Bibliography
Algie I. J. (2012) Laptop Performance in Electroacoustic Music: The current state of play. University of Sheffield, MMus (Reg No. 090256507)
Altavilla A., Caramiaux B. Tanaka A. (2013) Towards Gestural Sonic Affordances. NIME’13, May 27-30, 2013, KAIST, Daejeon, Korea
Alves B. (2005) Digital Harmony of Sound and Light Computer. Music Journal, 29:4, pages 45–54
Auslander P. (2004) Performance Analysis and Popular Music: A Manifesto. Contemporary Theatre Review, Vol. 14(1), 2004, pages 1–13
Bernard D. (2002) Experimental Controllers for Live Electronic Music Performance. Proceedings of the 2002 Conference on New Instruments for Musical Expression (NIME-02), Dublin, Ireland, May 24-26, 2002
Bernardini N., Vidolin A, (2005) Sustainable Live Electro-acoustic Music. Sound and Music Computing 2005 conference (XV CIM, pages 24–26 November 2005, Salerno, Italy)
Cadoz C., Wanderley M.M. (2000) Gesture - Music. Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds., Ircam Centre Pompidou, pages 71-94
Camurri A., Mazzarino B., Ricchetti M., Timmers R., Volpe G. (2004) Multimodal Analysis of Expressive Gesture in Music and Dance Performances. In A. Camurri and G. Volpe, editors, Gesture-Based Communication in Human-Computer Interaction, number 2915 in Lecture Notes in Computer Science, pages 20–39. Springer Berlin Heidelberg, January 2004
Ciciliani M. (2012) Musical Experience Beyond Audible Sound and its Relevance for Electro-acoustic Composition. ICMC 2012, Non-Cochlear Sound, Ljubljana
Fyans A. C., Gurevich M., Stapleton P. (2010) Examining the Spectator Experience. NIME2010, 15-18th June 2010, Sydney, Australia
Ciciliani M. (2014) Towards an Aesthetic of Electronic-Music Performance Practice. http://markociciliani.de/media/texts/Ciciliani_Aesthetic%20EM%20Performance%20Practice.pdf (last accessed July 2016)
Ciciliani M., Mojzysz Z. (2015) Evaluating a method for the analysis of performance practices in electronic music. http://markociciliani.de/media/texts/Ciciliani_Mojzysz.pdf (last accessed July 2016)
Collins N., Olofsson F. (2003) A Protocol for Audiovisual Cutting. ICMA Vol. 2003, http://composerprogrammer.com/research/avcut.pdf, (last accessed September 2016)
Cook N. (1998) Analysing Musical Multimedia. Oxford: Clarendon Press.
Crapoulet E. (2008) From Intermedial Music to Interactive Multimedia Event: the Performance of Ravel’s Miroirs. Culture, Language and representation ISSN 1697-7750,VOL VI/2008, pages 121-136, Cultural Studies Journal of Universitat Jaume I
Forbes A., Odai K. (2012) Iterative Synaesthetic Composing with Multimedia Signals. ICMC 2012, Non-Cochlear Sound, Ljubljana, https://pdfs.semanticscholar.org/167e/02cdb01b26a14660616912e1fd0dc154d6a1.pdf (last accessed September 2016)
Croft J. (2007) Thesis on liveness, Organised Sound 12(1) pages 59–66, Cambridge University Press.
Cross I., G. E. Woodruff (2009) Music as a communicative medium. In R. Botha & C. Knight (Eds.), The prehistory of language (Vol. 1, pages 113-144). Oxford: Oxford University Press
Dahl S., Friberg A. (2007) Visual perception of expressiveness in musicians’ body movements. Music Perception, 24(5):433–454, 2007
Delalande, F. (1988) La gestique de Gould: éléments pour une sémiologie du geste musical. In G. Guertin, ed. Glenn Gould, Pluriel. Louise Courteau Editrice Inc. pp. 83-111
Di Scopio A. (2003) ‘Sound is the interface’: from interactive to ecosystemic signal processing. Organised Sound 8(3): pages 269–277, Cambridge University Press
Dobrian C., Koppelman D (2006) The ’E’ in NIME: musical expression with new computer interfaces. In Proc. NIME, pages 277–282, 2006
Dufourt, H. (1995) L’Instrument philosophe. Instruments, les cahiers de l’IRCAM, 7, pages 57-65
Emmerson S. (1999) Aural landscape: musical space. Organised Sound 3(2) pages 135–40, 1999 Cambridge University Press.
