Publications

Papers from the Augmented Instruments Laboratory

Publications

This page contains papers from the Augmented Instruments Laboratory, organised by date. Also see the latest news and events and press articles.

2022 and forthcoming

  1. G. Lepri. Play-Make-Believe: Discovering the Musical Values Inscribed into Digital Instruments. PhD thesis, School of Electronic Engineering and Computer Science, Queen Mary University of London, UK. 2022.
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  2. 2021

    1. A. Benito Temprano and A. McPherson. A TMR angle sensor for gesture acquisition and disambiguation on the electric guitar. Audio Mostly, Trento, Italy. 2021.
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    2. N. Robson, N. Bryan-Kinns and A. McPherson. On mediating sound, space and experience: interviews with situated sound art practitioners. Organised Sound. Issue forthcoming, 2021.
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    3. G. Moro and A. McPherson. Performer experience on a continuous keyboard instrument. Computer Music Journal. Vol. 44, Issue 2, 2021.
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    4. A. Martelloni, A. McPherson and M. Barthet. Guitar augmentation for Percussive Fingerstyle: Combining self-reflexive practice and user-centred design. Proc. New Interfaces for Musical Expression (NIME), Shanghai, China. 2021.
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    5. L. Zayas Garin, J. Harrison, R. Jack and A. McPherson. DMI Apprenticeship: Sharing and Replicating Musical Artefacts. Proc. New Interfaces for Musical Expression (NIME), Shanghai, China. 2021.
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    6. C. N. Reed and A. P. McPherson. Surface Electromyography for Sensing Performance Intention and Musical Imagery in Vocalists. Proc. International Conference on Tangible, Embedded, and Embodied Interaction (TEI), Salzburg, Austria. 2021.
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    7. 2020

    8. G. Moro. Beyond key velocity: continuous sensing for expressive control on the Hammond organ and digital keyboards. PhD thesis, School of Electronic Engineering and Computer Science, Queen Mary University of London, UK. 2020.
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    9. C. Nordmoen. Decentring the Human in DigitalMaking - Towards Embodied Mattering. Proc. ACM Designing Interactive Systems (DIS), Eindhoven University of Technology, Eindhoven, The Netherlands. 2020.
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    10. C. N. Reed and A. P. McPherson. Surface Electromyography for Direct Vocal Control. Proc. New Interfaces for Musical Expression (NIME), Royal Birmingham Conservatoire, Birmingham, UK. 2020.
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    11. A. Martelloni, A. P. McPherson and M. Barthet. Percussive Fingerstyle Guitar through the Lens of NIME: an Interview Study. Proc. New Interfaces for Musical Expression (NIME), Royal Birmingham Conservatoire, Birmingham, UK. 2020.
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    12. A. Guidi, F. Morreale and A. P. McPherson.. Design for Auditory Imagery: Altering Instruments to Explore Performer Fluency. Proc. New Interfaces for Musical Expression (NIME), Royal Birmingham Conservatoire, Birmingham, UK. 2020.
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    13. F. Morreale S. M. A. Bin, A. P. McPherson, P. Stapleton and M. M. Wanderley. A NIME of the Times: Developing an Outward-Looking Political Agenda For This Community. Proc. New Interfaces for Musical Expression (NIME), Royal Birmingham Conservatoire, Birmingham, UK. 2020.
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    14. L. Mice and A. P. McPherson.. From Miming to NIMEing: the Development of Idiomatic Gestural Language on Large Scale DMIs. Proc. New Interfaces for Musical Expression (NIME), Royal Birmingham Conservatoire, Birmingham, UK. 2020.
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    15. J. Martinez Avila, V. Tsaknaki, P. Karpashevich, C. Windlin, N. Valenti, K. Höök, A. P. McPherson and S. Benford. Soma Design for NIME. Proc. New Interfaces for Musical Expression (NIME), Royal Birmingham Conservatoire, Birmingham, UK. 2020.
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    16. G. Moro and A. P. McPherson. A Platform for Low-latency Continuous Keyboard Sensing and Sound Generation. Proc. New Interfaces for Musical Expression (NIME), Royal Birmingham Conservatoire, Birmingham, UK. 2020.
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    17. A. P. McPherson and G. Lepri. Beholden to Our Tools: Negotiating with Technology while Sketching Digital Instruments. Proc. New Interfaces for Musical Expression (NIME), Royal Birmingham Conservatoire, Birmingham, UK. 2020.
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    18. G. Lepri, A. P. McPherson, A. Nonnis, P. Stapleton, K. Andersen, T. Mudd, P. Bennett and S. Topley. Play Make Believe: Exploring Design Fiction and Absurd Making for Critical NIME Design. New Interfaces for Musical Expression Workshop (NIME), Royal Birmingham Conservatoire, Birmingham, UK. 2020.
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    19. A. Boem, G. M. Troiano, G. Lepri and V. Zappi. Non-Rigid Musical Interfaces: Exploring Practices, Takes, and Future Perspective. Proc. New Interfaces for Musical Expression (NIME), Royal Birmingham Conservatoire, Birmingham, UK. 2020.
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    20. R. Jack, J. Harrison, A. P. McPherson. Digital Musical Instruments as Research Products. Proc. New Interfaces for Musical Expression (NIME), Royal Birmingham Conservatoire, Birmingham, UK. 2020.
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    21. G. Lepri. Sonification as Negotiation - Learning from Translation Studies. Proc. Sound and Music Computing (SMC), University of Turin - Polytechnic School and Conservatorio di Musica G. Verdi, Turin, Italy. 2020.
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    22. G. Lepri, A. P. McPherson and J. Bowers. Useless, not Worthless: Absurd Making as Critical Practice. Proc. ACM Designing Interactive Systems (DIS) - Honorable Mention Award, Eindhoven University of Technology, Eindhoven, The Netherlands. 2020.
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    23. A. P. McPherson and K. Tahiroğlu. Idiomatic Patterns and Aesthetic Influence in Computer Music Languages. Organised Sound. Vol. 25, Issue 1, 2020.
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    24. J. Harrison. Instruments and Access: The Role of Instruments in Music and Disability (PhD Thesis). . Issue , 2020.
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    25. 2019

