherbi, and T. Lebourque. 1996. "Gesture in Human-Machine
Communication: capture, analysis-synthesis, recognition, semantics." In P. A. Harling and A. D. N.
Edwards, eds. Progress in Gestural Interaction. Proceedings of Gesture Workshop’96. London:
Springer-Verlag Limited, pp. 89-96.
———, J. Richardson, T. Lebourque, and A. Braffort. 1998. "Corpus of 3D Natural Movements and Sign
Language Primitives of Movement." In I. Wachsmuth and M. Fröhlich, eds. Gesture and Sign
Language Recognition in Human-Computer Interaction. Heidelberg: Springer-Verlag, pp. 111-122.
Gillespie, B. 1992. "The Touchback Keyboard." In Proceedings of the International Computer Music
Conference 1992. International Computer Music Association, pp. 447-448.
Gillett, K., and R. Pritchard.1985. "Maddm - Dance Directed Music." In Proceedings of the 1985
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 329-330.
Giraudon, F. 1994. "Contrôle de paramètres de synthèse issus d’une analyse par une interface gestuelle."
MSc. report. Centre National de la Recherche Scientifique.
Griffith, N., and M. Fernstrom. 1998. "Litefoot - a Floor Space for Recording Dance and Controlling Media."
In Proceedings of the 1998 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 475-481.
Goldstein, M. 1998. "Gestural Coherence and Musical Interaction Design." In Proceedings of the 1998 IEEE
International Conference on Systems, Man and Cybernetics (SMC'98), pp. 1076-1079.
Grudin, J. 1995. "Human Information Processing." 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. 573-586.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
447
H
Haflich, S., and M. Burns. 1983. "Following a Conductor: the Engineering of an Input Device." In
Proceedings of the 1983 International Computer Music Conference. San Francisco, International
Computer Music Association.
Haken, L., R. Abdullah, and M. Smart. 1992. "The Continuum: A Continuous Music Keyboard." In
Proceedings of the 1992 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 81-84.
———,
K. Fritz, E. Tellmann, P. Wolfe and P. Christensen. 1997. "A Continuous Music Keyboard
Controlling Poliphonic Morphing using Bandwidht Enhanced Oscillators." In Proceedings of the
1997 International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 375-378.
———,
E. Tellman, and P. Wolfe. 1998. "An Indiscrete Music Keyboard." Computer Music Journal
22(1):31-48.
Hand, C. 1993. "A Survey of 3-D Input Devices." Technical report, De Montfort University - Leicester - UK.
Harling, P. A., and A. D. N. Edwards., eds. 1997. Progress in Gestural Interaction - Proceedings of Gesture
Workshop’96. London: Springer-Verlag.
———, and A. D. N. Edwards. 1997. "Hand Tension as Gesture Segmentation Cues." In P. A. Harling and
A. D. N. Edwards, eds. Progress in Gestural Interaction. Proceedings of Gesture Workshop'96.
London: Springer-Verlag Limited, pp. 75-88.
Harris, G.F., and P.A. Smith, eds. 1996. Human Motion Analysis: Current Applications and Future
Directions. Piscataway, NJ: IEEE Press.
Harrison, B.L., K.P. Fishkin, A. Gujar, C. Mochon, and R. Want. 1998. "Squeeze Me, Hold Me, Tilt Me! An
Exploration of Manipulative User Interfaces." In Proceedings of the CHI’98 Conference on Human
Factors in Computing Systems. Association for Computer Machinery, pp. 17-24.
Hartono, P., K. Asano, W. Inoue, and S. Hashimoto. 1994. "Adaptative Timbre Control using Gesture." In
Proceedings of the 1994 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 151-158.
Hashimoto, S. 1997. "Kansei as the Third Target of Information Processing and Related Topics in Japan."
In Kansei, The Technology of Emotion. Proceedings of the AIMI International Workshop, A.
Camurri, ed. Genoa: Associazione di Informatica Musicale Italiana, October 3-4, pp. 101-104.
———, and H. Sawada. 1998. "Musical Performance Control Using Gesture: Toward Kansei Technomogy
for Art." In Kopiez and Auhagen, eds. Controlling Creative Processes in Music. Schriften
Musikpsychologie und Musikäesthetik 12. Frankfurt am Main: Peter Lang Verlag, pp. 93-106.
Haury, J. 1999. "Petite histoire illustrée de l'interface clavier." In H. Genevois and R. de Vivo, eds. Les
nouveaux gestes de la musique. Marseille: Editions Parenthèses, pp. 93-110.
Hayward, V. 1995. "Toward a Seven Axis Haptic Interface." In Proceedings of the IROS'95, Int. Workshop
on Intelligent Robots and Systems. vol. 2. Piscataway, NJ: IEEE Press, pp. 133-139.
———,
J. Choksi, G. Lanvin, and C.Ramstein. 1994. "Design and Multi-Objective Optimization of a
Linkage for a Haptic Interface." In Advances in Robot Kinematic. Kluver Academic, pp. 352-359.
———,
and O. R. Astley. 1996. "Performance Measures for Haptic Interfaces." In G. Giralt and G.
Hirzinger, eds. Robotics Research: The 7th International Symposium. Heidelberg: Springer Verlag,
pp. 195-207.
Hinckley, K., R. Pausch, D. Proffitt, J. Patten, and N. Kassell. 1997. "Cooperative Bimanual Action." In
Proceedings of the CHI’97 Conference on Human Factors in Computing Systems. Association for
Computer Machinery, pp. 27-34.
———,
M. Czerwinski, and M. Sinclair. 1998. "Interaction and Modeling Techniques for Desktop TwoHanded Input." In Proceedings of the UIST’98. Association for Computer Machinery, pp. 49-58.
———,
R. Pausch, D. Proffitt, and N. Kassell. 1998. "Two-Handed Virtual Manipulation." ACM
Transactions on Computer-Human Interaction 5(3): 260-302.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
448
Hirai, S., H. Katayose, T. Kanamori, and S. Inokuchi. 1998. "Software Sensors for Interactive Digital Art."
In Proceedings of the 1998 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 514-517.
Hodges, R. 1994. "A New Technology for Musical Sound Synthesis and Control." In Proceedings of the First
Brazilian Symposium on Computer Music, pp. 237-241.
Hofmann, F., and G. Hommel. 1997. "Analyzing Human Gesture Motions using Acceleration Sensors." In P.
A. Harling and A. D. N. Edwards, eds. Progress in Gestural Interaction. Proceedings of Gesture
Workshop'96. London: Springer-Verlag Limited, pp. 39-60.
———,
P. Hyer, and G. Hommel. 1998. "Velocity Profile Based Recognition of Dynamic Gestures with
Discrete Hidden Markov Models." In I. Wachsmuth and M. Fröhlich, eds. Gesture and Sign
Language Recognition in Human-Computer Interaction. Heidelberg: Springer-Verlag, pp. 81-96.
Horenstein, S. 1995. "Interactive Works: New Problems and Potentials." In Proceedings of the 1995
International Computer Music Conference. San Francisco: International Computer Music
Association, pp. 164 - 166.
Hsiao, K.Y., and J. Paradiso. 1999. "A New Multimodal Musical Controller Using Wireless Magnetic Tags."
In Proceedings of the 1999 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 24-27.
Hummels, C., G. Smets, and K. Overbeeke.1998. "An Intuitive Two-Handed Gestural interface for
Computer Supported Product Design." In I. Wachsmuth and M. Fröhlich, eds. Gesture and Sign
Language in Human-Computer Interaction, Proceedings of the II Gesture Workshop, Bielefeld:
Springer-Verlag, pp. 197-208.
