PO3: Sources that might be interesting

Sources that might be interesting and were mentioned in the papers of Teresa Marrin and Wolfgang Samminger:
  • Allen, Paul E. and Roger B. Dannenberg, "Tracking Musical Beats in Real Time." Proceedings of the International Computer Music Conference, 1990. San Francisco: Computer Music Association, 1990, pp. 140-143.
  • Anderson, D. and R. Kuivila. (1991). Formula: A Programming Language for Expressive Computer Music. IEEE Computer: 12-21.
  • Arcos, J. L., Dolores Canamero, and Ramon Lopez de Mantaras. (1998). Affect-Driven Generation of Expressive Musical Performances. "Emotional and Intelligent: the Tangled Knot of Cognition," AAAI Fall Symposium.
  • Armstrong, D. F., William C. Stokoe, and Sherman E. Wilcox (1995). Gesture and the Nature of Language. Cambridge, England, Cambridge University Press.
  • Berlioz, Hector (1843). Grand Traité d'instrumentation et d'orchestration moderne. Paris, Schönenberger (réédition: Paris-Bruxelles, Lemoine, 1844).
  • Berlioz, H. / Strauss, R. (1948). Treatise on Orchestration. New York, Edwin Kalmus.
  • Bernsee, Stephan M.: Time and Pitch Scaling of Audio Signals, 1995-2002
  • Bilmes, Jeffrey Adam. "Timing is of the Essence: Perceptual and Computational Techniques for Representing, Learning, and Reproducing Expressive Timing in Percussive Rhythm." Masters' Thesis, Media Lab, M.I.T., 1993.
  • Bobick, A. and A. Wilson. (1995). Using Configuration States for the Representation and Recognition of Gesture. Cambridge, MA, MIT Media Laboratory Perceptual Computing Section.
  • Bobick, A. F. and Y. A. Ivanov. (1998). Action Recognition using Probabilistic Parsing. Computer Vision and Pattern Recognition, IEEE Computer Society.
  • Bonada, Jordi: Automatic technique in frequency domain for near-lossless time-scale modification of audio; Proc. ICMC 2000, ICMA, Staatsbibliothek zu Berlin, Berlin, Deutschland, 2000 (pdf on media (49.50 Kb))
  • Bordegoni, M. (1994). "Parallel use of hand gestures and force-input device for interacting with 3D and virtual reality environments." International Journal of Human-Computer Interaction 6(4): 391-413.
  • Boult, Sir Adrian. (1968). A Handbook on the Technique of Conducting. London, Paterson's Publications, Ltd.
  • Brecht, B., and Garnett, G. (1995). Conductor Follower. Proceedings of the International Computer Music Conference, Banff Centre for the Arts, Banff, Canada.
  • Bremmer, J. and H. Roodenburg. (1991). A Cultural History of Gesture. Ithaca, New York, Cornell University Press.
  • Bruml, B. J. and N. F. H. (1975). A Dictionary of Gestures. Metuchen, NJ.
  • Burt, W. (1994). "Thoughts on Physicality and Interaction in Current Electronic Music and Art." Continuum 8(1).
  • Campbell, L. W., David A. Becker, Ali Azarbayejani, Aaron F. Bobick, and Alex Pentland. (1996). Invariant features for 3-D gesture recognition. Second International Workshop on Face and Gesture Recognition.
  • Camurri, A., Matteo Ricchetti, Massimiliano Di Stefano, and Alessandro Stroscio. (1998). EyesWeb - toward gesture and affect recognition in dance/music interactive systems. XII Colloquium on Musical Informatics.
  • Choi, I. (1998). From Motion to Emotion: Synthesis of Interactivity with Gestural Primitives. "Emotional and Intelligent: the Tangled Knot of Cognition." AAAI Fall Symposium.
  • Darrell, T. J., Irfan A. Essa, and Alex P. Pentland. (1995). Task-specific Gesture Analysis in Real-Time using Interpolated Views. Cambridge, MA, M.I.T. Media Laboratory Perceptual Computing Section.
  • Darrell, T. J. and A. P. Pentland. (1993). Space Time Gestures. IEEE Computer Society Conference on Computer Vision and Pattern Recognition.
  • Darrell, T. J. and A. P. Pentland. (1995). Attention-driven Expression and Gesture Analysis in an Interactive Environment. Cambridge, MA, M.I.T. Media Laboratory Vision and Modeling Group, Technical Report #364.