    26. L. Mice and A. P. McPherson.. Embodied Cognition in Performers of Large Acoustic Instruments as a Method of Designing Large Digital Musical Instruments. Proc. Computer Music Multidisciplinary Research Conference, Marseille, France. 2019.
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    27. L. S. Pardue and A. McPherson. Real-Time Aural and Visual Feedback for Improving Violin Intonation. Frontiers in Psychology. Vol. 10, Issue 627, 2019.
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    28. L. S. Pardue, K. Buys, M. Edinger, D. Overholt, A. McPherson. Separating sound from source: sonic transformation of the violin through electrodynamic pickups and acoustic actuation. Proc. New Interfaces for Musical Expression, Porto Alegre, Rio Grande do Sul, Brazil. 2019.
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    29. C. Nordmoen, J. Armitage, F. Morreale, R. Stewart, A. McPherson. Making Sense of Sensors: Discovery through Craft Practice with an Open-Ended Sensor Material. Proc. ACM Designing Interactive Systems (DIS), San Diego, Californis, USA. 2019.
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    30. G. Lepri and A. P. McPherson. Making Up Instruments: Design Fiction for Value Discovery in Communities of Musical Practice. Proc. ACM Designing Interactive Systems (DIS), San Diego, Californis, USA. 2019.
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    31. G. Lepri and A. P. McPherson. Fictional Instruments, Real Values: Discovering Musical Backgrounds with Non-Functional Prototypes. Proc. New Interfaces for Musical Expression, Porto Alegre, Rio Grande do Sul, Brazil. 2019.
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    32. G. Lepri and A. P. McPherson. First-person Research in the Arts: Exploring the Values Behind New Music Technology. Proc. ACM Designing Interactive Systems (DIS), San Diego, Californis, USA. 2019.
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    33. A. P. McPherson, F. Morreale, A. Guidi. Designing Creative Tensions between Concept and Embodied Practice. Conference for Human Computer Interaction (CHI) 2019, "Doing Research Through Design" workshop, Glasgow, Scotland, UK. 2019.
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    34. F. Morreale, A. Guidi, A. P. McPherson. Magpick: an Augmented Guitar Pick for Nuanced Control. Proc. New Interfaces for Musical Expression, Porto Alegre, Rio Grande do Sul, Brazil. 2019.
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    35. V. Gourdarzi, A. Gioti, G. Lepri, F. Morreale. Exploring Participatory Sound Art. Proc. International Conference on Music Computing (ICMC) 2019, New York City, New York, USA. 2019.
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    36. J. Harrison, A. Chamberlain, A. P. McPherson. Accessible Instruments in the Wild: Engaging with a Community of Learning-Disabled Musicians. Conference for Human Computer Interaction (CHI) 2019, Glasgow, Scotland, UK. 2019.
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    37. A. McPherson, F. Morreale, J. Harrison. Musical instruments for novices: comparing NIME, HCI and Crowdfunding approaches. New Directions Music and Human-Computer Interaction; Holland, S., Mudd, T., Wilkie-McKenna, K., McPherson, A., Wanderley, M. M. (eds.); Springer. Issue , 2019.
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    38. A. McPherson, S. Benford. Music, design and ethnography: an interview with Steve Benford. New Directions Music and Human-Computer Interaction; Holland, S., Mudd, T., Wilkie-McKenna, K., McPherson, A., Wanderley, M. M. (eds.); Springer. Issue , 2019.
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    39. A. McPherson, B. Verplank. The poetry of strange connections: an interview with Bill Verplank. New Directions Music and Human-Computer Interaction; Holland, S., Mudd, T., Wilkie-McKenna, K., McPherson, A., Wanderley, M. M. (eds.); Springer. Issue , 2019.
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    40. S. Holland, T. Mudd, K. Wilkie-McKenna, A. McPherson, M. M. Wanderley. Understanding Music Interaction, and Why It Matters. New Directions Music and Human-Computer Interaction; Holland, S., Mudd, T., Wilkie-McKenna, K., McPherson, A., Wanderley, M. M. (eds.); Springer. Issue , 2019.
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    41. R. H. Jack. Tangibility and Richness in the Design of Digital Musical Instruments. PhD Thesis, Queen Mary University of London, London, United Kingdom.. Issue , 2019.
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    42. 2018