Ford B. (2013) Approaches to performance: A comparison of music and acting students’ concepts of preparation, audience and performance. Music Performance Research, Royal Northern College of Music Vol. 6 pages 152-169
Fraietta, A (2008) Open Sound Control: Constraints and Limitations. NIME08, June pages 5-7, 2008, Genova, Italy
Fyans A.C. (2015) Spectator Understanding of Performative Interaction, The influence of mental models and communities of practice on the perception and judgement of skill and error in electronic music performance ecologies. PhD Thesis, Queen’s University Belfast
Fyans A.C. , Gurevich M. (2011) Perceptions of Skill in Performances with Acoustic and Electronic Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, 30 May - 1 June 2011, Oslo, Norway
Geiger C., Reckter H., Paschke D., Schulz F. (2008) Towards Participatory Design and Evaluation of Theremin-based Musical Interfaces. Proceedings of the 2008 Conference on New Interfaces for Musical Expression (NIME08), Genova, Italy
Gibson, J. J. (1979) The Ecological Approach to Visual Perception. Psychology Press Classic Editions
Grierson M. S. (2005) Audiovisual Composition. PhD Thesis, University of Kent
Gurevich M., Trevino J. (2007) Expression and its discontents: toward an ecology of musical creation. In Proceedings of the 7th international conference on New interfaces for musical expression, pages 106–111, ACM vol. 2007
Heaton R. (2012) Contemporary Performance Practice and Tradition. Music Performance Research, Royal Northern College of Music Vol. 5, including CMPCP / PSN Special Issue pages 96-104
Hobman, J. (2011) Instrumentality in Electronic Music. Master Thesis, University of Huddersfield
Hunt A., Wanderley M. M., Kirk R. (2000) Towards a Model for Instrumental Mapping in Expert Musical Interaction. ICMA Vol. 2000, http://recherche.ircam.fr/equipes/analyse-synthese/wanderle/Gestes/Externe/Hunt_Towards.pdf (last accessed September 2016)
Iacoboni M., Woods, R. P., Brass M., Bickering H., Mazziotta J. C., Rizzolatti G. (1999) Cortical Mechanisms of Human Imitation. Vol 286 Science pages 2526-2528, www.sciencemag.org
Iazzetta F. (1997) Meaning in Musical Gesture. International Association for Semiotic Studies VI International Congress Guadalajara, México, 13-18 July, 1997, http://www2.eca.usp.br/prof/iazzetta/papers/gesture.htm (last accessed September 2016)
Joaquim V. (2013) Are Luminous Devices Helping Musicians to Produce Better Aural Results, or Just Helping Audiences Not To Get Bored? Proceedings of the first conference on Computation, Communication, Aesthetics and X. Bergamo, Porto, 2013. e-ISBN 978-989-746-017-3. pages 89-105
Jordà S. (2005) Digital Lutherie - Crafting musical computers for new musics’ performance and improvisation. PhD Thesis, Universitat Pompeu Fabra
Kirke, A. and Miranda, E. R. (2009) A survey of computer systems for expressive music performance. ACM Comput. Surv. 42, 1, Article 3 (December 2009)
Lipscomb S. D. (2002/2003) Modelling Multimedia Cognition: A Review of Nicholas Cook’s ‘Analysing Musical Multimedia’. Intégral, 16/17, pages 225-236
Magnusson T. (2010) Designing Constraints: Composing and Performing with Digital Musical Systems. Computer Music Journal, 34:4, pages 62–73, Massachusetts Institute of Technology
Oh Y. (2014) Audio-based Visualization of Expressive Body Movements in Music Performance: an evaluation of methodology in three electroacoustic compositions. PhD Thesis, Louisiana State University
O’Sullivan L. , Furlong D., Boland F. (2011) Introducing CrossMapper: Another Tool for Mapping Musical Control Parameters. NIME’12, May 21-23, 2012, University of Michigan, Ann Arbor
O’Sullivan L. (2013) Musical Interfaces Inspired by Works of Visual Music. Irish HCI Conference 2013 (iHCI’13), June 12–23, 2013, Dundalk Institute of Technology
Overholt D. J. (1997) The Emonator: A Novel Musical Interface. Master thesis, Massachusetts Institute of Technology
Parra J.C. (2014) Mulitple Paths: Towards a Performance Practice in Computer Music. https://www.researchcatalogue.net/view/80097/80098 (last accessed June 2016)
Roberts C., Forbes A. Höllerer T. (2013) Enabling Multimodal Mobile Interfaces for Interactive Musical Performance. NIME’13, May 27 – 30, 2013, KAIST, Daejeon, Korea.