  • DIVA - Digital Interactive Virtual Acoustics
  • Doscher, J. (1996). Using Micro-Machined Accelerometers in Joysticks, 3DOF and 6DOF Systems: A New Paradigm for the Human Computer Interface. Norwood, MA, Analog Devices, Inc. Transportation and Industrial Products Division.
  • Fels, S. and G. Hinton. (1997). "Glove-TalkII: A neural network interface which maps gestures to parallel formant speech synthesizer controls." IEEE Transactions on Neural Networks.
  • Gibet, S., A. Braffort, C. Collet, F. Forest, R. Gherbi and T. Lebourq. (1996). Gesture in Human-Machine Communication: capture, analysis-synthesis, recognition, semantics. Gesture Workshop, London, Springer-Verlag.
  • Haflich, Stephen / Burns, Mark: Following a conductor: the engineering of an input device; Proc. ICMC 1983, ICMA, Eastman School of Music, Rochester/NY, 1983
  • Harling, P. (1997). Gesture-Based Interaction. http://dcpul.cs.york.ac.uk/~philiph/gestures.html
  • Harling, P. A. and A. D. N. Edwards. (1997). Hand Tension as a Gesture Segmentation Cue. Gesture Workshop ‘96, London, Springer-Verlag.
  • Ilmonen, Tommi: Tracking Conductor of an Orchestra Using Artificial Neural Networks; STeP’98, Human and Artificial Information Processing Finnish Conference on Artificial Intelligence, Jyväskylä, Finland, 1998 (pdf on media (1.58 Mb))
  • Ilmonen, Tommi / Takala, Tapio: Conductor Following With Artificial Neural Networks; Proc. ICMC 1999, ICMA, Beijing, China, 1999 (pdf on media (1.04 Mb))
  • Kjeldsen, R. and J. Kender. (1995). Visual Hand Gesture Recognition for Window System Control. International Workshop on Automatic Face- and Gesture-Recognition, Zurich, Switzerland.
  • Krom, M. W. (1996). Machine Perception of Natural Musical Conducting Gestures. M.S. Thesis, Media Laboratory. Cambridge, MA, M.I.T.
  • Kurtenbach, G. and E.A. Hulteen. (1990). Gestures in Human-Computer Communication. The Art of Computer-Human Interface Design. B. Laurel, ed. Reading, MA, Addison-Wesley Publishing Company: 309-317.
  • Lee, M., Freed, A., Wessel, D. (1991). Real-Time Neural Network Processing of Gestural and Acoustic Signals. International Computer Music Conference, Montreal, International Computer Music Association.
  • Lee, M., Garnett, Guy E. and Wessel, D. (1992). An Adaptive Conductor Follower. International Computer Music Conference, San Jose State University, International Computer Music Association. http://www.cnmat.berkeley.edu/~adrian/AES95/.
  • Logemann, G. W. (1989). Experiments with a Gestural Controller. International Computer Music Conference, International Computer Music Association, pp. 184-185.
  • Machover, T. (1996). The Brain Opera. http://brainop.media.mit.edu.
  • Marrin Nakra, T. (1999). Searching for Meaning in Gestural Data: Interpretive Feature Extraction and Signal Processing for Affective and Expressive Content. Trends in Gestural Control of Music. M. Wanderley, ed. Paris, IRCAM.
  • Marrin, T. (1996). Toward an Understanding of Musical Gesture: Mapping Expressive Intention with the Digital Baton. M.S. Thesis, Media Laboratory. Cambridge, MA, Massachusetts Institute of Technology.
  • Marrin, T. (1997). Possibilities for the Digital Baton as a General-Purpose Gestural Interface. CHI '97 Conference on Human Factors in Computing Systems, pages 311-312.
  • Marrin, T. and J. Paradiso. (1997). The Digital Baton: a Versatile Performance Instrument. International Computer Music Conference, Thessaloniki, Greece, pages 313-316.
  • Marrin, T. and R. Picard. (1998). Analysis of Affective Musical Expression with the Conductor's Jacket. XII Colloquium for Musical Informatics, Gorizia, Italy, pages 61-64.
  • Marrin, T. and R. Picard. (1998). The Conductor's Jacket: a Device for Recording Expressive Musical Gestures. International Computer Music Conference, Ann Arbor, MI, pages 215-219.
  • Mathews, M. V. (1991). The Conductor Program and Mechanical Baton. Current Directions in Computer Music Research. M.V. Mathews and J. R. Pierce, eds. Cambridge, MIT Press.
