You are on page 1of 2

{\rtf \li0 \fi0 \sl240 \slmult1 \sa240 Birnbaum, D. {\i{}et al.

} (2017a)
\uc0\u8216{}2005: Towards a Dimension Space for Musical Devices\uc0\u8217{}, in
Jensenius, A. R. and Lyons, M. J. (eds) {\i{}A NIME Reader}. Cham: Springer
International Publishing (Current Research in Systematic Musicology), pp.
211\uc0\u8211{}222. doi: 10.1007/978-3-319-47214-0_14.\
Birnbaum, D. {\i{}et al.} (2017b) \uc0\u8216{}2005: Towards a Dimension Space for
Musical Devices\uc0\u8217{}, in Jensenius, A. R. and Lyons, M. J. (eds) {\i{}A NIME
Reader}. Cham: Springer International Publishing (Current Research in Systematic
Musicology), pp. 211\uc0\u8211{}222. doi: 10.1007/978-3-319-47214-0_14.\
Bongers, B. (2000a) \uc0\u8216{}Physical Interfaces in the Electronic
Arts\uc0\u8217{}, p. 30.\
Bongers, B. (2000b) \uc0\u8216{}Physical Interfaces in the Electronic
Arts\uc0\u8217{}, p. 30.\
Collins, K. {\i{}et al.} (2014a) \uc0\u8216{}Gesture in the Design of Interactive
Sound Models\uc0\u8217{}, in Collins, K., Kapralos, B., and Tessler, H. (eds)
{\i{}The Oxford Handbook of Interactive Audio}. Oxford University Press. doi:
10.1093/oxfordhb/9780199797226.013.020.\
Collins, K. {\i{}et al.} (2014b) \uc0\u8216{}Gesture in the Design of Interactive
Sound Models\uc0\u8217{}, in Collins, K., Kapralos, B., and Tessler, H. (eds)
{\i{}The Oxford Handbook of Interactive Audio}. Oxford University Press. doi:
10.1093/oxfordhb/9780199797226.013.020.\
Cook, P. R. (no date a) \uc0\u8216{}Re-Designing Principles for Computer Music
Controllers: A Case Study of SqueezeVox Maggie\uc0\u8217{}, p. 5.\
Cook, P. R. (no date b) \uc0\u8216{}Re-Designing Principles for Computer Music
Controllers: A Case Study of SqueezeVox Maggie\uc0\u8217{}, p. 5.\
Drummond, J. (2009a) \uc0\u8216{}Understanding Interactive Systems\uc0\u8217{},
{\i{}Organised Sound}, 14(2), pp. 124\uc0\u8211{}133. doi:
10.1017/S1355771809000235.\
Drummond, J. (2009b) \uc0\u8216{}Understanding Interactive Systems\uc0\u8217{},
{\i{}Organised Sound}, 14(2), pp. 124\uc0\u8211{}133. doi:
10.1017/S1355771809000235.\
Hunt, A. and Kirk, R. (2000a) \uc0\u8216{}Mapping Strategies for Musical
Performance\uc0\u8217{}, p. 28.\
Hunt, A. and Kirk, R. (2000b) \uc0\u8216{}Mapping Strategies for Musical
Performance\uc0\u8217{}, p. 28.\
Hunt, A., Wanderley, M. M. and Kirk, R. (no date a) \uc0\u8216{}Towards a Model for
Instrumental Mapping in Expert Musical Interaction\uc0\u8217{}, p. 4.\
Hunt, A., Wanderley, M. M. and Kirk, R. (no date b) \uc0\u8216{}Towards a Model for
Instrumental Mapping in Expert Musical Interaction\uc0\u8217{}, p. 4.\
Hunt, A., Wanderley, M. M. and Paradis, M. (2003a) \uc0\u8216{}The Importance of
Parameter Mapping in Electronic Instrument Design\uc0\u8217{}, {\i{}Journal of New
Music Research}, 32(4), pp. 429\uc0\u8211{}440. doi: 10.1076/jnmr.32.4.429.18853.\
Hunt, A., Wanderley, M. M. and Paradis, M. (2003b) \uc0\u8216{}The Importance of
Parameter Mapping in Electronic Instrument Design\uc0\u8217{}, {\i{}Journal of New
