9th Conference on Interdisciplinary Musicology – · PDF filePeter Nelson University of...

9th Conference on Interdisciplinary Musicology – CIM14

PROCEEDINGS

edited by

Timour Klouche&

Eduardo R. Miranda

Program Committee

Torsten Anders University of Bedfordshire, UK

Jaime Arias Laboratoire Bordelais de Recherche en Informatique, Talence, France

Wolfgang Auhagen Universität Halle, Germany

Tim Blackwell Goldsmiths, University of London, UK

Henrik von Coler Staatliches Institut für Musikforschung, Berlin, Germany

Roger Dannenberg Carnegie Mellon University, USA

Myriam Desainte-Catherine Universite de Bordeaux, France

Simon Dixon Centre for Digital Music, Queen Mary University of London, UK

Arnold Dreyblatt Muthesius Academy of Art and Design Kiel, Germany

Simon Durrant University of Lincoln, UK

Mounya Elhilali Laboratory for Computational Audio Perception, The Johns Hopkins University, USA

Dimitris Exarchos Goldsmiths, University of London, UK

Francois-Xavier Feron Laboratoire Bordelais de Recherche en Informatique, Talence, France

Barbara-L. Hampton Hunter College Music Department, New York, USA

Pierre Hanna Laboratoire Bordelais de Recherche en Informatique, Talence, France

Perfecto Herrera Music Technology Group, Universitat Pompeu Fabra, Spain

David Janin Laboratoire Bordelais de Recherche en Informatique, Talence, France

Alexis Kirke University of Plymouth, UK

Timour Klouche Staatliches Institut für Musikforschung, Berlin, Germany

Lars-Christian Koch Ethnologisches Museum, Berlin, Germany

Julia Kursell University of Amsterdam, The Netherlands

Olivier Lartillot University of Geneva, Switzerland

Clara Maida DAAD Berlin, Germany & Paris, France

Alan Marsden Lancaster University, UK

Eduardo Miranda Plymouth University, UK

Peter Nelson University of Edinburgh, UK

Richard Parncutt University of Graz, Austria

Matthias Robine Laboratoire Bordelais de Recherche en Informatique, Talence, France

Robert Rowe New York University, USA

Rodrigo Schramm Universidade Federal do Rio Grande do Sul, Brazil

Uwe Seifert Universität Köln, Germany

Eleanor Selfridge-Field Center for Computer Assisted Research in the Humanities, Stanford University, USA

Stefania Serafin Aalborg University Copenhagen, Denmark

Xavier Serra Universitat Pompeu Fabra, Spain

Anna Rosa Troisi University of Bournemouth, UK

Hasnizam Abd Wahid Universiti Malaysia Sarawak

Gerhard Widmer Johannes Kepler University Linz, Austria

Duncan Williams Plymouth University, UK

Proceedings of the 9th Conference on Interdisciplinary Musicology – CIM14. Berlin, Germany 2014

Preface

We are delighted to host the 9th Conference on Interdisciplinary Musicology at Staatliches Institut für Musikforschung (SIM) Berlin on December 4-6, 2014. This volume includes the proceedings of the conference, which were selected after a rigorous peer-review process.

Back in 2008, we met at SIM Berlin to brainstorm on collaborative projects involving our institutions. We suddenly found ourselves discussing whether a new breed of musical research might be emerging in the 21st century: a highly interdisciplinary and heterogeneous breed at the crossroads of musical creativity, musicology, biology and cutting edge technology. We thought: ‘How about putting together a conference to test the water?’ The idea being that if a fair number of people out there respond to our call for works, then our hypothesis would be confirmed. The CIM (Conference on Interdisciplinary Musicology) series seemed an ideal venue for our risky experiment. And to our surprise, the CIM council approved our proposal for a conference at SIM Berlin.

Six years later another surprise: our call for works did resonate. We confess that we had not anticipated that this conference would attract so many good submissions from all over the world: we received 185 proposals for papers. And even more surprisingly, the unorthodox themes that we tentatively listed in the call for papers proved to be more established than we had envisaged. We were thrilled to see such wealth of new ideas and promising research.

It has been a privilege to put this conference together but we emphasise that it would have been impossible to make it happen without the support of everyone involved. First of all, we would like to thank the reviewers for their valuable expertise and generosity. Next, we would like to express our heartfelt thanks to all authors who submitted work, despite the outcome of the selection process. We sincerely regret that we were unable to accept more works for presentation. Finally, we are grateful to the staff at SIM Berlin and above all, we are much obliged to Thomas Ertelt, director of SIM Berlin, for his unconditional support and encouragement.