  • Metois, E. (1996). Musical Sound Information: Musical Gesture and Embedding Synthesis. Ph.D. Thesis, Media Laboratory. Cambridge, MA, Massachusetts Institute of Technology.
  • Modler, P. (1998). Expressing Emotions: Using Symbolic and Parametric Gestures in Interactive Systems. "Emotional and Intelligent: the Tangled Knot of Cognition." AAAI Fall Symposium.
  • Morita, H., Shuji Hashimoto, and Sadamu Ohteru. (1991). A Computer Music System that Follows a Human Conductor. Computer Magazine. 24: 44-53.
  • Mulder, A. (1996). "Getting a Grip on Alternate Controllers: Addressing the Variability of Gestural Expression in Musical Instrument Design." Leonardo Music Journal 6: 33-40.
  • Mulder, A., S. Fels and K. Mase. (1997). Empty-handed Gesture Analysis in Max/FTS. Kansei -- The Technology of Emotion, AIMI International Workshop, Genova, Italy.
  • Quek, F. (1993). Hand Gesture Interface for Human-Machine Interaction. Virtual Reality Systems.
  • Rovan, B. and M. Wanderley. (1998). Gestural Controllers: Strategies for Expressive Application. SEAMUS.
  • Rovan, J. B., Marcelo M. Wanderley, Shlomo Dubnov and Philippe Depalle, (1997). Instrumental Gestural Mapping Strategies as Expressivity Determinants in Computer Music Performance. KANSEI - The Technology of Emotion.
  • Rudolf, M. (1994). The Grammar of Conducting. New York, Schirmer Books.
  • Sawada, H., Shin'ya Ohkura, and Shuji Hashimoto. (1995). Gesture Analysis Using 3D Acceleration Sensor for Music Control. International Computer Music Conference.
  • Segen, Jakub / Majumder, Aditi / Gluckman, Joshua: Virtual Dance and Music Conducted by a Human Conductor; Bell Laboratories, Holmdel/NJ, 2000
  • Starner, T. and A. Pentland. (1995). Real-Time American Sign Language Recognition from Video Using Hidden Markov Models. Cambridge, MA, MIT Media Laboratory Perceptual Computing Section, Technical Report #375.
  • Usa, S. and Y. Mochida. (1998). "A conducting recognition system on the model of musicians' process." Journal of the Acoustical Society of Japan 19(4).
  • Usa, Satoshi / Mochida, Yasunori: A Multi-Modal Conducting Simulator; Proc. ICMC 1998, ICMA, Univ. of Michigan, Ann Arbor/MI, 1998
  • Wanderley, M. (1996). 3D Position Signals Acquisition System with application in real-time processing. ICSPAT.
  • Wanderley, M. (1997). Instrumental Gestural Mapping Strategies as Expressivity Determinants in Computer Music Performance. Kansei - the Technology of Emotion Workshop.
  • Wanderley, M. M. (1999). Non-obvious Performer Gestures in Instrumental Music. III Gesture Workshop, Gif-sur-Yvette - France.
  • Watanabe, T. and M. Yachida. (1998). Real Time Gesture Recognition Using Eigenspace from Multi Input Image Sequences. IEEE Conference on Face and Gesture, Nara, Japan.
  • Wexelblat, Alan Daniel. "A Feature-Based Approach to Continuous-Gesture Analysis." Masters' Thesis, M.I.T. Media Laboratory, 1994.
  • Wilson, A., Aaron Bobick, and Justine Cassell. (1996). Recovering the Temporal Structure of Natural Gesture. Second International Conference on Automatic Face and Gesture Recognition.
  • Wilson, A. and A. Bobick. (1995). Learning Visual Behavior for Gesture Analysis. IEEE Symposium on Computer Vision.
  • Wilson, A. and A. F. Bobick. (1998). Nonlinear PHMMs for the Interpretation of Parameterized Gesture. IEEE Computer Society Conference on Computer Vision and Pattern Recognition.
  • Wilson, A. and A. F. Bobick. (1998). Recognition and Interpretation of Parametric Gesture. International Conference on Computer Vision.
  • Wilson, A. and A. F. Bobick. (1999). Parametric Hidden Markov Models for Gesture Recognition. IEEE Transactions on Pattern Analysis and Machine Intelligence.
  • Wilson, A. D. and A. F. Bobick. (1999). Realtime Online Adaptive Gesture Recognition. International Workshop on Recognition, Analysis and Tracking of Faces and Gestures in Real Time Systems.
  • Wundt, W. M. (1973). The Language of Gestures. The Hague, Mouton & Company. Reprinted from 1921 edition.
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