———, and K. Overbeeke. 1999. "The Expressive Power of Gestures: Capturing Scent in Spatial Shape." In
A. Braffort, R. Gherbi, S. Gibet, J. Richardson, and D. Teil, eds. Gesture-Based Communication in
Human-Computer Interaction. Heidelberg: Springer-Verlag, pp. 21-32.
Hunt, A. 1999. Radical User Interfaces for Real-time Musical Control. DPhil thesis, University of York UK.
———,
R. Kirk, and R. Orton. 1990. "MIDIGRID: An Innovative Computer-Based Performance and
Composition System." In Proceedings of the 1990 International Computer Music Conference. San
Francisco: International Computer Music Association, pp. 392-394.
———, and R. Kirk. 1999. Radical User Interfaces for Real-time Control. Proceedings of the Euromicro
Conference. Milan.
Hurney, M. "Synthophone. The MIDI sax." http://www.softwind.com.
I
Iazzetta, F. 1994. "Um Novo Musico Chamado 'usuario'." In Proceedings of the First Brazilian Symposium
on Computer Music, pp. 231-235.
———.
1995. "A Semiotic Approach to Music Interaction." In Proceedings of the 1995 International
Computer Music Conference. San Francisco, International Computer Music Association, pp. 583584.
———. 1996. "Formalization of Computer Music Interaction Through a Semiotic Approach." Journal of
New Music Research 25:212-230.
———.
1997. Sons de Silicio: Corpos e Maquinas Fazendo Musica. Doctoral thesis. Pontifícia
Universidade Católica de São Paulo, Communication and Semiotics Department.
———. 1997. "A Música, o Corpo e as Máquinas." Revista Opus 4(4):27-44.
Ilmonene, T., and T. Takala. 1999. "Conductor Following with Artificial Neural Networks." In Proceedings
of the 1999 International Computer Music Conference. San Francisco, International Computer
Music Association, pp. 367-370.
Impett, J. 1994. "A Meta-Trumpet(er)." In Proceedings of the 1994 International Computer Music
Conference. San Francisco: International Computer Music Association, pp. 147-150.
Isart, F. 1999. "Analyse d’une interface gestuelle pour le contrôle de la synthèse sonore." Rapport de stage
DESS, Université de Paris V.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
449
J
Jaffe, D., and A. Schloss. 1992. "The Making of "Wildlife"." In Proceedings of the 1992 International
Computer Music Conference. San Francisco, International Computer Music Association, pp. 269272.
———, and A. Schloss. 1994. "A virtual piano concerto - coupling of the Mathews/Boie radiodrum and the
Yamaha Disklavier grand piano in the seven wonders of the ancient world." In Proceedings of the
International Computer Music Conference, San Francisco: International Computer Music
Association, pp. 192-195.
Jacob, R.J.K. 1996. "Human-Computer Interaction: Input Devices." ACM Computing Surveys 28(1): 177179.
———,
and L. E. Sibert.1992. "The Perceptual Structure of Multimodal Input Device Selection." In
Proceedings of the CHI'92 Conference on Human factors in Computing Systems, Association of
Computer Machinery, pp. 211-218.
———, L. E. Sibert, D. C. McFarlane, and M. P. Mullen Jr. 1994. "Integrality and Separability of Input
Devices." ACM Transactions on Human-Computer Interaction 1(1):3-26.
Jensen, K. 1996. "The Control Mechanism of the Violin." In Proceedings of the Nordic Acoustic Meeting.
Helsinki, Finland, pp. 373-378.
———.
1996. "The Control of Musical Instruments." In Proceedings of the Nordic Acoustic Meeting.
Helsinki, Finland, pp. 379-384.
K
Kabbash, P., I.S. MacKenzie, and W. Buxton. 1993. "Human Performance Using Computer Input Devices in
the Preferred and Non-Preferred Hands." In Proceedings of the ACM INTERCHI, pp. 474-481.
Kanamori, T., H. Katayose, S. Simura, and S. Inokuchi. 1993. "Gesture Sensor in Virtual Performer." In
Proceedings of the 1993 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 127-129.
———,
H. Katayose, Y. Aono, S. Inokuchi, and T. Sakaguchi. 1995. "Sensor Integration for Interactive
Digital Art." In Proceedings of the 1995 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 265-268.
Kaplowitcz, D. 1998. "Cesium Sound Flex Processor 1.3 (Mac)." Electronic Musician Magazine 14(3):168173.
Katayose, H., T. Kanamori, K. Kamei, Y. Nagashima, K. Sato, S. Inokuchi, and S. Simura. 1993. "Virtual
Performer." In Proceedings of the 1993 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 138-145.
———,
T. Kanamori, S. Simura, and S. Inokuchi. 1994. "Demonstration of Gesture Sensors for the
Shakuhachi." In Proceedings of the 1994 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 196-199.
———, T. Kanamori, and S. Inokuchi. 1996. "An Environment for Interactive Art - sensor integration and
applications." In Proceedings of the 1996 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 173-176.
———,
H. Shirakabe, T. Kanamori, and S. Inokuchi. 1997. "A Toolkit for Interactive Digital Art." In
Proceedings of the 1997 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 476-478.
———, S. Hirai, T. Kanamori, H. Kato, and S. Inokuchi. 1998. "Physiological Measurement of Performers'
Tension and its Utilisation for Media Control." In Proceedings of the 1998 International Computer
Music Conference. San Francisco, International Computer Music Association, pp. 211-214.
Keane, D., and P. Gross. 1989. "The MIDI Baton." In Proceedings of the 1989 International Computer
Music Conference. San Francisco, International Computer Music Association, pp. 151-154.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
450
———, G. Smecca, and K. Wood. 1990. "The MIDI Baton II." In Proceedings of the 1990 International
Computer Music Conference. San Francisco, International Computer Music Association.
Kendon, A., ed. 1981. Nonverbal Communication, Interaction, and Gesture. Paris/NewYork: Mouton
Publishers.
Kendon, A. 1996. "An Agenda for Gesture Studies." Semiotic Review of Books homepage, http://
www.chass.utoronto.ca/eps/srb/srb/gesture.html.
Keyson, D. V. 1996. Touch in User Interface Navigation. PhD Thesis. Technische Universiteit Eindhoven.
Kieslinger, M., and T. Ungvary. 1997. "Aspects of Visualizing Information for a Realtime Hypermedia
Musical Environment." In Chow, ed. Multimedia Technology and Applications. Singapore:SpringerPublications.
Kirk P. R., and A. D. Hunt. 1996. "MIDAS-MILAN : An Open Distributed Processing System for Audio
Signal Processing." Journal of the Audio Engineering Society 44(3):119-129.
———,
and R. Kirk. 1999. Digital Sound Processing for Music and Multimedia. Oxford: ButterworthHeinemann.
Knapp, R. B., and H. S. Lusted. 1990. "A Bioelectric Controller for Computer Music Applications."
Computer Music Journal 14(1):42-47.
Kramer, A. 1998. "Classifying Two Dimensional Gestures in Interactive Systems." In I. Wachsmuth and M.
Fröhlich, eds. Gesture and Sign Language Recognition in Human-Computer Interaction.
Heidelberg: Springer-Verlag, pp. 37-48.
Krefeld, V. 1990. "The Hand in the Web: An Interview with Michel Waisvisz." Computer Music Journal
14(2):28-33.
Kronland-Martinet, R., T. Voinier, and P. Guillemain. 1999. "Agir sur le son musical avec la baguette radio."
In H. Genevois and R. de Vivo, eds. Les nouveaux gestes de la musique. Marseille: Editions
Parenthèses, pp. 181-193.
Kurtenbach, G., and E. A. Hulteen. 1990. "Gestures in Human-Computer Communication." In B. Laurel,ed.