Platz F., Kopiez R. (2012) When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance. Music Perception volume 30, issue 1, pages 71–83
Poepel C. (2004) On interface expressivity: a player-based study. In Proceedings of the Conference on New Interfaces for Musical Expression, pages 228–231, 2004
Rodger M. W. M., Craig C. M. (2013) Temporal guidance of musicians’ performance movement is an acquired skill. Experimental Brain Research, April 2013, Volume 226, Issue 2, pages 221-230
Rodger M. W. M., Craig C. M. (2014) Moving with Beats and Loops: The Structure of Auditory Events and Sensorimotor Timing. Lecture Notes in Computer Science, December 2014, pages 204-217
Schindler A. (2014) A Picture is Worth a Thousand Songs: Exploring Visual Aspects of Music. DLfM ’14, Proceedings of the 1st International Workshop on Digital Libraries for Musicology, pages 1-3, ACM New York 2014
Schloss W. A., Jaffe D. A. (1993) Intelligent Musical Instruments: The Future of Musical Performance or the Demise of the Performer? INTERFACE Journal for New Music Research, The Netherlands, December 1993, http://static1.1.sqspcdn.com/static/f/1195073/22387437/1365360741657/IntelligentMusicalInstruments.pdf?token=nxfN5mP2ZddsRjLXWlFLCBypEHY%3D (last accessed September 2016)
Schloss, W. A. (2003) Using contemporary technology in live performance: The dilemma of the performer. Journal of New Music Research, 32(3):239–242, 2003
Schroeder F. (2009) The Body Skinned, Rethinking Performative Presence. Performance Research 14(4), pages 60-64, Taylor & Francis Ltd 2009
Tanaka A. (2000) Musical Performance Practice on Sensor-based Instruments. Trends in Gestural Control of Music , M.M. Wanderley and M. Battier, eds., Ircam - Centre Pompidou, pages 391-405
Thompson W. F., Graham P. Russo F. A. (1998) Seeing music performance: Visual influences on perception and experience. Semiotica 156–1/4 (2005), pages 177–201
Tsay C-J (2013) Sight over sound in the judgment of music performance. PNAS vol. 110 no. 36
Van Eijk R. L. J., Kohlrausch A., Juola J. F. Van De Par S. (2008) Audiovisual synchrony and temporal order judgments: Effects of experimental method and stimulus type. Perception & Psychophysics 2008, 70 (6), pages 955-968
Verfaille V., Guastavino C. (2006) An Interdisciplinary Approach To Audio Effect Classification. Proceedings of the 9th International Conference on Digital Audio Effects (DAFx-06 pages 107-113), Montreal, Canada, September 2006
Vines, B. M. M. W., Nuzzo, R. Levitin, D. and C. Krumhansl (2003), Performance Gestures of Musicians: What structural and emotional information do they convey. Gesture and Sign Languages in Human-Computer Interaction. A. Camurri and G. Volpe (Eds.): GW 2003, LNAI 2915, pages 468–478, 2004
Wanderley M. M. (2001) Gestural Control of music. International Workshop - Human Supervision and Control in Engineering and Music - Kassel, Germany, Sept 21-24, 2001, http://kkothman.iweb.bsu.edu/oldTeaching/mumet440/papers/wanderly-gestcontrol.pdf (last accessed September 2016)
Wanderley M.M. (1999) Non-obvious Performance Gestures in Instrumental Music. Proceeding GW '99 Proceedings of the International Gesture Workshop on Gesture-Based Communication in Human-Computer Interaction, pages 37-48
Zbikowski L. M. (2002) Music Theory, Multimedia, and the Construction of Meaning. Intégral, Vol. 16/17 (2002/2003), pages 251-268
Algie I. J. (2012) Laptop Performance in Electroacoustic Music: The current state of play. University of Sheffield, MMus (Reg No. 090256507)
Altavilla A., Caramiaux B. Tanaka A. (2013) Towards Gestural Sonic Affordances. NIME’13, May 27-30, 2013, KAIST, Daejeon, Korea
