Skip to main content
International Computer Music Conference
Fulcrum logo

Your use of this Platform is subject to the Fulcrum Terms of Service.

Share the story of what Open Access means to you

a graphic of a lock that is open, the universal logo for open access

University of Michigan needs your feedback to better understand how readers are using openly available ebooks. You can help by taking a short, privacy-friendly survey.

  1. Home
  2. International Computer Music Conference
  3. Proceedings of the 2019 International Computer Music Conference

Proceedings of the 2019 International Computer Music Conference

The International Computer Music Association
Read Book

  • Contents

  • Title Page
  • Copyright Page
  • Welcome
  • Keynote Speaker: Brad Garton
  • Previous ICMC Conferences
  • Acknowledgements
  • Spatialisating the same Acousmatic Composition in Different Venues Featuring High-Density Loudspeaker Arrays by Javier Alejandro Garavaglia
  • Bubbles: An Object-Oriented Approach to Object-Based Sound for Spatial Composition and Beyond by Richard Garrett
  • A Tree Falls: to Acoustically Signify Audience Proximity by Jack Woodbury and Mo H. Zareei
  • The Extended Stereo Speaker Configuration as an Individual Spatial Experience by Jesse Austin-Stewart and Mo H. Zareei
  • Composing Images in Space: Schaeffer's Allure projected in Higher-Order Ambisonics by Natasha Barrett
  • Steering Behaviors for Spatial Sound Authoring by Thibaut Carpentier and Andrew Gerzso
  • 3D sound diffusion in concert hall. by Emiliano del Cerro
  • The Emotional Characteristics of Woodwind Musical Instruments with Different Pitch and Dynamics by Hiu Ting Chan, Bing Yen Chang, and Andrew Horner
  • Design and Control of Mixed-Order Spherical Loudspeaker Arrays by Stefan Riedel, Franz Zotter, and Robert Höldrich
  • Climate Catastrophe as Environmental Music: The Aral Sea by Anders Bach Pedersen and Johan Lau Munkholm
  • Systems Thinking and Environmental Interaction in the Work of Tom´as Saraceno and David Dunn by Tate Carson
  • The Acoustic Features and Their Relationship to the Emotional Characteristics of Rain Sound Effects by Wing Lam Sin, Bing Yen Chang, Xiaojuan Ma, and Andrew Horner
  • Hindemith and Algorithmic Harmonic Generation by Ken Paoli
  • Else: An Artistic Study on Algorithmic Agency in Sound Synthesis Composition by Daniele Pozzi and David Pirrò
  • Soundwriter: Real-Time Music Generation for Oral Storytelling through Emotion Mapping by Toshihisa Tsuruoka and Ashley Erika Muniz
  • Extended Combinatorial Structures in Out of Time by Logan Barrett
  • The Risset Cycle, Recent Use Cases With SmartVox by Jonathan Bell
  • The IRiMaS Software: Integrating interactive listening and play into musicological research by Frédéric Dufeu, Axel Roebel, Keitaro Takahashi, and Michael Clarke
  • Towards a Queer Concept of the Score by J Diaz
  • The Timbre of Flutter Echoes and the Composition “Flutr” by Tor Halmrast
  • Creation and Practice of Fantasy Scene Music Theater of Chinese Traditional Instruments and Electronic Music by Minjie Lu, Xiao Hu, and Yanmin Han
  • What is the Color of that Electroacoustic Music? by PerMagnus Lindborg
  • REMNANT: EXPLORING PRESENCE AND ABSENCE THROUGH ACOUSTIC DISTURBANCES IN SPACE by Miller Puckette and Kerry Hagan
  • Primary Exploration on the Style and Techniques of Shadow of Bells, a Real-Time Electronic Music Song of Hans Tutschku by Xiyue Zhang
  • What is saved? Considerations on documenting, archiving and (re-)performing computer music by Miriam Akkermann
  • Is there a digital archivist in the room? The preservation of musique mixte by Guillaume Boutard
  • Music Intelligence and Knowledge Agent (MIKA) by Jeremy Stewart, Matthew Goodheart, Jonas Braasch, Mary Simoni, Curtis Bahn, and David Dahlbom
  • Proposing “Computer Bending” and “Circuit Vacuuming” as Techniques in Experimental Music by Edgar Berdahl and Anthony T. Marasco
  • An Efficient Algorithm For Composing Polyrhythmic Sequences by Georg Boenn