The Art of Human-Computer Interface Design. Reading, Mass.: Addison Wesley, pp. 309-317.
L
Laliberté, M. 1995. "Archetypes et paradoxes des nouveaux instruments de musique." L'Aventure humaine
pp. 11-22.
Laske, O. 1977. "Toward a Theory of Interfaces for Computer Music Systems." Computer Music Journal
1(4):53-60.
Laubier, S. de. 1997. "Midi Formers." Computer Music Journal 21(1):39-40.
———. 1998. "The Meta-Instrument." Computer Music Journal 22(1):25-29.
———. 1999. "Le Méta-Instrument a-t-il un son? Emergence de lois
ou de constantes dans le
développement d'instruments virtuels." In H. Genevois and R. de Vivo, eds. Les nouveaux gestes de
la musique. Marseille: Editions Parenthèses, pp. 151-156.
Laurel, B., ed. 1990. The Art of Human-Computer Interface Design. Reading, Mass.: Addison Wesley.
Lebourque, T., and S. Gibet. 1996. "Synthesis of Hand-Arm Gestures." In P. A. Harling and A. D. N.
Edwards, eds. Progress in Gestural Interaction. Proceedings of Gesture Workshop’96. London:
Springer-Verlag Limited, pp. 217-226.
———, and S. Gibet. 1999. "A Complete System for the Specification and the Generation of Sign Language
Gestures." In A. Braffort, R. Gherbi, S. Gibet, J. Richardson, and D. Teil, eds. Gesture-Based
Communication in Human-Computer Interaction. Heidelberg: Springer-Verlag, pp. 205-216.
Lee, M., A. Freed, and D. Wessel. 1991. "Real-Time Neural Network Processing of Gestural and Acoustic
Signals." In Proceedings of the 1991 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 277-280.
———, and D. Wessel. 1992. "Connectionist Models for Real-Time Control of Synthesis and Compositional
Algorithms." In Proceedings of the 1992 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 277-280.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
451
———, G. Garnet, and D. Wessel. 1992. "An Adaptative Conductor Follower." In Proceedings of the 1992
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 454-455.
———,
and D. Wessel. 1993. "Real-Time Neuro-Fuzzy Systems for Adaptative Control of Musical
Processes." In Proceedings of the 1993 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 172-175.
Lehmann, A.C. 1997. "Efficiency of Deliberate Practice as a Moderating Variable in Accounting for Subexpert Performance." In I. Deliège and J. Sloboda, eds. Perception and Cognition of Music. Hove
(East Sussex, UK): Psychology Press, pp. 161-187.
Lidov, D. 1987. "Mind and Body in Music." Semiotica 66(1/3):68-97.
Lima, G. H. T., M. Maes, M. Bonfim, M. V. Lamar, and M. M. Wanderley. 1996. "Dance-Music Interface
based on Ultrasound Sensors and Computers." In Proceedings of the 3rd Brazilian Symposium on
Computer Music, pp. 12-16.
Linz, R. 1996. "Towards the Design of a Real-Time Interactive Performance Sound System." Leonardo
Music Journal 6:99-107.
Lippe, C. 1996. "A Look at Performer/Machine Interaction using Real-Time Systems." In Proceedings of the
1996 International Computer Music Conference. San Francisco, International Computer Music
Association, pp.116-117.
Liu, F., and R. Picard. "Detecting and Segmenting Periodic Motion." MIT Media Laboratory Perceptual
Computing Section. Technical report, 400.
Lopez-Lezcano, F. 1995. "Padmaster: An Improvisation Environment for Real-Time Performance." In
Proceedings of the 1995 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 104-105.
———. 1996. "Padmaster: Banghing on Algorithms with Alternate Controllers." In Proceedings of the 1996
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 425-427.
Lowery, D. 1998. "Wonder of Wonders. David A. Jaffe Drums up a Creative Piano Concerto." Electronic
Musician 14(1):34.
Lusted, H. S., and R. B. Knapp. 1996. "Controlling Computers with Neural Signals." Scientific American
(October), pp. 58-63.
M
Machover, T. 1992. "Hyperinstruments - a Composer's Approach to the Evolution of Intelligent Musical
Instruments." In L. Jacobson, ed. Cyberarts: Exploring Arts and Technology. San Francisco:
MillerFreeman Inc., pp. 67-76.
———.
1992. "Hyperinstruments - a Progress Report 1987 - 1991." Technical report, Massachusetts
Institute of Technology.
———.
1995. "Technology and Creative Expression." Available from: http://brainop.media.mit.edu/
Archive/Hyperinstruments/creative.html.
———.
"The Brain Opera and Active Music.'' Available from Brain Opera's home page: http://
brainop.media.mit.edu/.
———, and J. Chung. 1989. "Hyperinstruments: Musically Intelligent and Interactive Performance and
Creativity Systems." In Proceedings of the 1989 International Computer Music Conference. San
Francisco, International Computer Music Association, pp. 186-190.
MacKenzie, I.S. 1995. "Movement Time Prediction in Human-Computer Interfaces." In R. M. Baecker, 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., pp. 483-493.
Mackinlay, J. D., S. K. Card, and G. G. Robertson. 1990. "A Semantic Analysis of the Design Space of Input
Devices." Human-Computer Interaction (5):145-190
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
452
Malitz, N. 1992. "Hyperreality - How Multimedia Whiz Tod Machover is Shaking the Future of Opera."
Opera News. pp. 28-30.
Manzolli, J. 1995. "The Development of a Gesture's Interface Laboratory." In Proceedings of the 2nd
Brazilian Symposium on Computer Music, pp. 88-91.
Marrin, T. A. 1996. "Toward an Understanding of Musical Gesture: Mapping Expressive Intention with the
Digital Baton." Master's thesis. Massachusetts Institute of Technology.
———. 1997. "Possibilities for the Digital Baton as a General-Purpose Gestural Interface." In Proceedings
of the CHI'97 Conference on Human factors in Computing Systems, Association of Computer
Machinery, pp. 311-312.
——— (Nakra). 2000. Inside the Conductor's Jacket: Analysis, Interpretation and Musical Synthesis of
Expressive Gesture. PhD Thesis, Massachusets Institute of Technology.
———, and J. Paradiso. 1997. "The Digital Baton: A Versatile Performance Instrument." In Proceedings of
the 1997 International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 313-316.
———, and R. Picard. 1998. "The Conductor's Jacket: a Testbed for Research on Gestural and Affective
Expression." In Proceedings of the XII Colloquium for Musical Informatics. Gorizia, Italy.
———,
and R. Picard. 1998. "The "Conductor’s Jacquet": A device for recording expressive musical
gestures." In Proceedings of the 1998 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 215-219.
Massion, J. 1997. Cerveau et motricité. Paris: Presses Universitaires de France.
Mathews, M. V. 1989. "The Conductor Program and the Mechanical Baton." In M. Mathews and J. Pierce,
eds. Current Directions in Computer Music Research. Cambridge, Mass. : The MIT Pres, pp. 263282.
———.
1991. "The Radio Baton and the Conductor Program, or: Pitch, the Most Important and Least
Expressive Part of Music." Computer Music Journal 15(4): 37-46.
———,
and R. Moore. 1969. "GROOVE, a Program for Realtime Control of a Sound Synthesizer by a
Computer." In Proceedings of the 4th Annual Conference of the American Society of University
Composers, New York: ASUC, Columbia University, pp. 22-31.
———, and R. Moore. 1969. "A Program to Compose, Store, and Edit Functions of ime." Communications
of the ACM 13(12):715-721.
———,
and G. Bennet. 1978. "Real-Time Synthesizer Control." Technical report, 5/78, Ircam Centre
Pompidou.
———, and C. Abbott. 1980. "The Sequential Drum." Computer Music Journal 4(4): 45-59.
