Recent Work
Parent: Integrated Composition, Improvisation and Technology (ICIT)
eScholarship stats: Breakdown by Item for March through June, 2026
| Item | Title | Total requests | Download | View-only | %Dnld |
|---|---|---|---|---|---|
| 3p4375n5 | Gestural Control of Music Using the Vicon 8 Motion Capture System | 167 | 46 | 121 | 27.5% |
| 5t46v6kh | Determining the Feasibility of Networked Musical Performances over WANs, LANs, and WLANs (Part 1: MIDI) | 134 | 41 | 93 | 30.6% |
| 8v0022bd | The ‘E’ in NIME: Musical Expression with New Computer Interfaces | 120 | 59 | 61 | 49.2% |
| 9tt9s9k0 | Intentional Inclusion :Promoting Diversity in Graduate Study of Music Technology | 118 | 40 | 78 | 33.9% |
| 2cd323dr | For Zero | 117 | 0 | 117 | 0.0% |
| 8766r1b7 | Programming New Realtime DSP Possibilities with MSP | 117 | 46 | 71 | 39.3% |
| 7ws9x4dh | Cultural ‘Content’ in Korean Music Made with Computers | 113 | 61 | 52 | 54.0% |
| 19c8535r | Riley's Revenge | 112 | 0 | 112 | 0.0% |
| 71j6w686 | A METHOD FOR COMPUTER CHARACTERIZATION OF "GESTURE" IN MUSICAL IMPROVISATION | 112 | 47 | 65 | 42.0% |
| 0x85j9td | EXPRESSIVE GESTURE : A TECHNIQUE FOR THE USE OF GESTURE DESCRIPTORS IN ALGORITHMIC IMPROVISATION | 106 | 48 | 58 | 45.3% |
| 6qd4d7nv | Aesthetic Considerations in the Use of “Virtual” Music Instruments | 106 | 48 | 58 | 45.3% |
| 5qb21800 | This and That | 103 | 0 | 103 | 0.0% |
| 3309r97m | Falsetas Móviles | 100 | 0 | 100 | 0.0% |
| 7ck721n4 | STRATEGIES FOR CONTINUOUS PITCH AND AMPLITUDE TRACKING IN REALTIME INTERACTIVE IMPROVISATION SOFTWARE | 100 | 36 | 64 | 36.0% |
| 7ww3h3xx | Realtime Stochastic Decision Making for Music Composition and Improvisation | 100 | 51 | 49 | 51.0% |
| 8gk671qq | 18 Points of Coincidence | 91 | 0 | 91 | 0.0% |
| 6h74r7r6 | There's Just One Thing You Need To Know | 89 | 0 | 89 | 0.0% |
| 4970q025 | Haibun | 88 | 0 | 88 | 0.0% |
| 3z79z8hf | (Cycles) America | 83 | 0 | 83 | 0.0% |
| 6t12b79s | Direct Current | 74 | 0 | 74 | 0.0% |
| 8gv067ff | In Tongues (Interproviplaytion IV) | 72 | 0 | 72 | 0.0% |
| 0sf178kc | Now & Tomorrow | 70 | 0 | 70 | 0.0% |
| 8844q6kp | Point of No Arrival | 68 | 0 | 68 | 0.0% |
| 8gn0194r | Shadow Play | 66 | 0 | 66 | 0.0% |
| 993192mk | Upon Reflection | 65 | 0 | 65 | 0.0% |
| 9fx7g1qh | Cycles Interrupted | 62 | 0 | 62 | 0.0% |
| 2wp6n3tm | I, Alone | 58 | 0 | 58 | 0.0% |
| 70p7v3z0 | Play for Me (Interproviplaytion III) | 57 | 0 | 57 | 0.0% |
| 5xj593zk | Line/Phase Minutiae | 55 | 0 | 55 | 0.0% |
| 6q56j765 | Insta-pene-playtion (Interproviplaytion II) | 50 | 0 | 50 | 0.0% |
| 4zt310cz | Entropy | 48 | 0 | 48 | 0.0% |
| 5bn4m9fj | Trans (Interproviplaytion V) | 48 | 0 | 48 | 0.0% |
| 2mr1f1t8 | In the In-Between | 45 | 0 | 45 | 0.0% |
| 33d9d1cm | Indignant Minority Scheme | 40 | 0 | 40 | 0.0% |
| 8798j4z1 | Mannam (Interproviplaytion VI) | 39 | 0 | 39 | 0.0% |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.