25

Posters 1

• Victor Lazzarini, Rory Walsh, Martin Brogan TWO CROSS-PLATFORM CSOUND-BASED PLUGIN GENERATORS
• Pierre Hanna, Matthias Robine, Pascal Ferraro VISUALISATION OF MUSICAL STRUCTURE BY APPLYING IMPROVED EDITING ALGORITHMS
• Alexis Kirke, Eduardo Miranda COMPER: TOWARDS A MODEL FOR GENERATING COMPOSITIONS FROM EXPRESSIVE MUSIC PERFORMANCES
• Greg Wilder ADAPTIVE MELODIC SEGMENTATION AND MOTIVIC IDENTIFICATION
• Adam Stark, Matthew Davies, Mark Plumbley RHYTHMIC ANALYSIS FOR REAL-TIME AUDIO EFFECTS
• Niels Bogaards, Chunghsin Yeh, Juan José Burred INTRODUCING ASANNOTATION: A TOOL FOR SOUND ANALYSIS AND ANNOTATION
• Artur Capela, Jaime Cardoso, Ana Rebelo, Carlos Guedes INTEGRATED RECOGNITION SYSTEM FOR MUSIC SCORES
• Tom Davis CROSS-POLLINATION: TOWARDS AN AESTHETICS OF THE REAL
• Matthew Wright, W. Andrew Schloss, George Tzanetakis VISUALIZATION TOOLS FOR MUSICAL TIMING APPLIED TO AFRO-CUBAN PERCUSSION
• Per Anders Nilsson THE WALKING MACHINE
• Garry Quested, Roger Boyle, Kia Ng POLYPHONIC NOTE TRACKING USING MULTIMODAL RETRIEVAL OF MUSICAL EVENTS
• Daniel Bisig, Martin Neukom, Flury John INTERACTIVE SWARM ORCHESTRA, A GENERIC PROGRAMMING ENVIRONMENT FOR SWARM BASED COMPUTER MUSIC
• António Pedro Oliveira, Amílcar Cardoso TOWARDS BI-DIMENSIONAL CLASSIFICATION OF SYMBOLIC MUSIC BY AFFECTIVE CONTENT
• Min-Joon Yoo, In-Kwon Lee PATTERN-SPECIFIC PIANO EXERCISE RETRIEVAL
• Daniel Bisig, Martin Neukom, John Flury INTERACTIVE SWARM ORCHESTRA, AN ARTIFICIAL LIFE APPROACH TO COMPUTER MUSIC
• Francis Rousseaux, Alain Bonardi, Benjamin Roadley DIGITAL MUSIC COLLECTIONS: A PLACE OF KNOWLEDGE EMERGENCE ?
• Sebastian Streich, Bee Suan Ong A MUSIC LOOP EXPLORER SYSTEM
• Yohei Kobayashi, Naotoshi Osaka CONSTRUCTION OF AN ELECTRONIC TIMBRE DICTIONARY FOR ENVIRONMENTAL SOUNDS BY TIMBRE SYMBOL
• John ffitch, Julian Padget MAINTAINING AND USING PROVENANCE DATA IN COMPUTER MUSIC
• Stuart Pullinger, Douglas McGilvray, Nicholas Bailey MUSIC AND GESTURE FILE: PERFORMANCE VISUALISATION, ANALYSIS, STORAGE AND EXCHANGE

27

Posters 2

• Victor Lazzarini INTERACTIVE AUDIO SIGNAL SCRIPTING
• Matthew Yee-King, Martin Roth SYNTHBOT:AN UNSUPERVISED SOFTWARE SYNTHESIZER PROGRAMMER
• Kazuaki Shiota {TRANSPELL}
• JAIME SERQUERA, Eduardo Miranda SPECTRAL SYNTHESIS AND CONTROL WITH CELLULAR AUTOMATA
• John Chowning OUT OF SYNC: A SIMPLE SCORE BASED GUI FOR QUICK CORRECTION IN PERFORMER COMPUTER INTERACTION
• Paulo Ferreira-Lopes INTERACTION TYPOLOGIES : TRADITIONAL MUSIC INSTRUMENTS VERSUS DIGITAL MUSIC INSTRUMENTS
• Olivier Bélanger OUNK - AN AUDIO SCRIPTING ENVIRONMENT FOR SIGNAL PROCESSING AND MUSIC COMPOSITION
• Alexandros Kontogeorgakopoulos USING THE CORDIS-ANIMA FORMALISM FOR THE PHYSICAL MODELING OF THE GREEK ZOURNAS SHAWM
• Grace Leslie, Navid Hassanpour A GAME THEORETICAL MODEL FOR MUSICAL INTERACTION
• Roisin Loughran, Jacqueline Walker, Michael O'Neill, Marion O'Farrell THE USE OF MEL-FREQUENCY CEPSTRAL COMPONENTS IN MUSICAL INSTRUMENT IDENTIFICATION
• margaret schedel, alison rootberg SCORING "THE COLOR OF WAITING" AN INTERACTIVE, MULTIMEDIA SEMI-IMPROVISED PERFORMANCE WORK
• Kjetil Matheussen REALTIME MUSIC PROGRAMMING USING SND-RT
• julio d'Escriván, Jan Trützschler von Falkenstein TEATRACKS: A DEMONSTRATION OF AN AUDITORY DISPLAY OF A MULTITRACK SOUND SEQUENCER
• Mika Kuuskankare, Mikael Laurson SURVEY OF MUSIC ANALYSIS AND VISUALIZATION TOOLS IN PWGL
• Mathew Adkins TOWARDS 'A BEAUTIFUL LAND': THE INFLUENCE OF ROTHKO AND ABSTRACT EXPRESSIONISM ON FIVE PANELS NO.5
• Sylvain Le Groux, Aleksander Valjamae, Jonatas Manzolli, Paul Verschure IMPLICIT PHYSIOLOGICAL INTERACTION FOR THE GENERATION OF AFFECTIVE MUSICAL SOUNDS