———, and J. R. Pierce, eds. 1989. Current Directions in Computer Music Research. System development
foundation benchmark series:2. Cambridge, Mass.: The MIT Press.
Matsuda, S., and T. Rai. 1995. "A Visual-to-Sound Interactive Computer Performance System "Edge"." In
Proceedings of the 1995 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 599-600.
Matsumoto, F. 1993. "Using Simple Controls to Manipulate Complex Objects: Application to the Drum-Boy
Interactive Percussion System." Master's thesis. Massachusetts Institute of Technology.
Mattis, O. 1999. "Swimming in the air." Electronic Musician 15(7): 91-100.
McMillen, K., D. Wessel, and M. Wright. 1994. "The ZIPI Music Paramete Description Language."
Computer Music Journal 18:52-73.
McNeill, D. 1992. Hand and Mind: What gestures reveal about thought. Chicago: The University of
Chicago Press.
Merlier, B. 1998. "A la conquète de l'espace." In Proceedings of the Journées d'Informatique Musicale,
pp. D1-1-D1-9.
Mertz, C. P., and P. Lecoanet. 1996. "GRIGRI: Gesture Recognition on Interaction Graphical Radar Image."
In P. A. Harling and A. D. N. Edwards, eds. Progress in Gestural Interaction. Proceedings of Gesture
Workshop’96. London: Springer-Verlag Limited, pp. 187-198.
Metlay, M. 1990. "The Musician-Machine Interface to MIDI." Computer Music Journal 14(2): 73-83.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
453
Métois, E. 1996. Musical Sound Information - Musical Gestures and Embedding Systems. PhD thesis,
Massachusetts Institute of Technology.
———. 1998. "Musical Gesture and Audio Effects Processing." In Proceedings of the First Digital Audio
Effects Workshop (DAFx), pp. 249-253.
Mihalic, A. 1998. "Pédalophone." In Proceedings of the Journées d'Informatique Musicale, pp. D4-1-D4-13.
O'Modhrain, M.-S. 1997. "Feel the Music: Narration in Touch and Sound." In Proceedings of the 1997
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 321-324.
Modler, P. 1997. "Interactive Computer Systems and Concepts of Gestalt." In M. Leman, ed. Music, Gestalt
and Computing. Heidelberg: Springer-Verlag, pp. 482-494.
———. 1998. "Interactive Control of Musical Structures by Hand Gestures." In Proceedings of the Fifth
Brazilian Symposium on Computer Music, pp. 143-150.
———,
and I. Zannos. 1997. "Emotional Aspects of Gesture Recognition by a Neural Network, using
Dedicated Input Devices." In Kansei, The Technology of Emotion. Proceedings of the AIMI
International Workshop, A. Camurri, ed. Genoa: Associazione di Informatica Musicale Italiana,
October 3-4, pp. 79-86.
———, F. Hoffmann, and I. Zannos. 1998. "Gesture Recognition by Neural Networks and the Expression
of Emotions." In Proceedings of the1998 IEEE International Conference on Systems, Man and
Cybernetics (SMC'98), pp. 1072-1075.
———,
and R. Kirk. 1999. "Evaluation of Architectures for Sound Generation Systems with respect to
Interactive Gestural Control and Realtime Performance." In Proceedings of the 1999 International
Computer Music Conference. San Francisco, International Computer Music Association, pp. 28-31.
Moog, R. 1987. "Position and Force Sensors and their Application to Keyboards and Related Controllers."
In AES 5th International Conference. New York, NY: Audio Engineering Society, pp. 179 – 181.
———. 1993. "Controller oddities." Keyboard 19(3):44-49.
———, and T. Rea. 1990. "Evolution of the Keyboard Interface: The Bosendorfer 290SE Recording Piano
and the Moog Multiply-Touch-Sensitive Keyboards." Computer Music Journal, 14(2):52-60.
Moore, F. R. 1987. "The Disfunctions of MIDI." In Proceedings of the 1987 International Computer Music
Conference. San Francisco, International Computer Music Association, pp. 256-262.
———. 1988. "The Dysfunctions of MIDI." Computer Music Journal 12(1):
19-28.
Morales-Manzanares, R., and E. Morales. 1997. "Music Composition, Improvisation, and Performance
through Body Movements." In Kansei, The Technology of Emotion. Proceedings of the AIMI
International Workshop, A. Camurri, ed. Genoa: Associazione di Informatica Musicale Italiana,
October 3-4, pp. 92-97.
Morita, H., S. Otheru, and S. Hashimoto. 1989. "Computer Music System that Follows a Human
Conductor." In Proceedings of the 1989 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 207-210.
———, H. Watanabe, T. Harada, S. Otheru, and S. Hashimoto. 1990. "Knowledge Information Processing
in Conducting Computer Music Performance." In Proceedings of the 1990 International Computer
Music Conference. San Francisco, International Computer Music Association, pp. 332-334.
Morrill, D. and P. R. Cook. 1989. "Hardware, Software, and Compositional Tools for a Real-Time
Improvised Solo Trumpet Work." In Proceedings of the 1989 International Computer Music
Conference. San Francisco, International Computer Music Association, pp. 211-214.
Morin, E. 1999. "Captation de modes de jeu instrumentaux : Le cas du violoncelle." Rapport de Stage,
Ircam - Centre Pompidou.
Muir, C., and K. McMillen. 1986. "What's Missing in MIDI?" Guitar Player Magazine, June.
Mulder, A. 1994. "Virtual Musical Instruments: Accessing the Sound Synthesis Universe as a Performer." In
Proceedings of the First Brazilian Symposium on Computer Music, pp. 243-250.
———. 1994. "Human Movement Tracking Technology." Technical report, Simon Fraser University.
———. 1994. "How to Build an Instrumented Glove based on the Powerglove Flex Sensors." In PCVR
Magazine 16:10-14.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
454
———.
1995. "Human Movement Tracking Technology: Resources." Technical report, Addendum to
Technical Report 94-1. Simon Fraser University.
———. 1996. "Getting a Grip on Alternate Controllers: Addressing the Variability of Gestural Expression
in Musical Instrument Design." Leonardo Music Journal 6:33-40.
———. 1996. "Hand Gestures for HCI." Technical report, Simon Fraser University.
———, S. Fels, and K Mase. 1997. "Empty-Handed Gesture Analysis in Max/FTS."
In Kansei, The
Technology of Emotion. Proceedings of the AIMI International Workshop, A. Camurri, ed. Genoa:
Associazione di Informatica Musicale Italiana, October 3-4, pp. 87-91.
———, S. Fels, and K Mase, 1997. "Mapping Virtual Object Manipulation to Sound Variation." In T. Rai
and R. Basset, eds. IPSJ SIG notes 97(122):63-68.
———,
and S. Fels. 1998. "Sound Sculpting: Manipulating Sound through Virtual Sculpting." In
Proceedings of the 1998 Western Computer Graphics Symposium, pp. 15-23.
———,
and S. Fels. 1998. "Sound Sculpting: Performing with Virtual Musical Instruments." In
Proceedings of the Fifth Brazilian Symposium on Computer Music, pp. 151-164
———. 1998. Design of Gestural Constraints Using Virtual Musical Instruments. PhD thesis, School of
Kinesiology, Simon Fraser University, Canada.
N
Nagashima, Y. 1998. "Biosensorfusion: New Interfaces for Interactive Multimedia Art." In Proceedings of
the 1998 International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 129-132.
Naugle, L.1998. "Digital Dancing." IEEE Multimedia 5(4):8-12.
Negroponte, N. 1990. "Hospital Corners." In B. Laurel, ed. The Art of Human-Computer Interface Design.
Reading, Mass.: Addison Wesley, pp. 347-353.
