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Who makes what sound?: supporting real-time musical improvisations of electroacoustic ensembles.

, , , , and . OZCHI, page 112-119. ACM, (2010)

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Towards Controllable Audio Texture Morphing., , , , , and . ICASSP, page 1-5. IEEE, (2023)Parameter Sensitivity of Deep-Feature based Evaluation Metrics for Audio Textures., , , , , and . ISMIR, page 462-468. (2022)A Self-Organizing Gesture Map for a Voice-Controlled Instrument Interface., and . NIME, page 507-512. nime.org, (2013)A Voice Interface for Sound Generators: adaptive and automatic mapping of gestures to sound., and . NIME, nime.org, (2012)The Temporal Window: Explicit Representation of Future Actions in Improvisational Performances., , , , , and . Creativity & Cognition, page 28-38. ACM, (2017)AudiOdyssey: an accessible video game for both sighted and non-sighted gamers., and . Future Play, page 251-252. ACM, (2007)Editorial: Special Issue on Audio and Multimedia.. Multim. Syst., 7 (1): 1 (1999)The Effect of Visualizing Audio Targets in a Musical Listening and Performance Task., , and . NIME, page 304-307. nime.org, (2011)An enhanced musical experience for the deaf: design and evaluation of a music display and a haptic chair., , , and . CHI, page 337-346. ACM, (2009)Who makes what sound?: supporting real-time musical improvisations of electroacoustic ensembles., , , , and . OZCHI, page 112-119. ACM, (2010)