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2018 |
Hong, Yu |
| USING RECURRENT NEURAL NETWORKS TO DREAM SEQUENCES OF AUDIO
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2018 |
Pfalz, Andrew |
| POPULOUS OSCILLATION: VARIETY IN INTERACTIVE EVOLUTIONARY COMPUTATION FOR MUSIC IMPROVISATION
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2018 |
Pedersen, Anders Bach |
| ACCESSIBLE DIGITAL MUSICAL INSTRUMENTS - A SURVEY OF INCLUSIVE INSTRUMENTS PRESENTED AT THE NIME, SMC AND ICMC CONFERENCES
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2018 |
Frid, Emma |
| AMAI: ADAPTIVE MUSIC FOR AFFECT IMPROVEMENT
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2018 |
Su, David |
| AUDIOWORKLET: THE FUTURE OF WEB AUDIO
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2018 |
Choi, Hongchan |
| (RE)DISCOVERING SOUNDS OF CCRMA - TOWARDS COMPUTER MUSIC PRESERVATION
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2018 |
Dahan, Kevin |
| SUSTAINABILITY OF COMPOSITIONS INVOLVING ELECTRONIC TECHNOLOGY: PART I - IN CONVERSATION WITH ALCIDES LANZA
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2018 |
Garbet, Brian |
| PHILOSOPHICAL UNDERPINNINGS OF ENVIRONMENTAL MUSIC
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2018 |
Carson, Tate |
| THE CONTRIBUTIONS OF COMPUTER MUSIC PIONEER KNUT WIGGEN
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2018 |
Rudi, Jøran |
| VOICE IN ELECTRONIC MUSIC: HANDLING LIMITATIONS IN STOCKHAUSEN’S GESANG DER JÜNGLINGE AND LANSKY'S SIX FANTASIES
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2018 |
Volker, Mark |
| INHERENT MEANINGS FROM THE ENVIRONMENTAL IMPACTS OF THE PRODUCTION AND PERFORMANCE OF ELECTRONIC MUSIC
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2018 |
Blandino, Michael |
| UNIVERSITY OF OREGON — FUTURE MUSIC OREGON 2018 STUDIO REPORT
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2018 |
Stolet, Jeffrey |
| DO PEOPLE WITH ABSOLUTE PITCH REALLY PRODUCE THE P300 RESPONSE WHEN PROCESSING TONES?
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2018 |
Park, Jonghwa |
| CHORDSCANNER: BROWSING CHORD PROGRESSIONS BASED ON MUSICAL TYPICALITY AND INTRA-COMPOSER CONSISTENCY
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2018 |
Nakamura, Hiromi |
| LIVE 4 LIFE - A SPATIAL PERFORMANCE TOOL FOCUSED ON RHYTHM AND PARAMETER LOOPS
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2018 |
Lengelé, Christophe |
| RAINBOW BLOB: AUGMENTED HANDPAN USING LEAP MOTION AND OCULUS RIFT
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2018 |
Steinmeier, Christine |
| “CHORALE” VIOLIN HARMONIZATION: A PRACTICAL, COMPOSITIONALLY-BASED SYSTEM FOR GENERATING LIVE HARMONIES
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2018 |
Tignor, Christopher |
| DIPOLE INSTRUMENTS FOR SKETCHING IN HARDWARE WITH EMBEDDED ACOUSTICS
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2018 |
Berdahl, Edgar |
| MUGEETION: MUSICAL INTERFACE USING FACIAL GESTURE AND EMOTION
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2018 |
Koh, Eunjeong Stella |
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