Nottoli, G., M. Salerno, and G. Constantini. 1998. "A New Interactive Performance System for Real-Time
Sound Synthesis." In Proceedings of the 1998 International Computer Music Conference. San
Francisco, International Computer Music Association, pp. 33-36.
O
Orio, N. 1997. "A Gesture Interface Controlled by the Oral Cavity." In Proceedings of the 1997 International
Computer Music Conference. San Francisco, International Computer Music Association, pp. 141-144.
———. 1998. Progetto di un controllore gestuale azionato dal cavo orale. Tesi di Laurea. Universita di
Padova, Italy, 1998.
———,
and C. Pirro. 1997. "Performance with Refractions: Understanding Musical Gestures for
Interactive Live Performance." In Kansei, The Technology of Emotion. Proceedings of the AIMI
International Workshop, A. Camurri, ed. Genoa: Associazione di Informatica Musicale Italiana,
October 3-4, pp. 42-47.
———,
and C. Pirro. 1998. "Controlled Refractions: A Two-Levels Coding of Musical Gestures for
Interactive Performances." In Proceedings of the 1998 International Computer Music Conference.
San Francisco, International Computer Music Association, pp. 88-92.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
455
P
Pailhous, J., and C. Thinus-Blanc. 1994. "Locomotion et espace de déplacement." In M. Richelle, J. Requin,
and M. Robert, eds. Traité de Psychologie Expérimentale. Paris: Presses Universitaires de France,
pp. 729-776.
Paillard, J. 1994. "L’intégration sensori-motrice et idéo-motrice." In M. Richelle, J. Requin, and M. Robert,
eds. Traité de Psychologie Expérimentale. Paris: Presses Universitaires de France, pp. 925 - 962.
Panayi, M., D. Roy, and J. Richardson. 1999. "Stimulating Research into Gestural Human Machine
Interaction." In A. Braffort, R. Gherbi, S. Gibet, J. Richardson, and D. Teil, eds. Gesture-Based
Communication in Human-Computer Interaction. Heidelberg: Springer-Verlag, pp. 287-331.
Paradiso, J. A. 1996. "The Interactive Ballon: Sensing, Actuation, and Behavior in a Common Object." IBM
Systems Journal 35(3/4):473-487.
———. 1997. "New Ways to Play: Electronic Music Interfaces." IEEE Spectrum 34(12): 18-30.
———. Electronic Music Interfaces. Available at : http://www.media.mit.edu/~joep/SpectrumWeb/
SpectrumX.html.
———.
1999. "The Brain Opera Technology: New Instruments and Gestural Sensors for Musical
Interaction and Performance". Journal of New Music Research 28(2).
———,
E. Chu, and K.-Y. Hsiao. 1999. "Interactive Music for Instrumented Dancing Shoes." In
Proceedings of the 1999 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 453-456.
Pascal, M. 1999. "Le Studio Instrumental: les données d'une vistuosité à l'intérieur même du son." In H.
Genevois and R. de Vivo, eds. Les nouveaux gestes de la musique. Marseille: Editions Parenthèses,
pp. 157-168.
Pavlovic, V. I., R. Sharma, and T. S. Huang. 1997. Visual Interpretation of Hand Gestures for HumanComputer Interaction: A Review." IEEE Transactions on Pattern Analysis and Machine Intelligence
19(7):677-695.
Pennycook, B. 1985. "Computer Music Intrerfaces: A Survey." ACM Computing Survey, Association for
Computing Machinery, Special Issue on Computer Music, 17(2):267-289.
Phillips, D. 1992. "Academic researchers focus on creating more expressive electronic instruments."
Electronic Musician 8(8):48-59.
Picard, R. 1997. Affective Computing. Cambridge, Mass.: The MIT Press.
———. 1998. "Human-Computer Coupling." In Proceedings of the IEEE 86(8):1803-1807.
Pierce, A., and R. Pierce. 1989. Expressive Movement: Posture and Action in Daily Life, Sports, and the
Performing Arts. New York and London:Plenium Press.
Pierrot, P., and A. Terrier. 1997. "Le violon MIDI." Technical report, Ircam - Centre Pompidou.
Pinkston, R., J. Kerkhoff, and M. McQuilken. 1995. "A Touch Sensitive Dance Floor/MIDI Controller." In
Proceedings of the 1995 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 224-225.
Polfreman, R., and J. Sapsford-Francis. 1995. "A Human Factors Approach to Computer Music Systems
User-Interface Design." In Proceedings of the 1995 International Computer Music Conference. San
Francisco, International Computer Music Association, pp. 381-384.
Pope, S. 1993. "Real-Time Performance via User Interfaces to Musical Structures." Interface 22:195-212.
Pottier, L. 1999. "Contrôle interactif d'une voix chantée de synthèse." In H. Genevois and R. de Vivo, eds.
Les nouveaux gestes de la musique. Marseille: Editions Parenthèses, pp. 175-180.
Pousset, D. 1992. "La flûte-MIDI, l'histoire et quelques applications.'' Mémoire de Maîtrise. Université
Paris-Sorbonne.
Pressing, J. 1988. "Nonlinear Maps as Generators of Musical Design." Computer Music Journal 12(2):3546.
———. 1990. "Cybernetic Issues in Interactive Performance Systems." Computer Music Journal 14(1):1225.
———. 1992. Synthesizer Performance and Real-Time Techniques. Madison, Wisconsin: A-R Editions.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
456
———.
1997. "Some Perspectives on Performed Sound and Music in Virtual Environments." Presence
6(4): 482-503.
Puckette, M., and Z. Settel. 1993. "Nonobvious Roles for Electronics in Performance Enhancement." In
Proceedings of the International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 134-137.
———, T. Apel, and D. D. Zicarelli. 1998. "Real-time audio analysis tools for Pd and MSP." In Proceedings
of the International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 109-112.
Putnam, W. 1993. The Use of the Electromyogram for the Control of Musical Performance. Masters Thesis,
San Jose State University, CA.
———,
and B. Knapp. "Input/Data Acquisition System Design for Human Computer Interfacing."
Available on the web at http://www-ccrma.stanford.edu/CCRMA/Courses/252/sensors/
sensors.html.
R
Ramstein, C. 1991. Analyse, représentation et traitement du geste instrumental. PhD thesis. Institut
National Polytechnique de Grenoble.
———.
and V. Hayward. 1994. "The Pantograph: a Large Workspace Haptic Device for a Multi-Modal
Human-Computer Interaction." In Proceedings of the CHI'94 Conference on Human factors in
Computing Systems, Association of Computer Machinery.
Renard, C. 1982. Le geste musical. Paris: Hachette/Van de Velde.
Reynier, F., and V. Hayward. 1993. "Summary of the Kinesthetic and Tactile Function of the Human Upper
Extremities." Technical report, CIM-93-4. McGill University.
Reyraud, C. 1998. "Le mouvement décomposé." In A. Berthoz, ed. Le cerveau et le mouvement. Science et
Vie – Numéro spécial, pp. 59-66.
Rich, R., 1991. Review, "Buchla Lightning MIDI Controller". Electronic Musician 7(10):102-108.
———, 1996. Review, "Buchla Lightning II". Electronic Musician 12(8):118-124.
Richelle, M., J. Requin, and M. Robert, eds. 1994. Traité de Psychologie Expérimentale. Paris: Presses
Universitaires de France.
Riddell, A. 1993. Composing the Interface. PhD thesis, Princeton University. Available online at: http://
www.alphalink.com.au/~amr/PhD/TitlePage.html.
Riehle, A. 1998. "Comment le cerveau commande le bon geste." In A. Berthoz, ed. Le cerveau et le
mouvement. Science et Vie, numéro spécial, pp. 48-58.
