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Équipe Analyse/Synthèse |
2 - C. Cadoz and C. Ramstein, ``Capture, representation and «composition» of the instrumental gesture,'' in Proc. Int. Computer Music Conf. (ICMC'90), pp. 53-56, 1990.
3 - C. Cadoz, ``Le geste canal de communication homme-machine. la communication «instrumentale»,'' Sciences Informatiques - Numéro Spécial: Interface Homme-Machine, vol. 13, no. 1, pp. 31-61, 1994.
4 - E. Métois, Musical Sound Information - Musical Gestures and Embedding Systems. PhD thesis, Massachusetts Institut of Technology, Available at: http://brainop.media.mit.edu/Archive/Metois/Thesis0.html, 1996.
5 - B. Zagonel, ``Le geste musical,'' Master's thesis, IRCAM - Ecole de Hautes Etudes en Sciences Sociales, 1990. Memoire de DEA em Musique et Musicologie du XXeme siecle.
6 - S. Gibet, Codage, Représentation et Traitement du Geste Instrumental. PhD thesis, Institut National Polytechnique de Grenoble, 1987.
7 - R. Moog and T. Rea, ``Evolution of the keyboard interface: The bosendorfer 290se recording piano and the moog multiply-touch-sensitive keyboards,'' Computer Music J., vol. 14, no. 2, pp. 52-60, 1990.
8 - M. Pascal, ``Le studio instrumental: les donnes d'une virtuosite a l'interieur meme du son,'' in Colloque Les Nouveaux Gestes de la Musique, GMEM - Marseille, 1997.
9 - J. C. Risset, ``Nouveaux gestes musicaux: quelques points de repere historiques,'' in Colloque Les Nouveaux Gestes de la Musique, GMEM - Marseille, 1997.
10 - M. Laliberte, ``Archetypes et paradoxes des nouveaux instruments de musique,'' L'Aventure humaine, pp. 11-22, Automme-Hiver 1995.
11 - C. Cadoz, A. Luciani, and J. L. Florens, ``Responsive imput devices and sound synthesis by simulation of instrumental mechanisms: The cordis system,'' Computer Music J., vol. 8, no. 3, pp. 60-73, 1984.
12 - B. Bongers, ``The use of active tactile and force feedback in timbre controlling electronic instruments,'' in Proc. Int. Computer Music Conf. (ICMC'94), pp. 171-174, 1994.
13 - L. Chu, ``Haptic feedback in computer music performance,'' in Proc. Int. Computer Music Conf. (ICMC'96), pp. 57-58, 1996.
14 - V. Krefeld, ``The hand in the web: An interview with michel waiswisz,'' Computer Music J., vol. 14, no. 2, pp. 28-33, 1990.
15 - R. Boie, M. Mathews, and A. Schloss, ``The radio drum as a synthesizer controller,'' in Proc. Int. Computer Music Conf. (ICMC'89), pp. 42-45, 1989.
16 - M. V. Mathews and J. R. Pierce, Current Directions in Computer Music Research. System development foundation benchmark series, MIT Press, 1989.
17 - H. C. Fantapie, ``L'analyse de la partition dans la pratique du chef d'orchestre. de l'analyse de l'ecrit a l'analyse du geste,'' Revue d'Analyse Musicale, pp. 26-30, Janvier 1988.
18 - T. A. Marrin, ``Toward an understanding of musical gesture: Mapping expressive intention with the digital baton,'' Master's thesis, Massachusetts Institut of Technology, Available at: http://brainop.media.mit.edu/Archive/Thesis.html, 1996.
19 - C. Cadoz, L. Lisowski, and J. L. Florens, ``A modular feedback keyboard design,'' Computer Music J., vol. 14, no. 2, pp. 47-51, 1990.
20 - C. Cadoz, L. Lisowsky, and J. L. Florens, ``Modular feedback keyboard,'' in Proc. Int. Computer Music Conf. (ICMC'90), pp. 379-382, 1990.
21 - M. Waiswisz, ``The hands, a set of remote midi-controllers,'' in Proc. Int. Computer Music Conf. (ICMC'85), pp. 313-318, 1985.
22 - A. Camurri, ``Interactive dance/music systems,'' in Proc. Int. Computer Music Conf. (ICMC'95), pp. 245-252, 1995.
23 - D. Keane and P. Gross, ``The midi baton,'' in Proc. Int. Computer Music Conf. (ICMC'89), pp. 151-154, 1989.