28

Posters 3

• Robert Gluck THINKING REFLECTIVELY ACROSS CULTURES
• Chris Kiefer, Nick Collins, Geraldine Fitzpatrick EVALUATING THE WIIMOTE AS A MUSICAL CONTROLLER
• Benjamin Fields, Kurt Jacobson, Michael Casey, Mark Sandler DO YOU SOUND LIKE YOUR FRIENDS? EXPLORING ARTIST SIMILARITY VIA ARTIST SOCIAL NETWORK RELATIONSHIPS AND AUDIO SIGNAL PROCESSING
• Jaime Oliver, Matthew Jenkins THE SILENT DRUM CONTROLLER: A NEW PERCUSSIVE GESTURAL INTERFACE
• Andy Schmeder, Adrian Freed IMPLEMENTATION AND APPLICATIONS OF OPEN SOUND CONTROL TIMESTAMPS
• Knut Guettler, Hans Wilmers, Victoria Johnson VICTORIA COUNTS – A CASE STUDY WITH ELECTRONIC VIOLIN BOW
• Juhani Räisänen DESIGNING NEW INSTRUMENTS FOR THE HUMAN TOUCH - CASE SORMINA
• Jose I. Lopez Ramirez-Gaston CUANDO CANTO BAJAN LOS CERROS: AN INITIATIVE FOR INTERFACE DEVELOPMENT INFORMED BY A LATIN-AMERICAN CONTEXT.
• Charles O'Neill, Kia Ng DESIGN AND DEVELOPMENT OF AN INTERACTIVE SONIFICATION INTERFACE FOR HEARING IMAGES
• Mara Helmuth INTERCULTURAL EXPLORATION: THE COMPUTER AND TRADITIONAL MUSIC CULTURES
• Georg Boenn THE IMPORTANCE OF HUSSERL'S PHENOMENOLOGY OF INTERNAL TIME-CONSCIOUSNESS FOR MUSIC ANALYSIS AND COMPOSITION
• Jean-Julien Filatriau, Loic Kessous VISUAL AND SOUND GENERATION DRIVEN BY BRAIN, HEART AND RESPIRATION SIGNALS
• Jukka Holm POPULARITY OF MUSIC PLAYER PARAMETERS AND FEATURES
• James Mooney, David Moore RESOUND: OPEN SOURCE SOUND SPATIALISATION
• Martin Neukom, Jan Schacher AMBISONICS EQUIVALENT PANNING AEP
• Peter Hulen A LOW-COST SPHERICAL LOUDSPEAKER ARRAY FOR ELECTROACOUSTIC MUSIC
• Keith McMillen COMPUTER INTERFACE FOR STRINGED INSTRUMENTS
• Dante Tanzi DIGITAL TIME: COMPLEXITY AND PERCEPTION
• Kristine Burns HOW TO MAKE YOUR WIFE LISTEN
• Leandro Costalonga, Eduardo Miranda EQUIPPING ARTIFICIAL GUITAR PLAYERS WITH BIOMECHANICAL CONSTRAINS: A CASE STUDY OF PRECISION AND SPEED
• Ian Whalley TECHNOLOGY, CULTURE AND LOCATION IN A RECENT NEW ZEALAND SONIC ART PROJECT
• Mick Grierson COMPOSING WITH BRAINWAVES: MINIMAL TRIAL P300 RECOGNITION AS AN INDICATION OF SUBJECTIVE PREFERENCE FOR THE CONTROL OF A MUSICAL INSTRUMENT.
• Jerome Barthelemy, Alain Bonardi, Guillaume Boutard, Raffaele Ciavarella, Alex Mikroyannidis, Bee Ong, Kia Ng OUR RESEARCH FOR LOST ROUTE TO ROOT
• Enda Bates ADAPTING POLYPHONIC PICKUP TECHNOLOGY FOR SPATIAL MUSIC PERFORMANCE
• Katarzyna Chuchacz, Roger Woods, Sile O'Modhrain NOVEL PERCUSSIVE INSTRUMENT DESIGN – CONVERTING MATHEMATICAL FORMULAE INTO ENGAGING MUSICAL INSTRUMENTS