Alves B. (2005) Digital Harmony of Sound and Light Computer. Music Journal, 29:4, pages 45–54
Auslander P. (2004) Performance Analysis and Popular Music: A Manifesto. Contemporary Theatre Review, Vol. 14(1), 2004, pages 1–13
Bernard D. (2002) Experimental Controllers for Live Electronic Music Performance. Proceedings of the 2002 Conference on New Instruments for Musical Expression (NIME-02), Dublin, Ireland, May 24-26, 2002
Bernardini N., Vidolin A, (2005) Sustainable Live Electro-acoustic Music. Sound and Music Computing 2005 conference (XV CIM, pages 24–26 November 2005, Salerno, Italy)
Cadoz C., Wanderley M.M. (2000) Gesture - Music. Trends in Gestural Control of Music, M.M. Wanderley and M. Battier, eds., Ircam Centre Pompidou, pages 71-94
Camurri A., Mazzarino B., Ricchetti M., Timmers R., Volpe G. (2004) Multimodal Analysis of Expressive Gesture in Music and Dance Performances. In A. Camurri and G. Volpe, editors, Gesture-Based Communication in Human-Computer Interaction, number 2915 in Lecture Notes in Computer Science, pages 20–39. Springer Berlin Heidelberg, January 2004
Ciciliani M. (2012) Musical Experience Beyond Audible Sound and its Relevance for Electro-acoustic Composition. ICMC 2012, Non-Cochlear Sound, Ljubljana
Fyans A. C., Gurevich M., Stapleton P. (2010) Examining the Spectator Experience. NIME2010, 15-18th June 2010, Sydney, Australia
Ciciliani M. (2014) Towards an Aesthetic of Electronic-Music Performance Practice. http://markociciliani.de/media/texts/Ciciliani_Aesthetic%20EM%20Performance%20Practice.pdf (last accessed July 2016)
Ciciliani M., Mojzysz Z. (2015) Evaluating a method for the analysis of performance practices in electronic music. http://markociciliani.de/media/texts/Ciciliani_Mojzysz.pdf (last accessed July 2016)
Collins N., Olofsson F. (2003) A Protocol for Audiovisual Cutting. ICMA Vol. 2003, http://composerprogrammer.com/research/avcut.pdf, (last accessed September 2016)
Cook N. (1998) Analysing Musical Multimedia. Oxford: Clarendon Press.
Crapoulet E. (2008) From Intermedial Music to Interactive Multimedia Event: the Performance of Ravel’s Miroirs. Culture, Language and representation ISSN 1697-7750,VOL VI/2008, pages 121-136, Cultural Studies Journal of Universitat Jaume I
Forbes A., Odai K. (2012) Iterative Synaesthetic Composing with Multimedia Signals. ICMC 2012, Non-Cochlear Sound, Ljubljana, https://pdfs.semanticscholar.org/167e/02cdb01b26a14660616912e1fd0dc154d6a1.pdf (last accessed September 2016)
Croft J. (2007) Thesis on liveness, Organised Sound 12(1) pages 59–66, Cambridge University Press.
Cross I., G. E. Woodruff (2009) Music as a communicative medium. In R. Botha & C. Knight (Eds.), The prehistory of language (Vol. 1, pages 113-144). Oxford: Oxford University Press
Dahl S., Friberg A. (2007) Visual perception of expressiveness in musicians’ body movements. Music Perception, 24(5):433–454, 2007
Delalande, F. (1988) La gestique de Gould: éléments pour une sémiologie du geste musical. In G. Guertin, ed. Glenn Gould, Pluriel. Louise Courteau Editrice Inc. pp. 83-111
Di Scopio A. (2003) ‘Sound is the interface’: from interactive to ecosystemic signal processing. Organised Sound 8(3): pages 269–277, Cambridge University Press
Dobrian C., Koppelman D (2006) The ’E’ in NIME: musical expression with new computer interfaces. In Proc. NIME, pages 277–282, 2006
Dufourt, H. (1995) L’Instrument philosophe. Instruments, les cahiers de l’IRCAM, 7, pages 57-65
Emmerson S. (1999) Aural landscape: musical space. Organised Sound 3(2) pages 135–40, 1999 Cambridge University Press.
