NMSAT Index5 - Jerome Joy website

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!!_______________________________________________________________________ M Macaulay C., Benyon D., Crerar A. “Voices in the Forrest: Sounds, Soundscapes and Interface Design”, Dahlbäck, N. (ed.) Exploring Navigation. SICS Technical Report T98:01, SICS, Stockholm, 1998 Machover T. “Hyperinstruments: A Composer’s Approach to the Evolution of Intelligent Musical Instruments”, Cyberarts, San Francisco 1991, S. 67-76. Mackay W. “Media Spaces: Environments for Informal Multimedia Interaction”. In Computer Supported Co-operative Work. John Wiley and Sons. 1999. McAllister G., Alcorn M., and Strain P. “Interactive Performance With Wireless PDA.” Proceedings of the 2004 International Computer Music Conference. San Francisco, California: International Computer Music Association, pp.702–705, 2004 Madhyastha T.M., Reed D.A. “Data sonification: Do you see what I hear?”, IEEE Software, 12(2):45–56, 1995. Madden T., R. B., Smith, Wright M., and Wessel D.. “Preparation for interactive live computer performance in collaboration with a symphony orchestra”. In Proceedings of the International Computer Music Conference, 310–13. Havana, Cuba: ICMA, 2001. Magerkurth C., Engelke T., Memisoglu M. “Augmenting the virtual domain with physical and social elements: towards a paradigm shift in computer entertainment technology”. ACM Trans. Computers in Entertainment, 2(4):12–12, 2004. Magnusson T. “Musical Collaboration Over High-speed Networks”, AHRC ICT Methods Network Workshop, Centre for Computing in the Humanities, Kay House, King’s College, 19 March 2007 Mattusch U. “Musik im virtuellen Raum - Zu den veränderten Bedingungen musikalischer Interaktion und Interkonnektivität”, Bernd Enders, Joachim Stange-Elbe (Hg.): Musik und Neue Technologie 3: Musik im virtuellen Raum (KlangArt-Kongreß 1997), Osnabrück 2000, 59-70. Mazalek A., Jehan T., “Short talks: communication and collaboration: Interacting with music in a social setting”, Extended Abstracts of CHI'00, pp.255–256, ACM Press, 2000 McCartney J. “Continued evolution of the SuperCollider real time synthesis environment”. In Proceedings of the International Computer Music Conference, 133– 136. Ann Arbor, MI: ICMA, 1998 McAuley G. “Space in Performance: Making Meaning in the Theatre”, Ann Arbor: The University of Michigan Press., 2003 Moller M., Henshall W., Bran T., Becker C. “The ResRocket Surfer - Rocket Network”. 1994. ^http://www.rocketnetwork.com/ Moore S. Place T. “The KromoZone Intermedia Performance System,”presented at the annual national conference of the Society for ElectroAcoustic Music in the United States, Denton Texas, 2000. Moore S., Place T. ''KromoZone: A Platform for Networked Multimedia Performance'', Proceedings of the International Conference “Music without Walls? Music Without Instruments?”, De Montfort University, Leicester, 2001 Moore S., Place T. “KromoZone : A Platform for Networked Multimedia Performance”, 2001 Motte-Haber H. “Zwischen Performance und Installation”, Dies. (Hg.): Handbuch der Musik des 20. Jahrhunderts - Klangkunst (12), Laaber 1999, S. 229-279. Mouchtaris A., Narayanan S.S., Kyriakakis C. “Virtual microphones for multichannel audio resynthesis”, EURASIP Journal on Applied Signal Processing, vol. 2003, pp. 968–979, 2003 *Mülhäuser M., Welzi M., Borchers J., Gurkas R. “GlobeMusic: The Internet Scale of eMusic-Making”, Web Delivering of Music Proceedings of IEEE WEDELMUSIC 2001. First International Conference. 2001.
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