Paper TitleAuthor NamesVideo Abstract
Generative Music using reactive ProgrammingBertrand Petit (INRIA)*; Manuel Serrano ()
Network Modulation Synthesis: New Algorithms for Generating Musical Audio Using Autoencoder NetworksJeremy Hyrkas (University of California San Diego)*
A Head-to-Head Comparison of the Emotional Characteristics of the Violin and Erhu on the Butterfly Lovers ConcertoDustin Lee (HKUST)*; Andrew Horner (HKUST); Wenyi Song (HKUST)
An Experiential Course on Creative Sound DesignCheuk Nam Lau (Hong Kong University of Science and Technology)*
Neural Granular Sound SynthesisAdrien Bitton (IRCAM)*; Philippe  Esling (IRCAM); Tatsuya Harada (The University of Tokyo / RIKEN)
MVerb and MVerb3D: Modified Waveguide Mesh Reverb PluginsJon Nelson ()*
MYtrOmbone: exploring gesture controlled live electronics in solo trombone performanceJames Dooley (The Open University)*; Simon Hall (Integra Lab, Royal Birmgingham Conservatoire)
Spatial System Design As A Spatio-Compositional StrategyJesse Austin-Stewart (Massey University)*; Bridget Johnson (Massey University)
The Real-time Synthesis of the Ancient Chinese Chime-Bells Instrument of Marquis Yi in Max/Msp Using FZ-ARMA ModelTsung-Ching Liu (Chinese Culture University)*; Wan Tin Lin (Chinese Culture University)
CORROSE: The Loudspeaker’s Compositional Influence Acoustically SignifiedJack Woodbury (Victoria University of Wellington)*
AudioStellar, an open source corpus-based musical instrument for latent sound structure discovery and sonic experimentationLeandro Garber (MUNTREF Arte y Ciencia)*; Tomás Ciccola (MUNTREF Arte y Ciencia); Juan Cruz Amusategui (MUNTREF Arte y Ciencia)
MEANING THE SCORE: FROM CODE AND PERFORMANCE TO SCORE Mauricio Rodriguez (San Francisco Conservatory of Music)*
InFracta: the Body as an Augmented Instrument in a Collaborative, Multi-Modal PieceThales Roel Pessanha (UNICAMP)*; Thiago Roque (UNICAMP); Guilherme Zanchetta (UNICAMP); Lucas Pereira (UNICAMP); Gabrielly de Oliveira (UNICAMP); Bruna Pinheiro (UNICAMP); Renata Paulino (UNICAMP); Tiago Tavares  (UNICAMP)
The Effects of Pitch, Dynamics, and Vowel on the Emotional Characteristics of the Tenor VoiceBing Yen Chang (The Hong Kong University of Science and Technology)*; Hiu Ting Chan (HKUST); Andrew Horner (HKUST)
Timbre Manipulation from Audio Features Based on Fractal Additive SynthesisThiago Roque (UNICAMP)*; Rafael Mendes (UNICAMP)
Headmusic: Exploring the Potential of a Low-Cost Commercial EEG Headset for the Creation of NIMEsChristine Steinmeier (Bielefeld University of Applied Sciences)*; Dominic Becking (Bielefeld University of Applied Sciences)
The story and the insides of a spatial performance tool: Live 4 LifeChristophe LENGELE (Université de Montréal)*
Phil Winosr’s Musical Poetics: Music is Nothing, Music is Nowhere, Music is Nothing.Ken Paoli (College of DuPage)*
DDSS: a diffusion-based extension of Xenakis’ dynamic stochastic synthesisEmilio Rojas  (Pontificia Universidad Católica de Chile)*; Rodrigo Cadiz (Pontificia Universidad Catolica de Chile)
Designing and Practicing Embodied Sonic Meditation  Jiayue Wu (University of Colorado Denver)*
Modeling Baroque Two-Part Counterpoint with Neural Machine TranslationStefano Kalonaris (Riken)*; Eric Nichols (Zillow Group); Gianluca Micchi (CRIStAL, UMR 9189, CNRS, Universite de Lille); Anna Aljanaki (University of Tartu)
Using tf-idf and cosine similarity into Shazam-based fingerprinting algorithmsArthur Tofani (University of São Paulo)*; Marcelo Queiroz (University of São Paulo)
Let-act: Challenges of Collaborative  Multimedia PerformancesZlatko Baracskai (University of the West of England)*
Sonification for 3D Printing Process MonitoringMaxime Poret (LaBRI – Université de Bordeaux)*; Sébastien Ibarboure (ESTIA); Matthias Robine (LaBRI, University of Bordeaux); Emmanuel Duc (SIGMA Clermont); Nadine Couture (ESTIA); Myriam Desainte-Catherine (LaBRI, University of Bordeaux); Catherine Semal (Bordeaux INP ENSC)
