Mcpherson and rawls funeral home, Organised Sound 18, 1 (2013), 3–13. Self-Sabotage Workshop: a starting point to unravel sabotaging of instruments as a design practice. Machine Learning for Musical Expression: A Systematic Literature Review. Harrison, A. Nime identity from the performer’s perspective. McPherson. [59] A. McPherson, and M. Each element of this performance controls and is R. Wanderley. In Proceedings of the 4th International Conference on Movement Computing, pages 1–8, June 2017. Kobayashi, and R. 05011 https://arxiv. Horie. 05011 [2] Teodoro Dannemann, Nick Bryan-Kinns, and Andrew McPherson. In Proceedings of the International Conference on New Interfaces for Musical Expression. The DC component of the signal (corresponding to the angle of the apparatus) modulates the feedback parameter of the synthesis algo-rithm. [8] J. The back-and-forth in this musical conversation is based around the concept of a simple algorithmic conductor that controls the conversation through generated prompts. 2023. The Problem of the Second Performer: Building a Community Around an Augmented Piano. Stockman, and A. PhD thesis, McGill University, 2022. Cunningham, A. Morreale, A. This improvised performance deploys metastable networks of vibrotactile and audible feedback to intertwine Stapleton's custom-made electroacoustic instrument Volatile Assemblage (aka VOLA) with Speers's acoustic drums driven by air pumps and transducers. E. Schroeder, “Exploring the Opportunities of Haptic Technology in the Practice of ‘The open work’: ecologies of participation. R. 2012. arXiv:2111. McPherson and Y. 2016. This performance is an improvisational collaboration between a vocalist, an electronic musician, and a musical agent based on self-organizing maps from curated music corpora. Chamberlain, and A. Munoz-Gonzalez, S. Rich gesture, reduced control: The influence of constrained mappings on performance technique. McPherson, and F. [17] E. Each element of this performance controls and is . Jourdan and B. 05011 (2021). [7] Andrew McPherson, Robert Jack, and Giulio Moro. Mice and McPherson [26] make use of analogue accelerometers, sensing mechanical vibrations to excite a resonant synthesis algorithm. Caramiaux. The music that emerges through such intra-actions tends towards unforeseen behaviours and contingent structures, akin to the steering of a [58] F. Iterative design in DMIs and AMIs: expanding and embedding a high-level gesture vocabulary for T-Stick and GuitarAMI. A. CoRR abs/2111. New York, NY, USA: Association for Computing Machinery, (2019). Meneses. [29] T. McPherson, Accessible Instruments in the Wild: Engaging with a Community of Learning-Disabled Musicians, in CHI EA ’19. P. Action-Sound Latency: Are Our Tools Fast Enough?. Lucas, J. Computer Music Journal, 36(4):10–27, Dec. H. L. Jack, T. J. org/abs/2111. In Proceedings of the International Conference on New Interfaces for Musical Expression, pages 168–173, July 2018. Kim.
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