Rigopulos, A. 1993. "Parametric Control of Seed-Generated Music for Interactive Environments and
Computer-Assisted Composition and Performance." Thesis Proposal for the Degree of Master of
Science. MIT.
Risset, J. C.. 1999. "Nouveaux gestes musicaux: quelques points de repère historiques." In H. Genevois and
R. de Vivo, eds. Les nouveaux gestes de la musique. Marseille: Editions Parenthèses, pp. 19-33.
———.
1999. "Evolution des outils de création sonore." In H. Vinet and F. Delalande, eds. Interfaces
homme-machine et création musicale. Paris: Hermès Science Publications, pp. 17-36.
———, and S. V. Duyne. 1996. "Real-Time Performance Interaction with a Computer-Controlled Acoustic
Piano." Computer Music Journal 20(1):62-75.
Roads, C. 1986. "The Second STEIM Symposium on Interactive Composition in Live Electronic Music."
Computer Music Journal, pp. 44-50.
———.
1989. "An Interview with Max Mathews." Reprinted in C. Roads, ed. The Music Machine.
Cambridge, MA: The MIT Press, pp. 5-12.
———. 1996. Computer Music Tutorial. Cambridge, Mass. : The MIT Press.
Rodet, X., A. Terrier, and P. Pierrot. 1997. "Jerry." Technical report, Ircam Centre Pompidou.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
457
Roll, J. P. 1994. "Sensibilités cutanées et musculaires." In M. Richelle, J. Requin, and M. Robert, eds. Traité
de Psychologie Expérimentale. Paris: Presses Universitaires de France, pp. 483-542.
Rosenboom, D. 1990. Extended Musical Interface with the Human Nervous System. Berkeley, Calif.:
International Society for the Arts, Sciences, and Technology.
Rovan, J., M. Wanderley, S. Dubnov, and P. Depalle. 1997. "Instrumental Gestural Mapping Strategies as
Expressivity Determinants in Computer Music Performance." Kansei, The Technology of Emotion.
Proceedings of the AIMI International Workshop, A. Camurri, ed. Genoa: Associazione di
Informatica Musicale Italiana, October 3-4, 1997, pp. 68-73.
———, and M. Wanderley. 1998. "Gestural Controllers: Strategies for Expressive Application." Abstract
presented at the SEAMUS Conference. Hanover, N. H.
Rowe, R. 1993. Interactive Music Systems - Machine Listening and Composing. Cambridge, Mass.: The
MIT Press.
———,
and E.-L. Singer. 1997. "Two Highly Integrated Real-Time Music and Graphics Performance
System." In Proceedings of the 1997 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 133-140.
Rubine, D., and P. McAvinney. 1988. "The Videoharp." In Proceedings of the 1988 International Computer
Music Conference. San Francisco, International Computer Music Association, pp. 49-55.
Ryan, J. 1991. "Some Remarks on Musical Instrument Design at STEIM." Contemporary Music Review
6(1):3-17.
———.
1992. "Effort and Expresssion." In Proceedings of the 1992 International Computer Music
Conference. San Francisco, International Computer Music Association, pp. 414-416.
S
Saiwaki, N., K. Kato, and S. Inokuchi. 1997. "An Approach to Analysis of EEGs Recorded During Music
Listening." Journal of New Music Research 26:227-243.
Sawada, H., S. Ohkura, and S. Hashimoto. 1995. "Gesture Analysis Using 3D Acceleration Sensor for Music
Control." In Proceedings of the 1995 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 257-260.
———,
N. Onoe, and S. Hashimoto. 1996. "Acceleration Sensor as an Input Device for Musical
Environment." In Proceedings of the 1996 International Computer Music Conference. San
Francisco, International Computer Music Association, pp. 421-424.
———,
N. Onoe and S. Hashimoto. 1997. "Sounds in Hands - a Sound Modifier using Datagloves and
Twiddle Interface." In Proceedings of the 1997 International Computer Music Conference. San
Francisco, International Computer Music Association, pp. 309-312.
Schaeffner, A. 1968. Origine des instruments de musique. Paris: Mouton Editeur. 428 p.
Schloss, A. 1990. "Recent advances in the coupling of the language MAX with the Mathews/Boie radio
drum. In Proceedings of the International Computer Music Conference, San Francisco:
International Computer Music Association, pp. 398-400.
———, and D. Jaffe. 1993. "Intelligent Musical Instruments: The Future of Musical Performance or the
Desmise of the Performer?" Interface 22:183-193.
Schlueter, B. 1998. Review, "Roland V-Pro. A dream becomes reality for electronic percussionists."
Electronic Musician 14(2):174-183.
Schoner, B., C. Cooper, C. Douglas, and N. Gershenfeld. 1998. "Data-Driven Modeling and Synthesis of
Acoustical Instruments." In Proceedings of the 1998 International Computer Music Conference. San
Francisco, International Computer Music Association, pp. 66-73.
Serafin, S., R. Dudas, M. Wanderley, and X. Rodet. 1999. "Gestural Control of a Real-time Physical Model of
a Bowed String Instrument." In Proceedings of the 1999 International Computer Music Conference.
San Francisco, International Computer Music Association, pp. 375-378.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
458
Settel, Z., T. Holton, and D. Zicarelli. 1993. "Remote Control Applications using "Smart-Controllers" in
Versatile Hardware Configurations." In Proceedings of the 1993 International Computer Music
Conference. San Francisco, International Computer Music Association, pp. 156-159.
Siegel, W. 1997. "DIEM -the Danish Institute of Electroacoustic Music: Studio Report." In Proceedings of
the 1997 International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 83-85.
———.
1998. "DIEM: Studio Report." In Proceedings of the 1998 International Computer Music
Conference. San Francisco, International Computer Music Association, pp. 312-314.
———,
and J. Jacobsen. 1998. "The Challenges of Interactive Dance: An Overview and Case Study."
Computer Music Journal 22(4):29-43.
———, and J. Jacobsen. 1999. "Composing for the Digital Dance Interface." In Proceedings of the 1999
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 276-277.
Sloboda, J. A. 1982. "Music Performance." In D. Deutsch, ed. The Psychology of Music. Academic Press, pp.
479-496.
Smith, J. R. 1996. "Field Mice: Extracting Hand Geometry from Electric Field Measurements." IBM
Systems Journal 35(3/4):587-608.
Snell, J. 1983. "Sensors for Playing Computer Music with Expression." In Proceedings of the 1983
International Computer Music Conference. San Francisco, International Computer Music
Association.
Spencer, S. T. 1995. "The MIDI Polka." Electronic Musician 11(3):66-74.
Starkier, M., and P. Prevot. 1986. "Real-Time Gestural Control." In Proceedings of the 1986 International
Computer Music Conference. San Francisco, International Computer Music Association, pp. 423426.
Stoïanowa, I. 1973. "Musique, graphie, geste, musique, graphie..." Musique en Jeu 13:105-114.
Suchman, L. A. 1990. "What is Human-Machine Interaction?" in W. W. Z. and.J. B. Black, eds. Cognition,
Computing and Cooperation. Norwood, New Jersey: Ablex Publishing Corporation, pp. 25-57.
Sul, C., K. Lee, and K Wohn. 1998. "Virtual Stage: A Location-Based Karaoke System, '' IEEE Multimedia
5(2):42-52.
Suzuki, K., A. Camurri, S. Hashimoto, and P. Ferrentino. 1998. "Intelligent Agent System for Human-Robot
Interaction through Artificial Emotion." In Proceedings of the 1998 IEEE International Conference
on Systems, Man and Cybernetics (SMC'98), pp. 1055-1060.