Conjunction of aesthetics through computer music techniques in the acousmatic piece Sheffield 17 Alejandro Albornoz (Universidad Austral de Chile)*
COMPARISON OF METHODS FOR BASS LINE ONSET DETECTIONgabriel duran (Pontificia Universidad Catolica de Chile)*; Patricio De La Cuadra (Pontificia Universidad Catolica de Chile); Domingo Mery (Pontificia Universidad Católica de Chile)
High-Performance Tools to Generate and Visualize a Sonic Time-LapseDiego Espejo (Instituto de Acústica, Universidad Austral de Chile)*; Victor Poblete (Instituto de Acústica, Universidad Austral de Chile); Pablo Huijse (Universidad Austral de Chile); Felipe Otondo ()
Hand gesture to timbre converterMiller Puckette (University of California, San Diego)*; Kerry Hagan ()
Autoethnography and Emotional Exposure as an Approach for Electroacoustic Music CompositionRebecca Brown (University of Virginia)*; Juan Vasquez (University of Virginia)
Pi-Shaker: A New Workflow for Augmented InstrumentsVesa Norilo (University of the Arts Helsinki)*; Andrew Brown (Griffith University)
Reconfiguring Instrumental Performance in Perú:  Ensamble de Laptops de la Universidad Nacional de Música – ELUNM.Jose Lopez (Universidad Nacional de Música)*
Predicting and Critiquing Machine Virtuosity: Mawwal Accompaniment as Case StudyFadi AL-GHAWANMEH (University of Jordan)*; Melissa SCOTT (University of California); Mohamed Amine MENACER (University of Lorraine); Kamel Smaïli (University of Lorraine)
Guitar Virtual Instrument using Physical Modelling with Collision SimulationKa-wing Ho (The Chinese University of Hong Kong)*; Yiu Ling  (The Chinese University of Hong Kong); Chuck-jee Chau (The Chinese University of Hong Kong)
Vocabulary ruts in Mixed Music  –  multifarious terms with many ascriptions. Miriam Akkermann (TU Dresden)*
Joint Beat and Downbeat Tracking Based on CRNN Models and a Comparison of Using Different Context Ranges in Convolutional LayersTian Cheng (National Institute of Advanced Industrial Science and Technology (AIST))*; Satoru Fukayama (National Institute of Advanced Industrial Science and Technology (AIST)); Masataka Goto (National Institute of Advanced Industrial Science and Technology (AIST))
Sounds in Motion. What We Do Perceive Federico Schumacher (Universidad Diego Portales)*; Vicente Espinoza (Universidad de Chile); Francisca Mardones (Universidad Diego Portales); Rodrigo  Vergara (Universidad de Chile); Alberto Aranguiz (Universidad Diego Portales); Valentina Aguilera (Universidad de Chile)
AMI – Creating Coherent Musical Composition with AttentionNing Ma (University of Sheffield)*; Guy Brown (University of Sheffield); Paolo Vecchiotti (University of Sheffield)
Aural Weather Etude: Installing AtmosphereVesa Norilo (University of the Arts Helsinki)*; Josué Moreno (University of the Arts Helsinki)
Songrium RelayPlay: A Web-based Listening Interface for Continuously Playing User-generated Music Videos of the Same Song with Different SingersMasahiro Hamasaki (National Institute of Advanced Industrial Science and Technology (AIST))*; Keisuke Ishida (National Institute of Advanced Industrial Science and Technology (AIST)); Tomoyasu Nakano (National Institute of Advanced Industrial Science and Technology (AIST)); Masataka Goto (National Institute of Advanced Industrial Science and Technology (AIST))
LazyVoice: A multi-agent approach to fluid voice leadingCale Plut (Simon Fraser University)*; Philippe Pasquier (Simon Fraser University)
Triggering models for effortful musical interaction be-yond direct cognitive controlZlatko Baracskai (University of the West of England)*
Ear Talk Project: Repurposing YouTube Live for Online Co-composition and PerformanceToshihisa Tsuruoka (New York University)*; Leo Chang (); Oliver Hickman (none)