November 25, 2014

Timour Klouche & Eduardo R. Miranda

Staatliches Institut für Musikforschung BerlinInterdisciplinary Centre for Computer Music Research, Plymouth University


Table of Contents

Section A

Performing with the Music Paint Machine: provoking an embodied approach toeducational technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Luc Nijs and Marc Leman

The Natures of Technology: David Tudor’s Conception of an Island as a MusicalInstrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

You Nakai

Evaluating Rule- and Exemplar-Based Computational Approaches to ModelingHarmonic Function in Music Theory Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Johanna Devaney, Daniel Shanahan and Kirsten Nisula

Keyboard teaching: a multidisciplinary integration in the e-learning modality . . . . . . . . . . . . . . . . .Helena De Souza Nunes and Cláudio Elisiane Ferreira Dos Santos

Section B

Cyberchant: Medium and message in the computerised notation of newly composedmonastic music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Amanda Haste

Gendered Vocal Construction in Female Electronic Composers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rachel McCarthy

The technological and evolutionary aspects of tonality as a communicative tool . . . . . . . . . . . . . . .

A New Opera Concept: An Identity Quest Mediated by Digital Media and Microtonesin Manfred Stahnkes Orpheus Kristall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Navid Bargrizan

Composing the Musical Self Online: Social Media as Audience Engagement . . . . . . . . . . . . . . . . .Emily Erken

Sharing digital performance notation with the audience. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tom Hall and Alan F. Blackwell

Section C

Post-subjective listening and technological agency. An actor-network perspective . . . . . . . . . . . . .Sebastian Klotz

Non-Thinking Music Making: A proposed methodology to emancipate improvisation . . . . . . . .Tim Sayer

Paradigms of Music Software Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Andreas Möllenkamp


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A generative system for the creation of new songs from Portuguese prosody . . . . . . . . . . . . . . . . . . .

Rodrigo Schramm, Helena De Souza Nunes, Aurélien Antoine and Eduardo Miranda

Automatic Melody Composition and Evolution: a Cognitive-based Approach . . . . . . . . . . . . . . . .

Valerio Velardo and Mauro Vallati

n of ALS Pathophysiology: Notes on Timbre and Spatialisation in Unfolding— Clusters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Federico Visi, Duncan Williams, Giovanni Dothel and Eduardo Miranda

Modelling Improvised, Musical Gestures: an empirical approach to identify andcompare gestures in ’free improvisation’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Fernando Gualda and Pedro Rebelo

Automatic Music Composition from a Self-Learning Algorithm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Michele Della Ventura

Modelling Durational Accents for Computer-Aided Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Torsten Anders

Comparing and Accessing Digital Music Related Data in the Project "Freischütz Digital" . . . . . . .

Thomas Prätzlich, Johannes Kepper, Solveig Schreiter and Meinard Müller

motioncomposer. An analytical approach to a composed system. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Miriam Akkermann and Marcello Lussana

Perception and identification of piano timbre nuances in digital performance simulationsvs. audio recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Michel Bernays, Philippe Depalle and Marcelo M. Wanderley

Flight of the Sea Swallow: A Multimodal Approach to Examining CollaborativeInteraction in Networked Music Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Roger Mills

Justifying Results of the Music Recommender System HORST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Björn Forcher, Sahar Javadi, Christian Reuschling, Stephan Baumann and Andreas Dengel

Concept Invention and Music: Creating Novel Harmonies via Conceptual Blending . . . . . . . . . .

Emilios Cambouropoulos, Maximos Kaliakatsos-Papakostas, Kai-Uwe Kühnberger,Oliver Kutz and Alan Smaill

Musical Expressivity - Considerations Between Sound Synthesis, Musicology and OtherDisciplines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Henrik von Coler

The Ableton Push and the Concretization of Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Jacob Robbins


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Section D

Subsection D1

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Melody extraction in symphonic classical music: a comparative study of mutualagreement between humans and algorithms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Juan J. Bosch and Emilia Gómez

Towards Capturing Melodic Stability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Dimitrios Bountouridis and Jan Van Balen

Comparing Repetition-Based Melody Segmentation Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..Marcelo Enrique Rodriguez Lopez, Anja Volk and Bas de Haas

Compression-based Dependence Analysis among Rhythmic Motifs . . . . . . . . . . . . . . . . . . . . . . . . . . .Pierre Donat-Bouillud, Samer Abdallah and Nicolas Gold

Coarsening Maps as Mathematical Foundations of Reductive Analysis . . . . . . . . . . . . . . . . . . . . . . . ..Immanuel Albrecht, Martin A. Rohrmeier and Stefan Schmidt

Subsection E2

Dynamics in jazz improvisation - score-informed estimation and contextual analysis oftone intensities in trumpet and saxophone solos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . 156