———,
T. Ohashi, and S. Hashimoto. 1999. "Interactive Multimodal Mobile Robot for Musical
Performance." In Proceedings of the 1999 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 407-410.
T
Takanishi, A., and M. Maeda. 1998. "Development of an Anthropomorphic Flutist Robot WF-3RIV." In
Proceedings of the 1998 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 328-331.
Tanaka, A. 1993. "Musical Technical Issues in Using Interactive Instrument Technology with Application to
the Biomuse." In Proceedings of the 1993 International Computer Music Conference. San Francisco,
International Computer Music Association, pp.124-126.
———. 1999. "Network Audio Performance and Installation." In Proceedings of the 1999 International
Computer Music Conference. San Francisco, International Computer Music Association, pp. 519522.
Tarabella, L. 1997. "Studio Report of the Computer Music Lab of CNUCE/C.N.R." In Proceedings of the
1997 International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 86-88.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
459
———, M. Magrini, and G. Scapellato. 1998. "A System for Recognizing Shape, Position and Rotation of
the Hands." In Proceedings of the 1998 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 288-291.
Tarabella, L., and G. Bertini. 1997. "Original Gesture Interfaces for Live Interactive Multimedia
Performances." In Proceedings of the Journées d’Informatique Musicale, pp. 41-45.
Tobenfeld, E. 1992. "A System for Computer Assisted Gestural Improvisation." In Proceedings of the 1992
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 93-96.
Tobey, F. 1995. "The Ensemble Member and the Conducted Computer." In Proceedings of the 1995
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 529-530.
———. 1996. "Extraction of Conducting Gestures in 3D Space." In Proceedings of the 1996 International
Computer Music Conference. San Francisco, International Computer Music Association, pp. 305307.
Todoroff, T., C. Traube, and J.-M. Ledent. 1997. "Nextstep Graphical Interfaces to Control Sound
Processing and Spatialization Instruments." In Proceedings of the 1997 International Computer
Music Conference. San Francisco, International Computer Music Association, pp. 325-328.
Toulemonde, O., P. Möenne-Loccoz, and B. Donzel-Gargand. 1999. "Des nouvelles lutheries
informatiques." In H. Genevois and R. de Vivo, eds. Les nouveaux gestes de la musique. Marseille:
Editions Parenthèses, pp. 169-174.
Trueman, D., and P. Cook. 1999. "BoSSA: The Deconstructed Violin Reconstructed." In Proceedings of the
1999 International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 232-239.
U
Ungvary, T., and M. Kieslinger. 1998. "Creative and Interpretative Processmilieu for Live-Computermusic
with the Sentograph." In Kopiez und Auhagen, eds. Controlling Creative Processes in Music.
Schriften Musikpsychologie und Musikästhetik 12. Frankfurt am Main: Peter Lang Verlag, pp. 173227.
———, and R. Vertegaal. 1998. "The SensOrg: A Musical Cyberinstrument with a Cognitive Ergonomical
Touch." In Proceedings of the 1998 IEEE International Conference on Systems, Man and
Cybernetics (SMC'98), pp. 1066-1071.
———,
and R. Vertegaal. 1999 "The SensOrg: Time-complexity and the Design of a Musical
Cyberinstrument." In Proceedings of the 1999 International Computer Music Conference. San
Francisco, International Computer Music Association, pp. 363-366.
Usa, S., and Y. Mochida. 1998. "A Multi-Modal Conducting Simulator." In Proceedings of the 1998
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 25-32.
V
Välimäki, V., and T. Takala. 1996. "Virtual Musical Instruments - natural sound using physical models."
Organised Sound 1(2): 75-86.
Vergez, C. 2000. Trompette et trompettiste: un systeme dynamique non lineaire analyse, modelise et
simule dans un contexte musical. PhD thesis, Université de Paris VI.
Vertegaal, R. 1994. "An Evaluation of Input Devices for Timbre Space Navigation." Master's thesis.
Department of Computing - University of Bradford.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
460
———.
1995. "The Standard Instrument Space Libraries: Demonstrating the Power of ISEE." In
Proceedings of the 1995 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 573-574.
———. 1998. Look Who's Talking to Who: Mediating Joint Attention in Multiparty Communication and
Collaboration. PhD thesis. Cognitive Ergonomics Department, University of Twente, Netherlands.
———, B. Eaglestone, and M. Clarke. 1994. "An Evaluation of Input Devices for Use in the ISEE HumanSynthesizer Interface." In Proceedings of the 1994 International Computer Music Conference. San
Francisco, International Computer Music Association, pp. 159-162.
———, and E. Bonis. 1994. "ISEE: An Intuitive Sound Editing Environment." Computer Music Journal
18(2):212-29.
———,
and T. Ungvary. 1995. "The Sentograph: Input Devices and the Communication of Bodily
Expression." In Proceedings of the 1995 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 253-256.
———, and B. Eaglestone. 1996. "Comparison of Input Devices in an ISEE Direct Timbre Manipulation
Task." Interacting with Computers 8(1):13-30.
———, T. Ungvary, and M. Kieslinger. 1996. "Towards a Musician's Cockpit: Transducer, Feedback and
Musical Function." In Proceedings of the 1996 International Computer Music Conference. San
Francisco, International Computer Music Association, pp. 308-311.
———,
and B. Eaglestone. 1998. "Looking for Sound? Selling Perceptual Space Using Hierarchically
Nested Boxes." In Proceedings of the CHI'98 Conference on Human factors in Computing Systems,
Association of Computer Machinery, pp. 295-296.
Vigier, F. 1999. "Etude et réalisation de dispositifs de captation du jeu instrumental". Rapport de Stage.
Ircam - Centre Pompidou/ENSEA.
Vinet, H. 1999. "Concepts d’interfaces graphiques pour la production musicale et sonore." In H. Vinet and
F. Delalande, eds. Interfaces homme-machine et création musicale. Paris: Hermès Science
Publications, pp. 97-121.
———,
and F. Delalande, eds. 1999. Interfaces homme-machine et création musicale. Paris: Hermès
Science Publications.
Viollet, J.P. 1999. "Etude de Dispositifs de Contrôle Gestuel de la Synthèse Sonore." Rapport de StageIngénieur, Ecole Nationale Supérieure des Télécommunications de Paris.
———, F. Isart, M. Wanderley, and X. Rodet. 1999. "On the Choice of Transducer Technologies for Specific
Musical Functions: A study on gestural control applied to sound synthesis." Internal Report. Ircam
Centre Pompidou.
Viviani, P. 1994. "Les habilités motrices." In M. Richelle, J. Requin, and M. Robert, eds. Traité de
Psychologie Expérimentale. Paris: Presses Universitaires de France, pp.777-858.
———. 1998. "Pleins et déliés." In A. Berthoz, ed. Le cerveau et le mouvement. Science et Vie, numéro
spécial, pp. 36-47.
W
Wachsmuth, I., and M. Fröhlich, eds. 1998. Gesture and Sign Language Recognition in Human-Computer
Interaction. Heidelberg: Springer Verlag.
———.
1999. "Communicative Rhythm in Gesture and Speech." In A. Braffort, R. Gherbi, S. Gibet, J.
Richardson, and D. Teil, eds. Gesture-Based Communication in Human-Computer Interaction.
Heidelberg: Springer-Verlag, pp. 249-262.
Waibel, A., B. Suhm, M. T. Vo, and J. Yang. 1997. "Multimodal Interfaces for Multimedia Information
Agents." In Proceedings IEEE ICASSP'97, pp. 167-170.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
461
Waisvisz, M. 1985. "The Hands, a Set of Remote MIDI-Controllers." In Proceedings of the 1985
International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 313-318.
———,
J. Ryan, and N. Collins. 1993. "STEIM - de zoetgevooisde Bliksem." (chief editor: S. Sjollema),
STEIM.
