SMC 2019 Scientific Program

SMC 2019 Scientific Program is already available. You can download a summary in PDF format HERE.

There is also available a small book that includes the SMC 2019 Program and Abstracts.


ORAL SESSION S1. Sonic interactions
Wednesday, May 29 (11:30- 13.00)
Session Chair: Stefania Serafin
S1.1. Towards a High-Performance Platform for Sonic Interaction Interfaces
Stefano Fasciani and Manohar Vohra
S1.2. Digital Manufacturing for Musical Applications: A Survey of Current Status and Future Outlook
Doga Cavdir
S1.3. Real Time Audio Digital Signal Processing with Faust and the Teensy
Romain Michon, Yann Orlarey, Stéphane Letz and Dominique Fober
S1.4. Sound Design through Large Audience Interaction
Kjetil Falkenberg Hansen, Martin Ljungdahl-Eriksson and Ricardo Atienza
S1.5. Evaluating a Continuous Sonic Interaction: Comparing a Performable Acoustic and Digital Everyday Sound
Fiona Keenan and Sandra Pauletto
Oral Session S2. Nordic SMC
Wednesday, May 29 (14:30- 16:30)
Session Chair: Vesa Välimäki
S2.1. Adaptive Loudness Compensation in Music Listening
Leonardo Fierro, Jussi Rämö and Vesa Välimäki
S2.2. Toward Automatic Tuning of the Piano
Joonas Tuovinen, Jamin Hu and Vesa Välimäki.
S2.3. Real-time Control of Large-scale Modular Physical Models using the Sensel Morph
Silvin Willemsen, Nikolaj Andersson, Stefania Serafin and Stefan Bilbao
S2.4. An Interactive Music Synthesizer for Gait Training in Neurorehabilitation
Prithvi Kantan and Sofia Dahl
S2.5. From Vocal Sketching to Sound Models by Means of a Sound-Based Musical Transcription System
Claudio Panariello, Mattias Sköld, Emma Frid and Roberto Bresin
S2.6. Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation
Olivier Lartillot and Didier Grandjean
Poster Session 1. Wednesday, May 29
Session Chair: Hanna Järveläinen
P1.1. DAW-Integrated Beat Tracking for Music Production
Brett Dalton, David Johnson and George Tzanetakis
P1.2. Interaction-based Analysis of Freely Improvised Music
Stefano Kalonaris
P1.3. Mechanical Entanglement: A Collaborative Haptic-Music Performance
Alexandros Kontogeorgakopoulos, George Sioros and Odysseas Klissouras
P1.4. State Dependency - Audiovisual Interaction through Brain States
Patrick Neff, Jan Schacher and Daniel Bisig
P1.5. Perceptual Evaluation of Modal Synthesis for Impact-Based Sounds
Adrián Barahona and Sandra Pauletto
P1.6. VIBRA - Technical and Artistic Issues in an Interactive Dance Project
Andreas Bergsland, Sigurd Saue and Pekka Stokke
P1.7. Musical Tempo and Key Estimation with Directional Convolutional Neural Networks
Hendrik Schreiber and Meinard Müller
P1.8. The Viking HRTF Dataset
Simone Spagnol, Kristján Bjarki Purkhús, Sverrir Karl Björnsson and Runar Unnthórsson
P1.9. Performing with Sound Sample-Controlled Gloves and Light-Controlled Arms
Frank Pecquet, Fotis Moschos, David Fierro and Justin Pecquet
P1.10. Melody Identification in Standard MIDI Files
Zheng Jiang and Roger Dannenberg
P1.11. Automatic Chord-Scale Recognition using Harmonic Pitch Class Profiles
Emir Demirel, Baris Bozkurt and Xavier Serra
Demo Session D1. Wednesday, May 29
Session Chair: Alberto Peinado
D1.1. Exciting Digital Resonators with Analogue Sound
Max Neupert and Clemens Wegener
D1.2. Melody Slot Machine
Masatoshi Hamanaka
D1.3. OM-AI: A Toolkit to Support AI-Based Computer-Assisted Composition Workflows in OpenMusic
Anders Vinjar and Jean Bresson
D1.4. URALi: a proposal of approach to real-time audio synthesis in Unity