    43. F. Morreale, J. Armitage and A. McPherson. Effect of Instrument Structure Alterations on Violin Performance. Frontiers in Psychology. Vol. 9, Issue 2436, 2018.
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    44. V. Zappi and A. McPherson. Hackable Instruments: Supporting Appropriation and Modification in Digital Musical Interaction. Frontiers in ICT. Vol. 5, Issue 26, 2018.
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    45. R. H. Jack, A. Mehrabi, T. Stockman and A. McPherson. Action-sound Latency and the Perceived Quality of Digital Musical Instruments: Comparing Professional Percussionists and Amateur Musicians. Music Perception. Vol. 36, Issue 1, 2018.
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    46. S. M. A. Bin, N. Bryan-Kinns, A. P. McPherson. Risky business: Disfluency as a design strategy. Proc. New Interfaces for Musical Expression, Blacksburg, Virginia, USA. 2018.
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    47. G. Lepri, A. P. McPherson. Mirroring the past, from typewriting to interactive art: an approach to the re-design of a vintage technology. Proc. New Interfaces for Musical Expression, Blacksburg, Virginia, USA. 2018.
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    48. J. Armitage and A. McPherson. Crafting Digital Musical Instruments: An Exploratory Workshop Study. Proc. New Interfaces for Musical Expression, Blacksburg, Virginia, USA. 2018.
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    49. S. Salazar and J. Armitage. Re-Engaging the Body and Gesture in Live Coding. Proc. New Interfaces for Musical Expression, Blacksburg, Virginia, USA. 2018.
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    50. A. Sarwate, R. Rose, J. Armitage and J. Freeman. Performance Systems for Live Coders and Non-Coders. Proc. New Interfaces for Musical Expression, Blacksburg, Virginia, USA. 2018.
    51. J. Harrison, R. Jack, F. Morreale and A. McPherson. When is a Guitar not a Guitar? Cultural Form, Input Modality and Expertise. Proc. New Interfaces for Musical Expression, Blacksburg, Virginia, USA. 2018.
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    52. R. Jack, J.Harrison, F. Morreale and A. McPherson. Democratising DMIs: the relationship of expertise and control intimacy. Proc. New Interfaces for Musical Expression, Blacksburg, Virginia, USA. 2018.
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    53. J. Pigrem and A. McPherson. Do We Speak Sensor? Cultural Constraints of Embodied Interaction. Proc. New Interfaces for Musical Expression, Blacksburg, Virginia, USA. 2018.
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    54. K. Buys and A. McPherson. Real-time bowed string feature extraction for performance applications. Proc. Sound and Music Computing, Limassol, Cyprus. 2018.
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    55. L. Pardue, A. McPherson and D. Overholt. Improving the Instrumental Learning Experience through Complexity Management. Proc. Sound and Music Computing, Limassol, Cyprus. 2018.
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    56. L. Donovan. Travelling Wave Control of Stringed Musical Instruments. PhD thesis, Queen Mary University of London. Issue , 2018.
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    57. S. M. Astrid Bin. The Show Must Go Wrong: Towards an understanding of audience perception of error in digital musical instrument performance. PhD thesis, Queen Mary University of London. Issue , 2018.
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    58. 2017