Ford B. (2013) Approaches to performance: A comparison of music and acting students’ concepts of preparation, audience and performance. Music Performance Research, Royal Northern College of Music Vol. 6 pages 152-169
Fraietta, A (2008) Open Sound Control: Constraints and Limitations. NIME08, June pages 5-7, 2008, Genova, Italy
Fyans A.C. (2015) Spectator Understanding of Performative Interaction, The influence of mental models and communities of practice on the perception and judgement of skill and error in electronic music performance ecologies. PhD Thesis, Queen’s University Belfast
Fyans A.C. , Gurevich M. (2011) Perceptions of Skill in Performances with Acoustic and Electronic Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression, 30 May - 1 June 2011, Oslo, Norway
Geiger C., Reckter H., Paschke D., Schulz F. (2008) Towards Participatory Design and Evaluation of Theremin-based Musical Interfaces. Proceedings of the 2008 Conference on New Interfaces for Musical Expression (NIME08), Genova, Italy
Gibson, J. J. (1979) The Ecological Approach to Visual Perception. Psychology Press Classic Editions
Grierson M. S. (2005) Audiovisual Composition. PhD Thesis, University of Kent
Gurevich M., Trevino J. (2007) Expression and its discontents: toward an ecology of musical creation. In Proceedings of the 7th international conference on New interfaces for musical expression, pages 106–111, ACM vol. 2007
Heaton R. (2012) Contemporary Performance Practice and Tradition. Music Performance Research, Royal Northern College of Music Vol. 5, including CMPCP / PSN Special Issue pages 96-104
Hobman, J. (2011) Instrumentality in Electronic Music. Master Thesis, University of Huddersfield
Hunt A., Wanderley M. M., Kirk R. (2000) Towards a Model for Instrumental Mapping in Expert Musical Interaction. ICMA Vol. 2000, http://recherche.ircam.fr/equipes/analyse-synthese/wanderle/Gestes/Externe/Hunt_Towards.pdf (last accessed September 2016)
Iacoboni M., Woods, R. P., Brass M., Bickering H., Mazziotta J. C., Rizzolatti G. (1999) Cortical Mechanisms of Human Imitation. Vol 286 Science pages 2526-2528, www.sciencemag.org
Iazzetta F. (1997) Meaning in Musical Gesture. International Association for Semiotic Studies VI International Congress Guadalajara, México, 13-18 July, 1997, http://www2.eca.usp.br/prof/iazzetta/papers/gesture.htm (last accessed September 2016)
Joaquim V. (2013) Are Luminous Devices Helping Musicians to Produce Better Aural Results, or Just Helping Audiences Not To Get Bored? Proceedings of the first conference on Computation, Communication, Aesthetics and X. Bergamo, Porto, 2013. e-ISBN 978-989-746-017-3. pages 89-105
Jordà S. (2005) Digital Lutherie - Crafting musical computers for new musics’ performance and improvisation. PhD Thesis, Universitat Pompeu Fabra
Kirke, A. and Miranda, E. R. (2009) A survey of computer systems for expressive music performance. ACM Comput. Surv. 42, 1, Article 3 (December 2009)
Lipscomb S. D. (2002/2003) Modelling Multimedia Cognition: A Review of Nicholas Cook’s ‘Analysing Musical Multimedia’. Intégral, 16/17, pages 225-236
Magnusson T. (2010) Designing Constraints: Composing and Performing with Digital Musical Systems. Computer Music Journal, 34:4, pages 62–73, Massachusetts Institute of Technology
Oh Y. (2014) Audio-based Visualization of Expressive Body Movements in Music Performance: an evaluation of methodology in three electroacoustic compositions. PhD Thesis, Louisiana State University
O’Sullivan L. , Furlong D., Boland F. (2011) Introducing CrossMapper: Another Tool for Mapping Musical Control Parameters. NIME’12, May 21-23, 2012, University of Michigan, Ann Arbor
O’Sullivan L. (2013) Musical Interfaces Inspired by Works of Visual Music. Irish HCI Conference 2013 (iHCI’13), June 12–23, 2013, Dundalk Institute of Technology
Overholt D. J. (1997) The Emonator: A Novel Musical Interface. Master thesis, Massachusetts Institute of Technology
Parra J.C. (2014) Mulitple Paths: Towards a Performance Practice in Computer Music. https://www.researchcatalogue.net/view/80097/80098 (last accessed June 2016)
Roberts C., Forbes A. Höllerer T. (2013) Enabling Multimodal Mobile Interfaces for Interactive Musical Performance. NIME’13, May 27 – 30, 2013, KAIST, Daejeon, Korea.