Enrico Dorigatti
D1.5. A Sequencer with Decoupled Track Timing
Silvan David Peter and Gerhard Widmer
D1.6. Musicypher: Music for Message Encryption
Víctor Jaime Marín and Alberto Peinado
D1.7. A Platform for Processing Sheet Music and Developing Multimedia Application
Fu-Hai Frank Wu
D1.8. Capturing the Reaction Time to Distinguish between Voice and Music
Alejandro Villena-Rodríguez, Lorenzo J. Tardón, Isabel Barbancho, Ana M. Barbancho, Irene Gómez-Plazas and María-José Varela-Salinas
D1.9. Physical Models and Real-Time Control with the Sensel Morph
Silvin Willemsen , Stefan Bilbao, Nikolaj Andersson and Stefania Serafin


Oral Session S3: Augmented and virtual realities
Thursday, May 30 (09:00- 10:30)
Session Chair: Marcella Mandanici
S3.1. Comparison and Implementation of Data Transmission Techniques through Analog Audio Signals in the Context of Augmented Mobile Instruments
Romain Michon, Yann Orlarey, Stéphane Letz and Dominique Fober
S3.2. Mass-Interaction Physical Models for Sound and Multi-Sensory Creation: Starting Anew
Jerome Villeneuve and James Leonard
S3.3. Exploring the Effects of Diegetic and Non-diegetic Audiovisual Cues on Decision-making in Virtual Reality
JAnil Çamci
S3.4. OSC-XR: A Toolkit for Extended Reality Immersive Music Interfaces
David Johnson, Daniela Damian and George Tzanetakis
S3.5. No Strings Attached: Force and Vibrotactile Feedback in a Guitar Simulation
Andrea Passalenti, Razvan Paisa, Niels Christian Nilsson, Nikolaj S. Andersson, Federico Fontana, Rolf Nordahl and Stefania Serafin
Oral Session S4. SMC tools and methodologies
Thursday, May 30 (12:00- 13:00)
Session Chair: Emma Frid
S4.1. A Framework for the Evaluation of Interpolated Synthesizer Parameter Mapping
Darrell Gibson and Richard Polfreman
S4.2. Composing with Sounds: Designing an Object Oriented Daw for the Teaching of Sound-Based Composition
Stephen Pearse, Leigh Landy, Duncan Chapman, David Holland and Mihai Eni
S4.3. Insights in Habits and Attitudes Regarding Programming Sound Synthesizers: A Quantitative Study
Gordan Krekovic
Oral Session S5. Sound synthesis & analysis
Thursday, May 30 (14:30- 16:30)
Session Chair: Federico Avanzini
S5.1. Experimental Verification of Dispersive Wave Propagation on Guitar Strings
Dmitri Kartofelev, Joann Arro and Vesa Välimäki
S5.2. Real-Time Modeling of Audio Distortion Circuits with Deep Learning
Eero-Pekka Damskägg, Lauri Juvela and Vesa Välimäki
S5.3. MI-GEN~: An Efficient and Accessible Mass-Interaction Sound Synthesis Toolbox
James Leonard and Jerome Villeneuve
S5.4. Combining Texture-Derived Vibrotactile Feedback, Concatenative Synthesis and Photogrammetry for Virtual Reality Rendering
Eduardo Magalhães, Emil Rosenlund Høeg, Gilberto Bernardes, Jon Ram Bruun-Pedersen, Stefania Serafin and Rolf Nordhal
S5.5. Percussion synthesis using loopback frequency modulation oscillators
Jennifer Hsu and Tamara Smyth
S5.6. Deep Linear Autoregressive Model for Interpretable Prediction of Expressive Tempo
Akira Maezawa
S5.7. Metrics for the Automatic Assessment of Music Harmony Awareness in Children
Federico Avanzini, Adriano Baratè, Luca Andrea Ludovico and Marcella Mandanici
Poster Session P2, Thursday, May 30
Session Chair: Anja Volk
P2.1. RaveForce: A Deep Reinforcement Learning Environment for Music Generation
Qichao Lan, Jim Tørresen and Alexander Refsum Jensenius
P2.2. Music Temperaments Evaluation Based on Triads