Jakob Abeßer, EstefaníaCano, Klaus Frieler and Martin rer

Automatic style n of jazz records with respect to rhythm, tempo, and tonality 162Arndt Eppler, Andreas Maennchen, Christof Weiss , Jakob Abeßer and Klaus Frieler

Chroma-Based Scale Matching for Audio Tonality Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . 168Christof Weiss and Julian Habryka

Big Chord Data Extraction and Mining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 174Mathieu Barthet, Mark Plumbley, Alexander Kachkaev, Jason Dykes , Daniel Wolffand Tillman Weyde

Visualising Chord Progressions in Music Collections: A Big Data Approach . . . . . . . . . . . . . . . . .. 180Alexander Kachkaev, Daniel Wolff , Mathieu Barthet, Mark Plumbley, Jason Dykesand Tillman Weyde

Quantifying and Visualizing Tonal Complexity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . 184Christof Weiss and Meinard Mueller

Subsection E3

Timbres role in music: investigating its dependency on pitch and dynamics duringmusical performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Sven-Amin Lembke and Stephen McAdams

Towards a multimodal analysis of European Piano Schools of Music Performance . . . . . . . . . . . . 191a Lourenço, Luís Gustavo Martins, Marcelo M. Wanderley, Mickael Tits and

Ricardo Megre

Exploring the functioning and the performance of piano actions with multibody modeling 195Baudouin Bokiau, Anne-Emmanuelle Ceulemans and Paul Fisette

Technology in Music Performance as Virtuosity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 201Erin Heisel

Section E

Subsection E1


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Studying the role of tempo in music performance: a multimodal approach .. . . . . . . . . . . . . . . . . . . . .Esther Coorevits, Dirk Moelants, Pieter-Jan Maes and Marc Leman

Technologies of Timbre: On Audio Features and Evaluation in Interdisciplinary MusicResearch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Kai Siedenburg, Ichiro Fujinaga and Stephen McAdams

Subsection E4

Donatoni: Quartetto III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Massimo Avantaggiato

. . . . . . . . . . . . . . . . . . . . . . .The Geometry of the Peruvian Landó and its Diverse Rhythmic PatternsJuan Medina and Jan Tro

The Halaphon and its use in Luigi Nonos Prometeo in Venice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Martha Brech and Henrik von Coler

Contrapunctus v.1.0: A Species Counterpoint Analysis and Generation Software, Basedon the Rules of Fux, Jeppesen and Salzer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

etnamatsuBanudrOepileFdnaalivAevaeMosnoflA

The Mashup and the Motet – everything old is new again . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Joseph Morgan

Section F

Gesture cutting through textual complexity: Towards a tool for online gestural analysisand control of complex piano notation processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Pavlos Antoniadis, Frederic Bevilacqua and Dominique Fober

Using motion-capture technologies to investigate cross-modal mappings of sound and music:Empirical findings from two studies involving real-time drawings and gestures . . . . . . . . . . . . . . . . .

Mats Küssner

New Music Visualization for Attractive Listening to Classical Music . . . . . . . . . . . . . . . . . . . . . . . . .Dasaem Jeong and Younghae Noh

Control Of Sound Spatialization By Means Of A Multi-Protocol Modular Toolbox . . . . . . . . . . .Johannes Regnier and Stephan Mauer

Haptic pattern representation using music technologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Adam Tindale, Michael Cumming and Sara Diamond

Section G & H (Subsection H1)

Recording opera as a creative act: subverting representation and the laws of physics incontemporary opera productions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Pieter Snapper

Blurring the Lines: an Integrated Compositional Model for Digital Musical InstrumentDesign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Mat Dalgleish, Christopher Foster and Steve Spencer

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Digital augmentation of the electric guitar based on extended playing techniques . . . . . . . . . . . . .Trond Engum

Using Acoustic Modelling to Design and Print a Microtonal Clarinet . . . . . . . . . . . . . . . . . . . . . . . . .Nicholas Bailey, Théo Cremel and Alex South

Guitar multiphonics: e of n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rita Torres and Paulo Ferreira-Lopes

Estimation of Saxophone Control Parameters by Convex Optimization . . . . . . . . . . . . . . . . . . . . . . . .Cheng-I Wang, Tamara Smyth and Zachary C. Lipton

Subsection H2

Smart Material Wolf Note Eliminators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Philipp Neubauer, Johannes Tschesche, Joachim Bös, Tobias Melz and Holger Hanselka

Spectral imaging to enhance fading inscriptions on historical instruments . . . . . . . . . . . . . . . . . . . . .Camille Simon Chane and Philippe Bruguiere

The Violin Ontology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Massimiliano Zanoni, Francesco Setragno and Augusto Sarti

The trombone; how it works and how it is performed, with and without auditory feedback . . . .Eirik Kristensen and Jan Tro