Platz F., Kopiez R. (2012) When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance. Music Perception volume 30, issue 1, pages 71–83
Poepel C. (2004) On interface expressivity: a player-based study. In Proceedings of the Conference on New Interfaces for Musical Expression, pages 228–231, 2004
Rodger M. W. M., Craig C. M. (2013) Temporal guidance of musicians’ performance movement is an acquired skill. Experimental Brain Research, April 2013, Volume 226, Issue 2, pages 221-230
Rodger M. W. M., Craig C. M. (2014) Moving with Beats and Loops: The Structure of Auditory Events and Sensorimotor Timing. Lecture Notes in Computer Science, December 2014, pages 204-217
Schindler A. (2014) A Picture is Worth a Thousand Songs: Exploring Visual Aspects of Music. DLfM ’14, Proceedings of the 1st International Workshop on Digital Libraries for Musicology, pages 1-3, ACM New York 2014
Schloss W. A., Jaffe D. A. (1993) Intelligent Musical Instruments: The Future of Musical Performance or the Demise of the Performer? INTERFACE Journal for New Music Research, The Netherlands, December 1993, http://static1.1.sqspcdn.com/static/f/1195073/22387437/1365360741657/IntelligentMusicalInstruments.pdf?token=nxfN5mP2ZddsRjLXWlFLCBypEHY%3D (last accessed September 2016)
Schloss, W. A. (2003) Using contemporary technology in live performance: The dilemma of the performer. Journal of New Music Research, 32(3):239–242, 2003
Schroeder F. (2009) The Body Skinned, Rethinking Performative Presence. Performance Research 14(4), pages 60-64, Taylor & Francis Ltd 2009
Tanaka A. (2000) Musical Performance Practice on Sensor-based Instruments. Trends in Gestural Control of Music , M.M. Wanderley and M. Battier, eds., Ircam - Centre Pompidou, pages 391-405
Thompson W. F., Graham P. Russo F. A. (1998) Seeing music performance: Visual influences on perception and experience. Semiotica 156–1/4 (2005), pages 177–201
Tsay C-J (2013) Sight over sound in the judgment of music performance. PNAS vol. 110 no. 36
Van Eijk R. L. J., Kohlrausch A., Juola J. F. Van De Par S. (2008) Audiovisual synchrony and temporal order judgments: Effects of experimental method and stimulus type. Perception & Psychophysics 2008, 70 (6), pages 955-968
Verfaille V., Guastavino C. (2006) An Interdisciplinary Approach To Audio Effect Classification. Proceedings of the 9th International Conference on Digital Audio Effects (DAFx-06 pages 107-113), Montreal, Canada, September 2006
Vines, B. M. M. W., Nuzzo, R. Levitin, D. and C. Krumhansl (2003), Performance Gestures of Musicians: What structural and emotional information do they convey. Gesture and Sign Languages in Human-Computer Interaction. A. Camurri and G. Volpe (Eds.): GW 2003, LNAI 2915, pages 468–478, 2004
Wanderley M. M. (2001) Gestural Control of music. International Workshop - Human Supervision and Control in Engineering and Music - Kassel, Germany, Sept 21-24, 2001, http://kkothman.iweb.bsu.edu/oldTeaching/mumet440/papers/wanderly-gestcontrol.pdf (last accessed September 2016)
Wanderley M.M. (1999) Non-obvious Performance Gestures in Instrumental Music. Proceeding GW '99 Proceedings of the International Gesture Workshop on Gesture-Based Communication in Human-Computer Interaction, pages 37-48
Zbikowski L. M. (2002) Music Theory, Multimedia, and the Construction of Meaning. Intégral, Vol. 16/17 (2002/2003), pages 251-268