  • Clockblocks: A Pure-Python Library for Controlling Musical Time by Marc Evanstein
  • Melody Slot Machine: Melody Morphing by Using Time-span Tree of GTTM by Masatoshi Hamanaka, Mizuki Kobayashi, Kyoko Otagawa, and Mayumi Shimada
  • Trois Machins de la Grâce Aimante: a Virtual Reality String Quarte by Rob Hamilton
  • Generative Bookscapes: Towards Immersive and Interactive Book Reading by Tae Hong Park and Toshihisa Tsuruoka
  • Creating Timbre in Space: Granular Synthesis and Ambisonics Spatialization Study and Composition by Danilo Rossetti and Jônatas Manzoli
  • Spectrail: Visual Analytics for Compositional Processes with Sound Analysis and Synthesis by Yuriko Takakura, Masanori Nakayama, and Issei Fujishiro
  • From Collections to Corpora: Exploring Sounds through Fluid Decomposition by Pierre Alexandre Tremblay, Owen Green, Gerard Roma, and Alex Harker
  • Working with Brevity: Short Soundfiles in Electroacoustic Composition by Manuella Blackburn
  • FieldFlows: Oscillating Sound Fields of Near-harmonic Frequencies for Spatial Audio Effects by Michael Blandino
  • AntesCollider: Control and Signal Processing in the Same Score by José Miguel Fernandez, Jean-Louis Giavitto, Pierre Donat-Bouillud
  • Exploring Participatory Sound Art by Visda Gourdarzi, Artemis Gioti, Giacomo Lepri, and Fabio Morreale
  • GANkyoku: a Generative Adversarial Network for Shakuhachi Music by Omar Peracha and Shawn Head
  • Multichannel Sound Design by Eric Lyon
  • Listening Here: A Mobile Web App for Sonic Exploration by Cristyn Magnus and Stephanie Loveless
  • Compositional Considerations in the Design of an Interactive Agent-based Musical Ecosystem by Zeynep Özcan and Anıl Çamcı
  • Performing and Listening Bodies by Kevin Parks
  • To Mix or Not to Mix: Unifying the Creative Process in Composing for Instruments and Electronics by Laurie Radford
  • ProxSynity: A Real-Time, Networked, Performance System by Ian Gibson
  • Two Different Paradigms for Network Audio Performance with a Laptop Ensemble by Eric Sheffield, William Thompson, and Edgar Berdahl
  • An Initiative in Embedded Sound Art with Found Objects: “What’s Old Is New” by Edgar Berdahl, Chase Mitchusson, and William Montgomery
  • Maderna’s Mahler: A Model for Electroacoustic Composition by Brent Wetters and Jonathon Kirk
  • The Impact of Institutional Support on Artistic Research and Creation: The Columbia-Princeton Electronic Music Center and the RCA Mark-II by Eric Lemmon
  • The Ecology and Economy of Frequency Modulation: A Revised History of FM Synthesis by Zachary Lovitch
  • Considerations on Sound Art Documentation: Theories and Case Studies by Juan Carlos Vasquez
  • Improvisation at the Edge of Chaos: A Worked-Through Design and Performance Practice for Electronic Improvisation by John Bowers and Kerry Hagan
  • Feedback Mayhem: Compositional affordances of the halldorophone discussed by its users. by Halldór Ulfarsson
  • Bell, a Textual Language for the Bach Library by Andrea Agostini and Jean-Louis Giavitto
  • Evaluating Natural Language for Musical Operations by Donya Quick and Christopher N. Burrows
  • A Performance Setup for Collaborative Audio-Visual Live Coding based on a Graphical Approach to Dynamic Wave Terrain Synthesis by Daniel K. Höpfner and Michele Samarotto
  • Remote Piano Lesson System Considering Camera Switching by Ryota Matsui, Yoshinari Takegawa, Keiji Hirata, and Yutaka Yanagisawa
  • Teaching Computer Music Performance: Designing an Applied Music Technology Curriculum by Benjamin Smith, Christopher Kincaid, Jordan Munson, and Jason Palamara
  • An Attentional Neural Network Architecture for Folk Song Classification by Aitor Arronte Alvarez and Francisco Gómez-Martín
  • The Emotional Characteristics of Brass Musical Instruments with Different Pitch and Dynamics by Hiu Ting Chan, Ronald Mo, Christopher Keyes, and Andrew Horner
  • Curation, Choice, and the Internet: Score Follower and New Music on YouTube by Dan Tramte, Ermir Bejo, Victoria Cheah, and Zach Thomas