    59. L. Donovan, S. M. A. Bin, J. Armitage, A. P. McPherson. Building an IDE for an embedded system using web technologies. Proc. Audio Mostly, London, UK. 2017.
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    60. G. Moro, A. P. McPherson, M. B. Sandler. Dynamic temporal behaviour of the keyboard action on the Hammond organ and its perceptual significance. Journal of Acoustical Society of America. Issue , 2017.
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    61. S. M. A. Bin, N. Bryan-Kinns and A. P. McPherson. Hands where we can see them! Investigating the impact of gesture size on audience perception. Proc. International Computer Music Conference, Shanghai, China. 2017.
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    62. J. Harrison and A. P. McPherson. Adapting the bass guitar for one-handed playing. Journal of New Music Research. Issue , 2017.
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    63. J. Harrison and A. P. McPherson. An adapted bass guitar for one-handed playing. Proc. New Interfaces for Musical Expression, Copenhagen, Denmark. 2017.
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    64. R. Jack and T. Stockman and A. P. McPherson. Maintaining and constraining performer touch in the design of digital musical instruments. Proc. Tangible, Embedded and Embodied Interaction (TEI) Graduate Student Consortium, Yokohama, Japan. 2017.
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    65. F. Morreale and A. P. McPherson. Design for Longevity: Ongoing Use of Instruments from NIME 2010-14. Proc. New Instruments for Musical Expression, Copenhagen, Denmark. 2017.
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    66. J. Armitage, F. Morreale and A. P. McPherson. The finer the musician, the smaller the details: NIMEcraft under the microscope. Proc. New Instruments for Musical Expression, Copenhagen, Denmark. 2017.
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    67. A. P. McPherson, J. Armitage, S. M. A. Bin, F. Morreale, R. Jack. NIMEcraft Workshop: Exploring the Subtleties of Digital Lutherie. Proc. New Instruments for Musical Expression, Copenhagen, Denmark. 2017.
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    68. R. Jack and A. P. McPherson. Rich gesture, reduced control: the influence of constrained mappings on performance technique. 4th International Conference on Movement Computing, London, United Kingdom. 2017.
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    69. F. Morreale, G. Moro, A. Chamberlain, S. Benford and A. P. McPherson. Building a maker community around an open hardware platform. Proc. ACM Conference on Human Factors in Computing Systems (CHI), Denver, USA. 2017.
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    70. A. P. McPherson and F. Morreale. Technology and community in toolkits for musical interface design. ACM CHI Workshop on HCI.tools, Denver, USA. 2017.
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    71. F. Morreale, R. Masu and A. P. McPherson. Constraining control in mixed-initiative musical interfaces. ACM CHI Workshop on Mixed-Initiative Creative Interfaces, Denver, USA. 2017.
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    72. S. M. A. Bin, N. Bryan-Kinns, A. P. McPherson. In-the-moment and beyond: Combining post-hoc and real-time data for the study of audience perception of electronic music performance. Proc. INTERACT, Mumbai, India. 2017.
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    73. 2016

    74. R. H. Jack, A. P. McPherson and T. Stockman. Effect of latency on performer interaction and subjective quality assessment of a digital musical instrument. Proc. Audio Mostly, Norrköping, Sweden. 2016.
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    75. A. P. McPherson, R. Jack and G. Moro. Action-Sound Latency: Are Our Tools Fast Enough?. Proc. New Interfaces for Musical Expression, Brisbane, Australia. 2016.
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    76. S. M. A. Bin, N. Bryan-Kinns and A. P. McPherson. Skip the pre-concert demo: how technical familiarity and musical style affect audience response. Proc. New Interfaces for Musical Expression, Brisbane, Australia. 2016.
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    77. G. Moro, S. A. Bin, R. H. Jack, C. Heinrichs and A. P. McPherson. Making high-performance embedded instruments with Bela and Pure Data. Proc. ICLI, Brighton, United Kingdom. 2016.
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    78. C. Sulyok, A. P. McPherson and C. Harte. Evolving the process of a virtual composer. Natural Computing. Issue , 2016.
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    79. A. P. McPherson, A. Chamberlain, A. Hazzard, S. McGrath and S. Benford. Designing for exploratory play with a hackable digital musical instrument. Proc. Desiging Interactive Systems, Brisbane, Australia. 2016.
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    80. S. Holland, A. P. McPherson et al.. Workshop: Music and HCI. CHI Extended Abstracts, San Jose, CA, USA. 2016.
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    81. R. Jack, T. Stockman and A. P. McPherson. Navigation of pitch space on a digital musical instrument with dynamic tactile feedback. Proc. Tangible and Embodied Interaction, Eindhoven, Netherlands. 2016.
    82. 2015