Section I

Brazilian sacred music of the 18th. and 19th. centuries and digital editions: the SalveRegina by Lobo de Mesquita (1745?-1805) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Carlos Alberto Figueiredo

International Documentation of Electronic Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Folkmar Hein and Thomas Seelig

Systematising History: A Database for Electronic and Digital Musical InstrumentsIncluding F unctional and Aesthetical Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Sarah-Indriyati Hardjowirogo and Hauke Egermann

Automatic Creation of Knowledge Graphs from Digital Musical Document Libraries . . . . . . . . .Sergio Oramas, Mohamed Sordo and Xavier Serra

Section K

Mixed music creative process documentation methodology: outcomes of the DiP-CoREproject . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Guillaume Boutard and Fabrice Marandola

To see within electronic and percussion improvisations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Grégoire Lavergne and Amandine Pras

Postrum: encouraging good posture in trumpet players through directional hapticfeedback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Mat Dalgleish and Steve Spencer

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Sounding sculptures for the augmentation of musical experience in live electroacousticmusic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anna Troisi and Antonino Chiaramonte

Performer perceptions in music for e and electronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Beata Glinka

Transdisciplinarity, An Artistic Practice: Gesture-Sound Space and SICMAP . . . . . . . . . . . . . . . . . .

Barah Héon-Morissette

From input to output: Harnessing hardware for mixed performance. . . . . . . . . . . . . . . . . . . . . . . . . . .

Jessica Aslan

Special Section New Emerging Technologies

Unconventional Computing In Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Edward Braund and Eduardo Miranda

Q-Muse: A Quantum Computer Music System Designed For A Performance ForOrchestra, Electronics And Live Internet-Connected Photonic Quantum Computer . . . . . . . . . . . . .

Alexis Kirke, Peter Shadbolt, Alex Neville, Aurélien Antoine and Eduardo Miranda

Principles, challenges and future directions of physiological computing for the physicalperformance of digital musical instruments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Marco Donnarumma and Atau Tanaka

Unconventional Computer Music with Physarum Polycephalum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Edward Braund and Eduardo Miranda

MIMED – Proposal For A Programming Language At The Meeting Point BetweenChoreography, Music And Software Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Alexis Kirke, Olivia Gentile, Federico Visi and Eduardo Miranda

Special Section Ethnomusicology / Cultural Musicology

Automatic analysis of music: Performance of cantillation signs in Yemenite Jewishtraditional cantillation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Adiel Ben-Shalom, Joseph Keshet and Roni Yeger-Granot

Tools for detection and n of piano drum patterns from Candombe recordings . . . . .

Martín Rocamora, Luis Jure and Luiz W. P. Biscainho

Detection Of Micro-Tonal Ornamentations In Dhrupad Using A Dynamic ProgrammingApproach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Achyuth Narayan and Navjyoti Singh

The Song genres in the musical folklore of Nganasans. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Oksana E. Dobzhanskaya, Valenlin Ju. Gusev and Maria M. Brykina

The studying of Yakut musical instruments on the basis of linguistic and ethnographicdata from "the Yakut dictionary" by E. Pekarskiy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Varvara Diakonova


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Toward an Improved Automatic Melodic Accompaniment to Arab Vocal Improvisation,Maww . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Fadi Al-Ghawanmeh, Mohammad Al-Ghawanmeh and Nedal Obeidat

A Computational Ethnomusicology Approach for the Automatic Transcription ofTraditional Turkish Art Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Ali Cenk Gedik

Three Dimensional n Of fMRI Brain Data In The Musical Compositions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Timothy Schmele and Imanol Gomez

Binaural Audio Relaxation Techniques For People With Anxiety And Stress . . . . . . . . . . . . . . . . . .Santiago Renteria, Geraldine Molina, Juan Levi Serrano, Emilia Sainz andDiana Urquiza

P e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Janette Alle Tamer, Emilio Javier Anaya Acosta, Marco Antonio Garcia Quintanar,Iván Alberto García López, Héctor Domingo Orozco Pérez, Rubén Rodríguez Pérez andand Diana Urquiza

Expanding On Brain Control: A e Hybrid BCMI For Drum MachineCombining Active (SSVEP) And Passive (Affective Response) Brainwave Control. . . . . . . . . . . .

Joel Eaton and Eduardo Miranda

Special Section Xenakis

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sharon Kanach

Mistify: Dynamically Recreating Recomposing Xenakis’ Mists . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Thor Kell

. . . . . . . . . . . . .Boris Hofmann

e G D visualisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ryo Ikeshiro

P n Art Updated: Recent Developments in Graphical and Stochastic Syn . . . . .Peter Hoffmann


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9th Conference on Interdisciplinary Musicology – · PDF filePeter Nelson University of...

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