Music Research}, 32(4), pp. 429\uc0\u8211{}440. doi: 10.1076/jnmr.32.4.429.18853.\
Keislar, D. (2011a) {\i{}A Historical View of Computer Music Technology}. Oxford
University Press. doi: 10.1093/oxfordhb/9780199792030.013.0002.\
Keislar, D. (2011b) {\i{}A Historical View of Computer Music Technology}. Oxford
University Press. doi: 10.1093/oxfordhb/9780199792030.013.0002.\
\uc0\u8216{}Kreidler - Programming Electronic Music in Pd.pdf\uc0\u8217{} (no
date).\
Kreidler, J. (no date) \uc0\u8216{}Programming Electronic Music in Pd\uc0\u8217{},
p. 294.\
Kvifte, T. and Jensenius, A. R. (2006a) \uc0\u8216{}Towards a Coherent Terminology
and Model of Instrument Description and Design\uc0\u8217{}, p. 6.\
Kvifte, T. and Jensenius, A. R. (2006b) \uc0\u8216{}Towards a Coherent Terminology
and Model of Instrument Description and Design\uc0\u8217{}, p. 6.\
\uc0\u8216{}L\uc0\u228{}hdeoja - 2008 - An Approach to Instrument Augmentation the
Elect.pdf\uc0\u8217{} (no date).\
L\uc0\u228{}hdeoja, O. (2008) \uc0\u8216{}An Approach to Instrument
Augmentation\uc0\u8239{}: the Electric Guitar\uc0\u8217{}, p. 4.\
Martelloni, A., McPherson, A. and Barthet, M. (no date) \uc0\u8216{}Percussive
Fingerstyle Guitar through the Lens of NIME: an Interview Study\uc0\u8217{}, p. 6.\
\uc0\u8216{}Martelloni et al. - Percussive Fingerstyle Guitar through the Lens
of .pdf\uc0\u8217{} (no date).\
\uc0\u8216{}O\uc0\u8217{}Modhrain - 2011 - A Framework for the Evaluation of
Digital Musical .pdf\uc0\u8217{} (no date).\
O\uc0\u8217{}Modhrain, S. (2011a) \uc0\u8216{}A Framework for the Evaluation of
Digital Musical Instruments\uc0\u8217{}, {\i{}Computer Music Journal}, 35(1), pp.
28\uc0\u8211{}42. doi: 10.1162/COMJ_a_00038.\
O\uc0\u8217{}Modhrain, S. (2011b) \uc0\u8216{}A Framework for the Evaluation of
Digital Musical Instruments\uc0\u8217{}, {\i{}Computer Music Journal}, 35(1), pp.
28\uc0\u8211{}42. doi: 10.1162/COMJ_a_00038.\
O\uc0\u8217{}Modhrain, S. (2011c) \uc0\u8216{}A Framework for the Evaluation of
Digital Musical Instruments\uc0\u8217{}, {\i{}Computer Music Journal}, 35(1), pp.
28\uc0\u8211{}42. doi: 10.1162/COMJ_a_00038.\
Tanaka, A. (2011a) {\i{}Sensor-Based Musical Instruments and Interactive Music}.
Oxford University Press. doi: 10.1093/oxfordhb/9780199792030.013.0012.\
Tanaka, A. (2011b) {\i{}Sensor-Based Musical Instruments and Interactive Music}.
Oxford University Press. doi: 10.1093/oxfordhb/9780199792030.013.0012.\
\uc0\u8216{}TheEinNIME060412.pdf\uc0\u8217{} (no date a).\
\uc0\u8216{}TheEinNIME060412.pdf\uc0\u8217{} (no date b).\
Wanderley, M. M. and Depalle, P. (2004a) \uc0\u8216{}Gestural Control of Sound
Synthesis\uc0\u8217{}, {\i{}Proceedings of the IEEE}, 92(4), pp.
632\uc0\u8211{}644. doi: 10.1109/JPROC.2004.825882.\
Wanderley, M. M. and Depalle, P. (2004b) \uc0\u8216{}Gestural Control of Sound
Synthesis\uc0\u8217{}, {\i{}Proceedings of the IEEE}, 92(4), pp.
632\uc0\u8211{}644. doi: 10.1109/JPROC.2004.825882.\
}

You might also like