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2

 R. Vertegaal, T. Ungvary, and M. Kieslinger, ``Towards a musician's cockpit: Transducer, feedback and musical function,'' in Proc. Int. Computer Music Conf. (ICMC'96), pp. 308-311, 1996.

3

 J. Rovan, M. Wanderley, S. Dubnov, and P. Depalle, ``Instrumental gestural mapping strategies as expressivity determinants in computer music performance.,'' in Proceedings of the Kansei - The Technology of Emotion Workshop, (Genova - Italy), Oct. 1997.

4

 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.

5

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6

 A. Mulder, ``Human movement tracking technology,'' tech. rep., Simon Fraser University, 1994. Hand Centered Studies of Human Movement Project.

7

 A. Mulder, ``Hand gestures for hci,'' tech. rep., Simon Fraser University, 1996. Hand Centered Studies of Human Movement Project.

8

 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.

9

 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.

10

 C. Cadoz, ``Instrumental gesture and musical composition,'' in Proc. Int. Computer Music Conf. (ICMC'88), pp. 1-12, 1988.

11

 J. Cassell, A Framework for Gesture Generation and Interpretation. Cambridge University Press. in Computer Vision in human-Machine Interaction, in press.

12

 P. Depalle, S. Tassart, and M. Wanderley, ``Les vertues du possible - instruments virtuels,'' Resonance, pp. 5-8, Sept. 1997.

13

 A. H. Benade, Foundamentals of Musical Acoustics. Dover, 1990. Chapter 21.

14

 T. Machover, ``Hyperinstruments - a progress report 1987 - 1991,'' tech. rep., Massachusetts Institut of Technology, 1992.

15

 R. Vertegaal and B. Eaglestone, ``Comparison of input devices in an isee direct timbre manipulation task,'' Interacting with Computers, vol. 8, no. 1, pp. 13-30, 1996.

16

 N. S. M. M. Wanderley and J. B. Rovan, ``Escher - modeling and performing composed instruments in real-time,'' in To be published in the proceedings of the IEEE Systems, Man and Society Conference, 1998.

17

 I. Bowler, A. Purvis, P. Manning, and N. Bailey, ``On mapping n articulation onto m synthesiser-control parameters,'' in Proc. Int. Computer Music Conf. (ICMC'90), pp. 181-184, 1990.

18

 I. Choi, R. Bargar, and C. Goudeseune, ``A manifold interface for a high dimensional control space,'' in Proc. Int. Computer Music Conf. (ICMC'95), pp. 385-392, 1995.

19

 G. Borin, G. dePoli, and A. Sarti, Musical Signal Processing, ch. Musical Signal Synthesis. Swets and Zeitlinger, 1997.

20

 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.

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