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


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