  • A Javascript Musical Machine Listening Library by Nick Collins and Shelly Knotts
  • Contemporary Machine Learning for Audio and Music Generation on the Web: Current Challenges and Potential Solutions by Mick Grierson, Matthew Yee-King, Louis McCallum, Chris Kiefer, and Michael Zbyszynski
  • Emotional Equalizer: An Emotion-Based Real-Time Music Arrangement System by Yu Hong, Andrew Horner, Julius Smith
  • Audio-based Musical Artificial Intelligence and Audio-Reactive Visual Agents in Revive by Kıvanç Tatar, Philippe Pasquier, Remy Siu
  • Excited Sounds Augmented by Gestural Control by Clemens Wegener and Max Neupert
  • Drumductor: A Gesture-Augmented Drum Pattern Generator by Xianda Wang and Tae Hong Park
  • Soundtrack+: Measuring, Predicting, and Applying Affect of Multichannel Patterns into Composition by Connor Kirts, Seth Shafer, and Jeremy Baguyos
  • A Comparison of the Emotional Characteristics of the Violin and Erhu on the Butterfly Lovers Concerto by Dustin Lee and Andrew Horner
  • IRMA (Interactive Real-time Measurement of Attention). A method for the investigation of audiovisual computer music performances. by Andreas Pirchner
  • Strata Sequence: From Musical Rocks to Palaeo-Soundscapes by Robert Mackay
  • Control, Indeterminacy, Narrative and Dialogue in Ghioc for saxophone and Fixed Media by Sever Tipei
  • BODY MOVEMENT SONIFICATION: ENHANCING PHYSIO THERAPY by Christian Baumann, Johanna Friederike-Baarlink, and Jan-Torsten Milde
  • Indicators of Intensity: A Composition via the Sonification of Cycling Data by Robert Richey
  • The Sonification of Solar Harmonics (SoSH) Project by Seth Shafer, Timothy Larson, Elaine diFalco
  • Notes on Dynamic Stochastic Synthesis and The New GENDYN Program by Angelo Bello
  • Play your tablet: a taxonomy and survey of performative multi-touch display musical apps, focused on interaction by Marie González-Inostroza and Rodrigo E. Cádiz
  • Imitation Game: Real-time Decision-making in an Interactive Composition for Human and Robotic Percussionist by Artemi-Maria Gioti
  • QTCheck: A Composers’ Tool for Checking Playability of Music for Quarter-Tone Alto Flute by Jonathan Pitkin
  • Tracking and Smart Textiles Environment (TaSTE) by Bob Pritchard
  • A Haptic-Feedback Shoulder Rest for the Hybrid Violin by Seth Dominicus Thorn and Byron Lahey
  • The Real-time Synthesis of the Ancient Chinese Chime-Bells Instrument of Marquis Yi􀀁in Max/Msp by Tsung-Ching Liu and Xing-Wen Wang
  • Augmented Instruments at CRM – Centro Ricerche Musicali of Rome: Feed-Drum, SkinAct, WindBack and ResoFlute by Michelangelo Lupone, Laura Bianchini, Silvia Lanzalone, Alessio Gabriele
  • Studio Report: MTT at the Orpheus Institute by Juan Parra Cancino and Jonathan Impett
  • CCM Center for Computer Music 2019 by Mara Helmuth, Shawn Milloway, Zhixin Xu, Yunze Mu, Owen Hopper, and Jacob Duber
  • Institute for Computer Music and Electronic Media at the Folkwang University of the Arts by Thomas Neuhaus
  • Studio Report: Yale Open Music Initiative by Scott Petersen, Mark Santolucito, and Konrad Kaczmarek
  • Studio Report 2019: New York University (NYU) Music Composition & Technology Programs by Motihiro A. Suzuki, Andrew T. Philips, Scott M. Murakami, Toshihisa Tsuruoka, Tae Hong Park
  • Sculpting & Landscaping with Sound Critical Approaches to Developing Specific Artistic Strategies in and with 3D Audio by Sabine Breitsameter
  • Spaces in Between – Towards Ambiguity in Immersive Audio Experiences by Pedro Rebelo and Michael McKnight
Citable Link
Published: 2019
Publisher: Michigan Publishing Services
Contact
International Computer Music Association, Inc.
1819 Polk St., Suite 330
San Francisco, CA 94109
USA

Fax: +1 (734) 878-3031
Email: icma@umich.edu

Powered by Fulcrum logo

  • About
  • Blog
  • Feedback
  • Contact
  • Contribute
  • Accessibility
  • Preservation
  • Privacy
  • Terms of Service
  • Log In

© International Computer Music Conference 2023

x This site requires cookies to function correctly.