Meihui Tong and Satoshi Tojo
P2.3. Composing space in the space: An Augmented and Virtual Reality sound spatialization system
Giovanni Santini
P2.4. Graph Based Physical Models for Sound Synthesis
Pelle Juul Christensen and Stefania Serafin
P2.5. ADPET: Exploring the Design, Pedagogy, and Analysis of a Mixed Reality Application for Piano Training
Lynda Gerry, Sofia Dahl and Stefania Serafin
P2.6. Chord Prediction with The Annotated Beethoven Corpus
Kristoffer Landsnes, Liana Mehrabyan, Victor Wiklund, Fabian C. Moss, Robert Lieck and Martin Rohrmeier
P2.7. Sonic Characteristics of Robots in Films
Adrian B. Latupeirissa, Emma Frid and Roberto Bresin
P2.8. Virtual Reality Music Intervention to Reduce Social Anxiety in Adolescents Diagnosed with Autism Spectrum Disorder
Ali Adjorlu, Nathaly Belen Betancourt Barriga and Stefania Serafin
P2.9. Teach Me Drums: Learning Rhythms through the Embodiment of a Drumming Teacher in Virtual Reality
Mie Moth-Poulsen, Tomasz Bednarz, Volker Kuchelmeister and Stefania Serafin
P2.10. Real-time Mapping of Periodic Dance Movements to Control Tempo in Electronic Dance Music
Lilian Jap and Andre Holzapfel
P2.11. Increasing Access to Music in SEN Settings
Tom Davis, Daniel Pierson and Ann Bevan
Demo Session D2. Thursday, May 30
Session Chair: Hendrik Schreiber
D2.1. Interacting with Musebots (that don't really listen)
Arne Eigenfeldt
D2.2. Extending Jamsketch: An Improvisation Support System
Akane Yasuhara, Junko Fujii and Tetsuro Kitahara
D2.3. Visualizing Music Genres using a Topic Model
Swaroop Panda, Vinay P. Namboodiri and Shatarupa Thakurta Roy
D2.4. CompoVOX: Real-Time Sonification of Voice
Daniel Hernán Molina Villota, Antonio Jurado-Navas and Isabel Barbancho
D2.5. Facial Activity Detection to Monitor Attention and Fatigue
Oscar Cobos, Jorge Munilla, Ana M. Barbancho, Isabel Barbancho and Lorenzo J. Tardón
D2.6. The Chordinator: An Interactive Music Learning Device
Eamon McCoy, John Greene, Jared Henson, James Pinder, Jonathon Brown and Claire Arthur
D2.7. Automatic Chord Recognition in Music Education Applications
Sascha Grollmisch and Estefania Cano
D2.8. Sonic Sweetener Mug
Signe Lund Mathiesen, Derek Victor Byrne and Qian Janice Wang


Oral Session S6. Music information processing
Friday, May 31 (09:00- 10:30)
Session Chair: Roger Dannenberg
S6.1. Learning to Generate Music with BachProp
Florian Colombo, Johanni Brea and Wulfram Gerstner
S6.2. Offline Score Alignment for Realistic Music Practice
Yucong Jiang, Fiona Ryan, David Cartledge and Christopher Raphael
S6.3. Piano Score-Following by Tracking Note Evolution
Yucong Jiang and Christopher Raphael
S6.4. Adaptive Score-Following System by Integrating Gaze Information
Kaede Noto, Yoshinari Takegawa and Keiji Hirata
S6.5. Alternative Measures: A Musicologist Workbench for Popular Music
Beach Clark and Claire Arthur
Oral Session S7. Multimodality and (e)motions
Friday, May 31 (12:00- 13:00)
Session Chair: Sofia Dahl
S7.1. VocalistMirror: A Singer Support Interface for Avoiding Undesirable Facial Expressions
Kin Wah Edward Lin, Tomoyasu Nakano and Masataka Goto
S7.2. Audiovisual perception of arousal, valence, and effort in contemporary cello performance
Hanna Järveläinen
S7.3. Dancing dots - Investigating the Link Between Dancer and Musician in Swedish Folk Dance
Olof Misgeld, Andre Holzapfel and Sven Ahlbäck
Oral Session S8. Machine learning
Friday, May 31 (14:30- 16:30)
Session Chair: Olivier Lartillot