24 - D. Keane, G. Smecca, and K. Wood, ``The midi baton ii,'' in Proc. Int. Computer Music Conf. (ICMC'90), 1990.
25 - G. Bertini and P. Carosi, ``Light baton: a system for conducting computer music performance,'' in Proc. Int. Computer Music Conf. (ICMC'92), pp. 73-76, 1992.
26 - H. Morita, S. Otheru, and S. Hashimoto, ``Computer music system which follows a human conductor,'' in Proc. Int. Computer Music Conf. (ICMC'89), pp. 207-210, 1989.
27 - H. Morita, H. Watanabe, T. Harada, S. Otheru, and S. Hashimoto, ``Knowledge information processing in conducting computer music performance,'' in Proc. Int. Computer Music Conf. (ICMC'90), pp. 332-334, 1990.
28 - T. Machover, ``Hyperinstruments - a progress report 1987 - 1991,'' tech. rep., Massachusetts Institut of Technology, 1992.
29 - T. Machover and J. Chung, ``Hyperinstruments: Musically intelligent and interactive performance and creativity systems,'' in Proc. Int. Computer Music Conf. (ICMC'89), pp. 186-190, 1989.
30 - T. Machover, ``"classic" hyperinstruments - 1986-1992 - a composer's approach to the evolution of intelligent musical instruments.'' Available at: http://brainop.media.mit.edu/Archive/Hyperinstruments/classichyper.html.
31 - E. B. Egozy, ``Deriving musical control features from a real-time timbre analysis of the clarinet,'' Master's thesis, Massachusetts Institut of Technology, 1995.
32 - ``Joystick music.'' MIT Media Lab., 1997. Hyperinstruments project.
33 - F. Matsumoto, ``Using simple controls to manipulate complex objects: Application to the drum-boy interactive percussion system,'' Master's thesis, Massachusetts Institut of Technology, 1993.
34 - T. Machover, ``Technology and creative expression,'' October 1995. Available at: http://brainop.media.mit.edu/Archive/Hyperinstruments/creative.html.
35 - J. Rovan, ``Personnal communication,'' 1997.
36 - S. Dubnov, ``Personnal communication,'' 1997.
37 - D. Cohen and S. Dubnov, Studies in Systematic and Cognitive Musicology, ch. Gestalt Phenomena in Texture Units in Music that Focuses on the Moment. Berlin: Springer-Verlag, To appear.
38 - S. Dubnov, D. Cohen, and N. Wagner, ``Uncertainty in distinguishing between structure and ornamentation in music,'' in Proceedings of the International Fuzzy Systems Association Conference (IFSA), 1995.
39 - S. Dubnov and N. Tishby, ``Clustering of musical sounds using polyspectral distance measures,'' in Proc. Int. Computer Music Conf. (ICMC'95), 1995.
40 - S. Dubnov and N. Tishby, ``Analysis of sound textures in musical and machine sounds by means of higher order statistical features,'' in Proceedings of the International Conference on Acoustics, Speech and Signal Processing (ICASSP), 1997.
41 - INPI, ``Exposition: Touches a touches.'' Interfaces - Marseille, Avril 1997.
42 - M. Wanderley, S. Tassart and P. Depalle, ``Instruments Virtuels.'' Résonance 12 - à paraître, 1997.
43 - C. Cadoz, ``Les Réalités virtuelles.''. Collection DOMINOS, Paris: Flamarion, 1994.
44 - D. Buchla, ``Lightning II midi controller.'' http://www.buchla.com/. Buchla and Associates' Homepage.
45 - D. Rubine and P. McAvinney, ``The videoharp,'' in Proc. Int. Computer Music Conf. (ICMC'88), pp. 49-55, 1988.
46 - W. Bauer and B. Foss, ``Gams: An integrated media controller system,'' Computer Music J., vol. 16, no. 1, pp. 19-24, 1992.
47 - J. Manzolli, ``The development of a gesture's interface laboratory,'' in Proceedings of the 2nd Brazilian Symposium on Computer Music, pp. 88-91, 1995.
48 - G. H. T. Lima, M. Maes, M. Bonfim, M. V. Lamar, and M. M. Wanderley, ``Dance-music interface based on ultrasound sensors and computers,'' in Proceedings of the 3rd Brazilian Symposium on Computer Music, pp. 12-16, 1996.