    83. V. Zappi and A. McPherson. The D-Box: how to rethink a digital musical instrument. Proc. Digital Audio Effects (DAFx), Trondheim, Norway. 2015.
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    84. L. Pardue, C. Harte and A. McPherson. A low-cost real-time tracking system for violin. Journal of New Music Research. Vol. 44, Issue 4, 2015.
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    85. G. Moro and A. McPherson. Approximating non-linear inductors using time-variant linear filters. Proc. Digital Audio Effects (DAFx), Trondheim, Norway. 2015.
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    86. D. W. H. Menzies. Technological support for Highland piping tuition and practice. PhD Thesis, Queen Mary University of London, London, United Kingdom. 2015.
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    87. R. Jack, A. McPherson and T. Stockman. The design of tactile musical devices for the deaf. Proc. International Conference on the Multimodal Experience of Music, Sheffield, United Kingdom. 2015.
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    88. A. McPherson. Buttons, handles, and keys: advances in continuous-control keyboard instruments. Computer Music Journal. Vol. 39, Issue 2, 2015.
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    89. J. MacRitchie and A. McPherson. Integrating optical finger motion tracking with surface touch events. Frontiers in Psychology. Vol. 6, Issue 702, 2015.
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    90. A. McPherson and V. Zappi. Exposing the scaffolding of digital instruments with hardware-software feedback loops. Proc. New Interfaces for Musical Expression, Baton Rouge, LA, USA. 2015.
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    91. D. W. H. Menzies and A. McPherson. Highland piping ornament recognition using Dynamic Time Warping. Proc. New Interfaces for Musical Expression, Baton Rouge, LA, USA. 2015.
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    92. L. Donovan and A. McPherson. Active control of a string instrument bridge using the Posicast technique. Proc. AES 138th Convention, Warsaw, Poland. 2015.
    93. A. McPherson and V. Zappi. An environment for submillisecond-latency audio and sensor processing on BeagleBone Black. Proc. AES 138th Convention, Warsaw, Poland. 2015.
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    94. 2014

    95. J. Reiss and A. McPherson. Audio Effects: Theory, Implementation and Application. CRC Press. Issue , 2014.
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    96. V. Zappi and A. McPherson. Design and use of a hackable digital instrument. Proc. Live Interfaces, Lisbon, Portugal. 2014.
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    97. V. Zappi and A. McPherson. Dimensionality and appropriation in digital musical instrument design. Proc. New Interfaces for Musical Expression, London, United Kingdom. 2014.
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    98. L. Pardue, D. Nian, C. Harte and A. McPherson. Low-latency audio pitch tracking: a multi-modal sensor-assisted approach. Proc. New Interfaces for Musical Expression, London, United Kingdom. 2014.
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    99. J. Sokolovskis and A. McPherson. Optical measurement of acoustic drum strike locations. Proc. New Interfaces for Musical Expression, London, United Kingdom. 2014.
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    100. L. Donovan and A. McPherson. The talking guitar: headstock tracking and mapping strategies. Proc. New Interfaces for Musical Expression, London, United Kingdom. 2014.
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    101. D. Gábana Arellano and A. McPherson. Radear: a tangible spinning music sequencer. Proc. New Interfaces for Musical Expression, London, United Kingdom. 2014.
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    102. C. Heinrichs, A. McPherson and A. Farnell. Human performance of computational sound models for immersive environments. The New Soundtrack Journal. Issue , 2014.
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    103. C. Heinrichs and A. McPherson. Mapping and interaction strategies for performing environmental sound. IEEE VR Workshop on Sonic Interactions for Virtual Environments, Minneapolis, USA. 2014.
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    104. J. Topliss, V. Zappi and A. McPherson. Latency performance for real-time audio on BeagleBone Black. Linux Audio Conference, Karlsruhe, Germany. 2014.
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    105. 2013