Wanderley, M. 1998. "Gesture - Sensors - Feedback: Some Comments on the Design of Gestural Interfaces."
Technical report, Ircam Centre Pompidou.
———.
1999. "Non-obvious Performer Gestures in Instrumental Music." In A. Braffort, R. Gherbi, S.
Gibet, J. Richardson, and D. Teil, eds. Gesture-Based Communication in Human-Computer
Interaction. Heidelberg: Springer-Verlag. pp. 33-44.
———, M. Battier, P. Depalle, et al. 1998. "Gestural Research at Ircam: A Progress Report." In Proceedings
of the Journées d'Informatique Musicale, pp. D2-1 – D2-8.
———, N. Schnell and J. B. Rovan. 1998. "Escher - Modeling and Performing Composed Instruments in
Real-Time." In Proceedings of the 1998 IEEE International Conference on Systems, Man and
Cybernetics (SMC'98), pp. 1080-1084.
———,
P. Depalle, and O. Warusfel. 1999. "Improving Instrumental Sound Synthesis by Modeling the
Effect of Performer Gestures." In Proceedings of the 1999 International Computer Music
Conference. San Francisco, International Computer Music Association, pp. 418-421.
———, and P. Depalle. 1999. "Contrôle gestuel de la synthèse sonore." In H. Vinet and F. Delalande, eds.
Interfaces homme-machine et création musicale. Paris: Hermès Science Publications, pp. 145-163.
Weiss, Y., and E. H. Adelson. 1995. "Motion Estimation and Segmentation using a Recurrent Mixture of
Experts Architecture." IEEE Workshop on Neural Networks for Signal Processing.
Wessel, D. 1979. "Timbre Space as a Musical Control Structure." Computer Music Journal 3(2): 45-52.
———. 1991. "Improvisation with Highly Interactive Real-Time Performance Systems." In Proceedings of
the 1991 International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 344-347.
———. 1991. "Instruments that Learn, Refined Controllers, and Source Model Loudspeakers." Computer
Music Journal 15(4):82-86.
———, D. Bristow, Z. Settel. 1987. "Control of Phrasing and Articulation in Synthesis." In Proceedings of
the 1987 International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 108-116.
———, M. Wright, and S. A. Khan. 1998. "Preparation for Improvised Performance in Collaboration with a
Khyal Singer." In Proceedings of the 1998 International Computer Music Conference. San Francisco,
International Computer Music Association, pp 497-503.
Wexelblat, A. 1998. "Research Challenges in Gesture: Open Issues and Unsolved Problems." In I.
Wachsmuth and M. Fröhlich, eds. Gesture and Sign Language Recognition in Human-Computer
Interaction. Heidelberg: Springer-Verlag, pp. 1-12.
Wiggen, Knut. 1968. "The Electronic Music Studio at Stockholm: Development and Construction."
Interface 1:127-165.
Wilkinson, S. 1992. "Drum pads and controllers". Electronic Musician 8(9):76-81.
———.
1999. Review, "Yamaha WX5. The latest generation of MIDI controllers has it all – almost".
Electronic Musician 15(6):182-185.
Winkler, T. 1995. "Making Motion Musical: Gestural Mapping Strategies for Interactive Computer Music."
In Proceedings of the 1995 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 261-264.
———.
1998. "Motion-Sensing Music: Artistic and Technical Challenges in Two Works for Dance." In
Proceedings of the 1998 International Computer Music Conference. San Francisco, International
Computer Music Association, pp. 471-474.
———. 1998. Composing Interactive Music. Techniques and ideas using MAX. Cambridge, Mass: MIT
Press.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
462
Wright, M. 1998. "Implementation and Performance Issues with Opensound Control." In Proceedings of
the 1998 International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 224-227.
———,
and A. Freed. 1997. "Open SoundControl: A New Protocol for Communicating with Sound
Synthesizers." In Proceedings of the 1997 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 101-104.
———,
D. Wessel, and A. Freed. 1997. "New Musical Control Structures from Standard Gestural
Controllers." In Proceedings of the 1997 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 387-390.
Wu, M. 1994. "Responsive Sound Surfaces." Thesis Proposal for the Degree of Master of Science. MIT.
Wu, Y., and T. S. Huang. 1999. "Vision-Based Gesture Recognition: A Review." In A. Braffort, R. Gherbi, S.
Gibet, J. Richardson, and D. Teil, eds. Gesture-Based Communication in Human-Computer
Interaction. Heidelberg: Springer-Verlag, pp. 93-104.
Y
Yokono, J., and S. Hashimoto. 1998. "Center of Gravity Sensing for Motion Interface." In Proceedings of the
1998 IEEE International Conference on Systems, Man and Cybernetics (SMC'98), pp. 1113-1118.
Yoichi, N., and T.-I. Tanami. 1999. "It’s SHO time -- An Interactive Environment for SHO (Sheng)
Performance." In Proceedings of the 1999 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 32-35.
Ystad, S. 1998. Sound Modeling Using a Combination of Physical and Signal Models. PhD thesis,
Université Aix-Marseille II.
———. 1999. "De la facture instrumental au jeu instrumental." In H. Genevois and R. de Vivo, eds. Les
nouveaux gestes de la musique. Marseille: Editions Parenthèses, pp. 111-120.
———, and T. Voinier. 1999. "Design of a Flute Interface to Control Synthesis Models." In Proceedings of
the 1999 International Computer Music Conference. San Francisco, International Computer Music
Association, pp. 228-231.
Yunik, M., M. Borys and G.W. Swift. 1985. "3A Digital Flute." Computer Music Journal 9(2): 49-52.
Z
Zagonel, B. 1990. "Le geste musical." Master's thesis, Ircam - Ecole de Hautes Etudes en Sciences Sociales.
Mémoire de DEA en Musique et Musicologie du XXème siècle.
———. 1992. O Que é Gesto Musical. São Paulo: Brasiliense.
Zannos, I. 1998. "Designing an Audio Interaction Modeling Language: Some Basic Concepts and
Techniques." In Proceedings of the 1998 International Computer Music Conference. San Francisco,
International Computer Music Association, pp. 443-446.
———, P. Modler, and K. Naoi. 1997. "Gesture Controlled Music Performance in a Real-Time Network." In
Kansei, The Technology of Emotion. Proceedings of the AIMI International Workshop, A. Camurri,
ed. Genoa: Associazione di Informatica Musicale Italiana, October 3-4, pp. 60-63.
Zantay, R. 1989. "Programming synths for wind control." Keyboard 15 (12):96.
Zhai, S., P. Milgram, and W. Buxton. 1996. "The Influence of Muscle Groups on Performance of Multiple
Degree-of-Freedom Input." In Proceedings of the CHI'96 Conference on Human factors in
Computing Systems, Association of Computer Machinery, pp. 308-315.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam - Centre Pompidou
463
———, and P. Milgram. 1998. "Quantifying Coordination in Multiple DOF Movements ans Its Applications
to Evaluating 6 DOF Input Devices." In Proceedings of the CHI’98 Conference on Human Factors in
Computing Systems. Association for Computer Machinery, pp. 320-327.
Zicarelli, D. 1992. "Music Technology as a Form of Parasite." In Proceedings of the 1992 International
Computer Music Conference. San Francisco, International Computer Music Association, pp. 69-72.
Zimmerman, T.G., J.R. Smith, J.A. Paradiso, D. Allport, and N. Gershenfeld. 1995. "Applying Electric Field
Sensing to Human-Computer Interfaces." In Proceedings of the CHI’95 Conference on Human
Factors in Computing Systems. Association for Computer Machinery, pp. 280-287.
Reprint from : Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds.
© 2000, Ircam Centre Pompidou
464