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                    "tag": "Expressivity"
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                {
                    "tag": "aesthetic goal"
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                {
                    "tag": "communication"
                },
                {
                    "tag": "construct"
                },
                {
                    "tag": "discipline"
                },
                {
                    "tag": "discourse"
                },
                {
                    "tag": "emotion"
                },
                {
                    "tag": "evaluation"
                },
                {
                    "tag": "experience"
                },
                {
                    "tag": "expression"
                },
                {
                    "tag": "model"
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                {
                    "tag": "non-expressive"
                },
                {
                    "tag": "transparency"
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        "key": "JK2HJCXX",
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            "proceedingsTitle": "Proceedings of the International Conference on New Interfaces for Musical Expression",
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            "place": "Dublin",
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                    "firstName": "Alexander Refsum",
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            "title": "Sonigraphical Instruments: From FMOL to the reacTable*",
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                    "firstName": "Sergi",
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            "abstractNote": "This paper first introduces two previous software-based musicinstruments designed by the author, and analyses the crucialimportance of the visual feedback introduced by theirinterfaces. A quick taxonomy and analysis of the visualcomponents in current trends of interactive music software isthen proposed, before introducing the reacTable*, a newproject that is currently under development. The reacTable* isa collaborative music instrument, aimed both at novices andadvanced musicians, which employs computer vision andtangible interfaces technologies, and pushes further the visualfeedback interface ideas and techniques aforementioned.",
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            "place": "Montreal",
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    {
        "key": "ANHPK773",
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            "title": "The Electronic Sitar Controller",
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                {
                    "creatorType": "author",
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                    "lastName": "Lazier"
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            "abstractNote": "This paper describes the design of an Electronic Sitar controller, adigitally modified version of Saraswati's (the Hindu Goddess ofMusic) 19-stringed, pumpkin shelled, traditional North Indianinstrument. The ESitar uses sensor technology to extract gesturalinformation from a performer, deducing music information suchas pitch, pluck timing, thumb pressure, and 3-axes of head tilt totrigger real-time sounds and graphics. It allows for a variety oftraditional sitar technique as well as new performance methods.Graphical feedback allows for artistic display and pedagogicalfeedback. The ESitar uses a programmable Atmel microprocessorwhich outputs control messages via a standard MIDI jack.",
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            "publisher": "",
            "place": "Hamamatsu, Japan",
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                    "tag": "electronic sitar"
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                {
                    "tag": "esitar"
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                {
                    "tag": "human computer interface"
                },
                {
                    "tag": "indian string controller"
                },
                {
                    "tag": "instrument graphical feedback"
                },
                {
                    "tag": "veldt"
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    {
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        "version": 2,
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                    "firstName": "Michael J.",
                    "lastName": "Lyons"
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            "abstractNote": "The role of the face and mouth in speech production as well asnon-verbal communication suggests the use of facial action tocontrol musical sound. Here we document work on theMouthesizer, a system which uses a headworn miniaturecamera and computer vision algorithm to extract shapeparameters from the mouth opening and output these as MIDIcontrol changes. We report our experience with variousgesture-to-sound mappings and musical applications, anddescribe a live performance which used the Mouthesizerinterface.",
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            "extra": "00048",
            "tags": [
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                {
                    "tag": "alternative input devices."
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                    "lastName": "Parkinson"
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                    "firstName": "Eric",
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            "abstractNote": "This paper reports on a survey conducted in the autumn of 2006 with the objective to understand people's relationship to their musical tools. The survey focused on the question of embodiment and its different modalities in the fields of acoustic and digital instruments. The questions of control, instrumental entropy, limitations and creativity were addressed in relation to people's activities of playing, creating or modifying their instruments. The approach used in the survey was phenomenological, i.e. we were concerned with the experience of playing, composing for and designing digital or acoustic instruments. At the time of analysis, we had 209 replies from musicians, composers, engineers, designers, artists and others interested in this topic. The survey was mainly aimed at instrumentalists and people who create their own instruments or compositions in flexible audio programming environments such as SuperCollider, Pure Data, ChucK, Max/MSP, CSound, etc.",
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