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


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