‘A Core and Yet Absent’ [1]: Using Electroacoustic Technology to Mediate between String Quartet and an Ancient TextEdmund Hunt (Royal Birmingham Conservatoire)*; James Dooley (The Open University)
Emerging structures within microtime of Ligeti’s ContinuumMicael Silva (University of Campinas)*; Danilo Rossetti (Federal University of Mato Grosso); Jonatas Manzoli (UNICAMP)
Learning Models for Query by Vocal Percussion: A Comparative StudyAlejandro Delgado Luezas (Roli / Queen Mary University of London)*; SKoT McDonald (Roli); Ning Xu (Roli); Charalampos Saitis (Queen Mary University of London (starting Oct/Nov?)); Mark B. Sandler (Queen Mary University of London)
THE EXPANDING UNIVERSE OF POETIC VOICESachi Tanihara (Tokyo University of the Arts)*
Current Activism Trends in Sound Art and Electroacoustic Music in Mexico and ColombiaJuan Carlos Vasquez (University of Virginia)*; Omar Guzman Fraire (UVA)
Disperf: A Platform for Telematic Music Concert ProductionMichael Palumbo (York University)*; Doug Van Nort (York University); Rory Hoy (York University)
“Machinatuosity”: Virtual Strings, Spectral Filters and Temperament Tools for ‘Esquisse’Richard Dudas (Hanyang University)*
CCM Center for Computer Music Studio Report 2019Mara Helmuth ()*; Yunze Mu (University of Cincinnati, College-Conservatory of Music); Owen Hopper (University of Cincinnati, College-Conservatory of Music); Carl Jacobson (University of Cincinnati, College-Conservatory of Music); Shawn Milloway (University of Cincinnati, College-Conservatory of Music)
Sound Synthesis by Connecting a Chaotic Map to a Bank of ResonatorsEdgar Berdahl (Louisiana State University)*; landon viator (lsu)
OrchideaSOL: a dataset of extended instrumental techniques for computer-aided orchestrationCarmine-Emanuele Cella (University of California, Berkeley)*; Daniele Ghisi (University of California, Berkeley); Vincent Lostanlen (Cornell University); Fabien Lévy (Detmold Hochschule fur musik ); Joshua Fineberg (Boston University); Yan Maresz (Conservatoire national supérieur de musique et de danse de Paris)
Acoustic Control using the Internet of Things:  Introducing the Concept of a Socially Responsible Noise SourceEdgar Berdahl (Louisiana State University)*
QuBits, a System for Interactive Sonic Virtual RealityJonathan Kulpa (UC Berkeley)*; Edmund Campion (University of California, Berkeley); Carmine-Emanuele Cella (University of California, Berkeley)
PRP Voyager: an instrument employing complex mapping to generate complex musicWard Slager (University of the Arts Utrecht)*; Fedde ten Berge (STEIM)
Extramentality; Automatic Mapping Generation for Gestural Control of Electronic MusicVirginia de las Pozas (NYU )*
Ensemble Nonlinear: Low-cost Ensemble Performance with Networked Raspberry Pi’sRob Hamilton (Rensselaer Polytechnic Institute)*
A Ratio-based Interface for Musical Control of an  Iterated Function System Oliver Hancock (MAINZ)*
Der Hörweg/The Listening Path: An Acoustic Ecology and Augmented Reality Project for a Rural Community. Redefining distribution, facilitation and propagation of soundscapes and musicSabine Breitsameter (Soundscape- & Environmental Media Lab, Darmstadt UAS)*
Sonification of Glitch-Video: Making and Evaluating Audiovisual Art made from the Betta FishKittiphan Janbuala (College of music, Seoul National University )*; PerMagnus Lindborg (Soundislands)
The Soundscaper: A Tool for Soundscape Re-SynthesisTae Hong Park (NYU)*
A Foundations-of-Computation Approach to Formalizing Musical AnalysisHalley Young (University of Pennsylvania)*
A Methodology for Virtualizing Complex Sound Sources into 6DoF RecordingsJeffrey Clark (Ball State University)*
Electro-Somaesthetic Music: Spatial ApproachesAlexis Crawshaw (UCSB Media Arts and Technology and Université Paris 8 EDESTA)* (YouTube Link)