S8.1. Conditioning a Recurrent Neural Network to synthesize musical instrument transients
Lonce Wyse and Muhammad Huzaifah
S8.2. Predicting Perceived Dissonance of Piano Chords Using a Chord-Class Invariant CNN and Deep Layered Learning
Juliette Dubois, Anders Elowsson and Anders Friberg
S8.3. Belief Propagation algorithm for Automatic Chord Estimation
Vincent P. Martin, Sylvain Reynal, Dogac Basaran and Hélène-Camille Crayencour
S8.4. HMM-Based Glissando Detection for Recordings of Chinese Bamboo Flute
Changhong Wang, Emmanouil Benetos, Xiaojie Meng and Elaine Chew
S8.5. Towards CNN-based Acoustic Modeling of Seventh Chords for Automatic Chord Recognition
Christon-Ragavan Nadar, Jakob Abeßer and Sascha Grollmisch
S8.6. From Jigs and Reels to Schottisar och Polskor: Generating Scandinavian-like Folk Music with Deep Recurrent Networks
Simon Mossmyr, Eric Hallström, Bob L. Sturm, Victor Hansjons Vegeborn and Jonas Wedin
S8.7. Modeling and Learning Rhythm Structure
Francesco Foscarin, Florent Jacquemard and Philippe Rigaux
Poster Session P3. Friday, May 31
Session Chair: Jean Bresson
P3.1. Autoencoders for music sound modeling: a comparison of linear, shallow, deep, recurrent and variational models
Fanny Roche, Thomas Hueber, Samuel Limier and Laurent Girin
P3.2. Polytopic reconfiguration: a graph-based scheme for the multiscale transformation of music segments and its perceptual assessment
Valentin Gillot and Frédéric Bimbot
P3.3. Non-Linear Contact Sound Synthesis for Real-Time Audio-Visual Applications using Modal Textures
Martin Maunsbach and Stefania Serafin
P3.4. Analysis of Vocal Ornamentation in Iranian Classical Music
Sepideh Shafiei
P3.5. VUSAA: An Augmented Reality Mobile App for Urban Soundwalks
Josue Moreno and Vesa Norilo
P3.6. A Framework for Multi-f0 Modeling in SATB Choirs
Helena Cuesta, Emilia Gómez and Pritish Chandna
P3.7. Representations of Self-Coupled Modal Oscillators with Time-Varying Sounding Frequency
Tamara Smyth and Jennifer Hsu
P3.8. SonaGraph. A cartoonified spectral model for music composition
Andrea Valle
P3.9. Sound in Multiples: Synchrony and Interaction Design of Coupled-Oscillator Networks
Nolan Lem
P3.10. Jazz Mapping an Analytical and Computational Approach to Jazz Improvisation
Dimitrios Vassilakis, Anastasia Georgaki and Christina Anagnostopoulou
P3.11. Visual Pitch Estimation
A. Sophia Koepke, Olivia Wiles and Andrew Zisserman
Demo Session D3. Friday, May 31
Session Chair: Ana M. Barbancho
D3.1. Miningsuite: A Comprehensive Matlab Framework for Signal, Audio and Music Analysis, Articulating Audio and Symbolic Approaches
Olivier Lartillot
D3.2. Drawing Geometric Figures with Braille Description through a Speech Recognition System
África Chamorro, Ana M. Barbancho, Isabel Barbancho and Lorenzo J. Tardón
D3.3. Interactive Music Training System
Daniel Moreno, Isabel Barbancho, Ana M. Barbancho and Lorenzo J. Tardón
D3.4. Copying Clave - A Turing Test
Simon Blackmore
D3.5. Resonance Improviser: A System for Transmitting the Embodied Sensations of Vocalization Between Two People During Improvisation
Tejaswinee Kelkar and Lynda Gerry
D3.6. Finding New Practice Material through Chord-Based Exploration of a Large Music Catalogue
Johan Pauwels and Mark B. Sandler
D3.7. Internal Complexity for Exploratory Interaction
Mads Hobye
D3.8. Adaptive Body Movement Sonification in Music and Therapy
Christian Baumann, Johanna Friederike Baarlink and Jan-Torsten Milde