49 - P. Pierrot and A. Terrier, ``Le violon midi,'' tech. rep., IRCAM, 1997.
50 - N. Gershenfeld and J. Paradiso, ``Musical applications of electric field sensing.'' to be published in Computer Music J.
51 - A. Mulder, ``Virtual musical instruments: Accessing the sound synthesis universe as a performer,'' in Proceddings of the First Brazilian Symposium on Computer Music, 1994.
52 - A. Mulder, ``Getting a grip on alternate controllers: Addressing the variability of gestural expression in musical instrument design,'' Leonardo Music Journal, vol. 6, pp. 33-40, 1996.
53 - R. Rowe, Interactive Music Systems - Machine Listening and Composing. MIT Press, 1993.
54 - C. Roads, Computer Music Tutorial. MIT Press, 1996.
55 - T. Demeyer, ``Bigeye 1.10 - realtime video to midi software,'' 1996.
56 - P. M. Loccoz and al., ``Lutheries informatiques developpes au studio collectif et cie,'' in Colloque Les Nouveaux Gestes de la Musique, GMEM - Marseille, 1997.
57 - H. Katayose, T. Kanamori, and S. Inokuchi, ``An environment fo interactive art - sensor integration and applications,'' in Proc. Int. Computer Music Conf. (ICMC'96), pp. 173-176, 1996.
58 - S. Rossignol, ``Segmentation - extraction du vibrato,'' tech. rep., IRCAM, 1997. Rapport d' Activite.
59 - N. J. Bailey, A. Purvis, I. W. Bowler, and P. D. Manning, ``Applications of the phase vocoder in the control of real-time electronic musical instruments,'' Interface, vol. 22, pp. 259-275, 1993.
60 - X. Chabot, ``Performance with electronics: Gesture interfaces and software toolkit,'' in Proc. Int. Computer Music Conf. (ICMC'89), pp. 65-68, 1989.
61 - X. Chabot, ``Gesture interfaces and a software toolkit for performance with electronics,'' Computer Music J., vol. 14, no. 2, pp. 15-27, 1990.
62 - R. M. Baecker, J. Grudin, W. A. S. Buxton, and S. Greenberg, Readings in Human-Computer Interaction: Toward the Year 2000. Morgan-Kauffmann, 2nd edition ed., 1995. Part III, Chapter 7.
63 - S. de Laubier, ``Le meta-instrument a t'il un son? emergence de lois ou de constantes dans le development d'instruments virtuels,'' in Colloque Les Nouveaux Gestes de la Musique, GMEM - Marseille, 1997.
64 - S. Ystad, ``De la facture informatique au jeu instrumental,'' in Colloque Les Nouveaux Gestes de la Musique, GMEM - Marseille, 1997.
65 - F. R. Moore, ``The disfunctions of midi,'' in Proc. Int. Computer Music Conf. (ICMC'87), pp. 256-262, 1987.
66 - X. Rodet and P. Depalle, ``A new additive synthesis method using inverse fourier transform and spectral envelopes,'' in Proc. Int. Computer Music Conf. (ICMC'92), pp. 410-411, 1992.
67 - A. Freed, ``New tools for rapid prototyping of musical sound synthesis algorithms and control strategies,'' in Proc. Int. Computer Music Conf. (ICMC'92), pp. 178-181, 1992.
68 - A. Freed, ``Bring your own control to additive synthesis,'' in Proc. Int. Computer Music Conf. (ICMC'95), pp. 303-306, 1995.
69 - C. Besnainou, ``Changer la voix des instruments de musique par stimulation modale, une voie vers les realites augmentees,'' in Colloque Les Nouveaux Gestes de la Musique, GMEM - Marseille, 1997.
70 - N. Bailey, ``Personnal communication,'' 1995.
71 - X. Rodet, ``One and two mass model oscillations for voice and instruments,'' in Proc. Int. Computer Music Conf. (ICMC'95), pp. 207-214, 1995.
72 - X. Rodet and C. Vergez, ``Physical models of trumpet-like instruments - detailed behavior and model improvements,'' in Proc. Int. Computer Music Conf. (ICMC'96), pp. 448-453, 1996.
73 - C. Vergez and X. Rodet, ``A physical model of trumpet-like instrument.'' IRCAM - Video demonstration, March 1997. VHS Pal - 11'30".
74 -
J. Fineberg, ``Ircam instrumental data base,'' tech. rep., IRCAM, 1996.