    106. A. McPherson. Crowdfunding digital musical instruments: a case study. Proc. Innovation in Music Conference, York, United Kingdom. 2013.
    107. D. W. H. Menzies and A. McPherson. A digital bagpipe chanter system to assist in one-to-one piping tuition. Proc. Sound and Music Computing, Stockholm, Sweden. 2013.
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    108. T. Hedges and A. McPherson. 3D gestural interaction with harmonic pitch space. Proc. Sound and Music Computing, Stockholm, Sweden. 2013.
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    109. A. McPherson and Y. Kim. Piano technique as a case study in expressive gestural interaction. Music and Human-Computer Interaction; Holland, S., Wilkie, K., Mulholland, P. and Seago, A., Ed.; Springer, C7, pp.123-138. Issue , 2013.
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    110. A. McPherson. Portable measuring and mapping of continuous piano gesture. Proc. New Interfaces for Musical Expression (NIME 2013 Best Paper), Seoul, South Korea. 2013.
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    111. L. Pardue and A. McPherson. Near-field optical reflectance sensing for violin bow tracking. Proc. New Interfaces for Musical Expression, Seoul, South Korea. 2013.
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    112. A. McPherson, A. Gierakowski and A. Stark. The space between the notes: adding expressive pitch control to the piano keyboard. Proc. ACM Conference on Human Factors in Computing Systems (CHI), Paris, France. 2013.
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    113. L. Vetter, M. Terrell, A. Simpson and A. McPherson. Estimation of overdrive in music signals. Audio Engineering Society 134th Convention, Rome, Italy. 2013.
    114. 2012

    115. A. McPherson and Y. Kim. The problem of the second performer: building a community around an augmented piano. Computer Music Journal. Vol. 36, Issue 4, 2012.
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    116. A. McPherson. Techniques and circuits for electromagnetic instrument actuation. Proc. New Interfaces for Musical Expression, Ann Arbor, MI, USA. 2012.
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    117. A. McPherson. TouchKeys: capacitive multi-touch sensing on a physical keyboard. Proc. New Interfaces for Musical Expression, Ann Arbor, MI, USA. 2012.
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    118. D. W. H. Menzies and A. McPherson. An electronic bagpipe chanter for automatic recognition of Highland piping ornamentation. Proc. New Interfaces for Musical Expression, Ann Arbor, MI, USA. 2012.
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    119. N. C. Britt, J. Snyder and A. McPherson. The EMvibe: an electromagnetically actuated vibraphone. Proc. New Interfaces for Musical Expression, Ann Arbor, MI, USA. 2012.
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    120. J. Snyder and A. McPherson. The JD-1: an implementation of a hybrid keyboard/sequencer controller for analog synthesizers. Proc. New Interfaces for Musical Expression, Ann Arbor, MI, USA. 2012.
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    121. C. Heinrichs and A. McPherson. A hybrid keyboard-guitar interface using capacitive touch sensing and physical modeling. Proc. Sound and Music Computing, Copenhagen, Denmark. 2012.
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    122. C. Heinrichs and A. McPherson. Recreating the parallax effect associated with Fishtank VR in a Real-Time telepresence system using head-tracking and a robotic camera. International Symposium on Mixed and Augmented Reality (ISMAR), Atlanta, USA. 2012.
    123. E. Burdiel, L. Vetter, A. Simpson, M. Terrell, A. McPherson and M. Sandler. Real-time implementation of Glasberg and Moore's loudness model for time-varying sounds. Audio Engineering Society 133rd Convention, San Francisco, CA, USA. 2012.
    124. 2011

    125. A. McPherson and Y. Kim. Design and applications of a multi-touch musical keyboard. Proc. Sound and Music Computing, Padova, Italy. 2011.
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    126. B. Dolhansky, A. McPherson and Y. Kim. Designing an expressive virtual percussion instrument. Proc. Sound and Music Computing, Padova, Italy. 2011.
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    127. A. McPherson and Y. Kim. Multidimensional gesture sensing at the piano keyboard. Proc. ACM Conference on Human Factors in Computing Systems (CHI), Vancouver, BC, Canada. 2011.
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    128. 2010

    129. A. McPherson. The magnetic resonator piano: electronic augmentation of an acoustic grand piano. Journal of New Music Research. Vol. 39, Issue 3, 2010.
    130. A. McPherson and Y. Kim. Augmenting the acoustic piano with electromagnetic string actuation and continuous key position sensing. Proc. New Interfaces for Musical Expression, Sydney, Australia. 2010.
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