The EyeHarp: A Gaze-Controlled Digital Musical Instrument
暂无分享,去创建一个
[1] M. Stoykov,et al. A review of bilateral training for upper extremity hemiparesis. , 2009, Occupational therapy international.
[2] D Schön,et al. Comparison between Language and Music , 2001, Annals of the New York Academy of Sciences.
[3] G. Pagnoni,et al. Age effects on gray matter volume and attentional performance in Zen meditation , 2007, Neurobiology of Aging.
[4] Soumitra Bhat,et al. TouchTone: an electronic musical instrument for children with hemiplegic cerebral palsy , 2010, TEI '10.
[5] M. Cheung,et al. Music training improves verbal memory , 1998, Nature.
[6] Anthony J. Hornof. The Prospects For Eye-Controlled Musical Performance , 2014, NIME.
[7] Pauline Oliveros,et al. A Musical Improvisation Interface for People With Severe Physical Disabilities , 2011 .
[8] Veronica Teichrieb,et al. Considering Audience's View Towards an Evaluation Methodology for Digital Musical Instruments , 2012, NIME.
[9] Andreas Paepcke,et al. Improving the accuracy of gaze input for interaction , 2008, ETRA.
[10] N. Kraus,et al. Musical Experience and the Aging Auditory System: Implications for Cognitive Abilities and Hearing Speech in Noise , 2011, PloS one.
[11] J. Staiger,et al. Increased corpus callosum size in musicians , 1995, Neuropsychologia.
[12] T. Lawyer,et al. AMYOTROPHIC LATERAL SCLEROSIS: A Clinicoanatomic Study of Fifty-Three Cases , 1953 .
[13] N. Kraus,et al. Musical experience shapes top-down auditory mechanisms: Evidence from masking and auditory attention performance , 2010, Hearing Research.
[14] Roel Vertegaal,et al. EyeWindows: evaluation of eye-controlled zooming windows for focus selection , 2005, CHI.
[15] Todd Winkler. Creating Interactive Dance with the Very Nervous System , 1997 .
[16] Päivi Majaranta,et al. CHAPTER 9 – Text Entry by Gaze: Utilizing Eye Tracking , 2007 .
[17] M. Cheung,et al. Music training improves verbal but not visual memory: cross-sectional and longitudinal explorations in children. , 2003, Neuropsychology.
[18] A. Ludolph,et al. Amyotrophic lateral sclerosis. , 2012, Current opinion in neurology.
[19] M. Bangert,et al. Mapping perception to action in piano practice: a longitudinal DC-EEG study , 2003, BMC Neuroscience.
[20] M. Sile O'Modhrain,et al. A Framework for the Evaluation of Digital Musical Instruments , 2011, Computer Music Journal.
[21] Thomas R. Barrick,et al. Voxel-Based Morphometry Reveals Increased Gray Matter Density in Broca's Area in Male Symphony Orchestra Musicians , 2002, NeuroImage.
[22] Anke Huckauf,et al. Gazing with pEYEs: towards a universal input for various applications , 2008, ETRA.
[23] V. Minichiello,et al. The contribution of music to quality of life in older people: an Australian qualitative study , 2005, Ageing and Society.
[24] W. Andrew Schloss,et al. Using Contemporary Technology in Live Performance: The Dilemma of the Performer , 2003 .
[25] Andrew T. Duchowski,et al. Efficient eye pointing with a fisheye lens , 2005, Graphics Interface.
[26] Don D. Coffman. Music and quality of life in older adults. , 2002 .
[27] Päivi Majaranta,et al. Eye Tracking and Eye-Based Human–Computer Interaction , 2014 .
[28] Takehiko Ohno,et al. Features of eye gaze interface for selection tasks , 1998, Proceedings. 3rd Asia Pacific Computer Human Interaction (Cat. No.98EX110).
[29] G. Schlaug,et al. Music Making as a Tool for Promoting Brain Plasticity across the Life Span , 2010, The Neuroscientist : a review journal bringing neurobiology, neurology and psychiatry.
[30] J K JacobRobert,et al. The use of eye movements in human-computer interaction techniques , 1991 .
[31] Ravin Balakrishnan,et al. Acquisition of expanding targets , 2002, CHI.
[32] F. Gerstenbrand,et al. Varieties of the locked-in syndrome , 1979, Journal of Neurology.
[33] Loïc Kessous,et al. Expressiveness and Digital Musical Instrument Design , 2005 .
[34] Darius Miniotas. Application of Fitts' law to eye gaze interaction , 2000, CHI Extended Abstracts.
[35] Marcelo M. Wanderley,et al. The Importance of Parameter Mapping in Electronic Instrument Design , 2002, NIME.
[36] O. Hardiman,et al. Amyotrophic lateral sclerosis , 2011, The Lancet.
[37] Helen J. Neville,et al. Effects of music training on brain and cognitive development in under-privileged 3- to 5-year-old children : Preliminary results , 2008 .
[38] G. Schlaug,et al. Brain Structures Differ between Musicians and Non-Musicians , 2003, The Journal of Neuroscience.
[39] J. Selhorst,et al. "Locked-in" syndrome. , 1987, Stroke.
[40] Zacharias Vamvakousis,et al. The EyeHarp: A Gaze-Controlled Musical Instrument , 2011 .
[41] C. Lam,et al. Musician Enhancement for Speech-In-Noise , 2009, Ear and hearing.
[42] Steve Benford,et al. Designing the spectator experience , 2005, CHI.
[43] R Kirk,et al. Computer music in the service of music therapy: the MIDIGRID and MIDICREATOR systems. , 1994, Medical engineering & physics.
[44] M. Delargy,et al. Locked-in syndrome , 2005, BMJ : British Medical Journal.
[45] B. Rockstroh,et al. Increased Cortical Representation of the Fingers of the Left Hand in String Players , 1995, Science.
[46] Chris Lankford. Effective eye-gaze input into Windows , 2000, ETRA.
[47] H. Hegner,et al. Estimating acceptable noise-levels on gaze and mouse selection by zooming , 2008, 2008 Annual IEEE Student Paper Conference.
[48] Alan C. Evans,et al. Musical Training Shapes Structural Brain Development , 2009, The Journal of Neuroscience.
[49] Tim Swingler. "That Was Me!": Applications of the Soundbeam MIDI Controller as a Key to Creative Communication, Learning, Independence and Joy. , 1998 .
[50] John Paulin Hansen,et al. Command Without a Click: Dwell Time Typing by Mouse and Gaze Selections , 2003, INTERACT.
[51] Rafael Ramírez,et al. Temporal Control In the EyeHarp Gaze-Controlled Musical Interface , 2012, NIME.
[52] Shumin Zhai,et al. Human on-line response to target expansion , 2003, CHI '03.