PebbleBox and CrumbleBag: Tactile Interfaces for Granular Synthesis
暂无分享,去创建一个
[1] L. Carroll,et al. The lobster quadrille , 1977 .
[2] W H Warren,et al. Auditory perception of breaking and bouncing events: a case study in ecological acoustics. , 1984, Journal of experimental psychology. Human perception and performance.
[3] Editors , 1986, Brain Research Bulletin.
[4] Cort Lippe,et al. A Musical Application of Real-time Granular Sampling Using the IRCAM Signal Processing Workstation , 1993, ICMC.
[5] Marcelo M. Wanderley,et al. Instrumental Gestural Mapping Strategies as Expressivity Determinants in Computer Music Performance , 1997 .
[6] J. A. Paradiso. Electronic money: toward a virtual wallet , 1997 .
[7] Perry R. Cook,et al. Physically Informed Sonic Modeling (PhISM): Synthesis of percussive sounds , 1997 .
[8] Perry R. Cook,et al. Toward physically-informed parametric synthesis of sound effects , 1999, Proceedings of the 1999 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics. WASPAA'99 (Cat. No.99TH8452).
[9] Gil Weinberg. Expressive Digital Musical Instruments for Children , 1999 .
[10] Perry R. Cook,et al. BoSSA: The Deconstructed Violin Reconstructed , 2000, ICMC.
[11] Marcelo M. Wanderley,et al. Towards a Model for Instrumental Mapping in Expert Musical Interaction , 2000, ICMC.
[12] Chris Chafe,et al. Playing by feel: incorporating haptic feedback into computer-based musical instruments , 2001 .
[13] Tristan Jehan,et al. An Audio-Driven, Spectral Analysis-Based, Perceptual Synthesis Engine , 2001 .
[14] Jonathan Berger,et al. Everyday sounds: synthesis parameters and perceptual correlates , 2001 .
[15] Xavier Rodet,et al. Automatically selecting signal descriptors for SoundClassification , 2002, ICMC.
[16] Timothy Opie. Granular Synthesis: Experiments In Live Performance , 2002 .
[17] Davide Rocchesso,et al. The Sounding Object , 2002 .
[18] Tod Machover,et al. Sparkler: An Audio-Driven Interactive Live Computer Performance for Symphony Orchestra , 2002, ICMC.
[19] Sidney S. Fels,et al. MetaMuse: a novel control metaphor for granular synthesis , 2002, CHI Extended Abstracts.
[20] Perry R. Cook,et al. Real Sound Synthesis for Interactive Applications , 2002 .
[21] Marcelo M. Wanderley,et al. The Importance of Parameter Mapping in Electronic Instrument Design , 2002, NIME.
[22] A. Eremenko,et al. Oscillation of Fourier Integrals with a spectral gap , 2003, math/0301060.
[23] Timothy Tristram Opie,et al. Creation of a Real-Time Granular Synthesis Instrument for Live Performance , 2003 .
[24] Michael J. Lyons,et al. Proceedings of the 2004 conference on New interfaces for musical expression , 2004 .
[25] Gil Weinberg,et al. The Musical Playpen: An immersive digital musical instrument , 1999, Personal Technologies.
[26] Georg Essl,et al. Towards evaluation of performance: Control of preference in physical and virtual sensorimotor integration , 2005 .
[27] Georgios Tziritas,et al. A speech/music discriminator based on RMS and zero-crossings , 2005, IEEE Transactions on Multimedia.
[28] Alva Noë,et al. Action in Perception , 2006, Representation and Mind.