Recent Work
Parent: Integrated Composition, Improvisation and Technology (ICIT)
eScholarship stats: History by Item for July through October, 2026
| Item | Title | Total requests | 2026-10 | 2026-09 | 2026-08 | 2026-07 |
|---|---|---|---|---|---|---|
| 8v0022bd | The ‘E’ in NIME: Musical Expression with New Computer Interfaces | 166 | 43 | 30 | 63 | 30 |
| 5t46v6kh | Determining the Feasibility of Networked Musical Performances over WANs, LANs, and WLANs (Part 1: MIDI) | 130 | 38 | 29 | 49 | 14 |
| 7ww3h3xx | Realtime Stochastic Decision Making for Music Composition and Improvisation | 128 | 38 | 44 | 36 | 10 |
| 3p4375n5 | Gestural Control of Music Using the Vicon 8 Motion Capture System | 113 | 27 | 21 | 42 | 23 |
| 71j6w686 | A METHOD FOR COMPUTER CHARACTERIZATION OF "GESTURE" IN MUSICAL IMPROVISATION | 110 | 65 | 17 | 18 | 10 |
| 7ws9x4dh | Cultural ‘Content’ in Korean Music Made with Computers | 91 | 44 | 22 | 16 | 9 |
| 9tt9s9k0 | Intentional Inclusion :Promoting Diversity in Graduate Study of Music Technology | 88 | 42 | 16 | 19 | 11 |
| 3309r97m | Falsetas Móviles | 83 | 28 | 17 | 20 | 18 |
| 7ck721n4 | STRATEGIES FOR CONTINUOUS PITCH AND AMPLITUDE TRACKING IN REALTIME INTERACTIVE IMPROVISATION SOFTWARE | 79 | 37 | 17 | 19 | 6 |
| 6qd4d7nv | Aesthetic Considerations in the Use of “Virtual” Music Instruments | 70 | 16 | 21 | 23 | 10 |
| 0x85j9td | EXPRESSIVE GESTURE : A TECHNIQUE FOR THE USE OF GESTURE DESCRIPTORS IN ALGORITHMIC IMPROVISATION | 64 | 28 | 16 | 16 | 4 |
| 8766r1b7 | Programming New Realtime DSP Possibilities with MSP | 64 | 19 | 23 | 17 | 5 |
| 8gk671qq | 18 Points of Coincidence | 60 | 20 | 22 | 12 | 6 |
| 19c8535r | Riley's Revenge | 49 | 16 | 10 | 13 | 10 |
| 4970q025 | Haibun | 49 | 20 | 11 | 12 | 6 |
| 8844q6kp | Point of No Arrival | 49 | 18 | 10 | 12 | 9 |
| 0sf178kc | Now & Tomorrow | 44 | 16 | 8 | 15 | 5 |
| 8gn0194r | Shadow Play | 42 | 16 | 10 | 13 | 3 |
| 6q56j765 | Insta-pene-playtion (Interproviplaytion II) | 40 | 15 | 9 | 9 | 7 |
| 33d9d1cm | Indignant Minority Scheme | 38 | 9 | 14 | 14 | 1 |
| 6h74r7r6 | There's Just One Thing You Need To Know | 36 | 17 | 4 | 7 | 8 |
| 5qb21800 | This and That | 31 | 11 | 5 | 8 | 7 |
| 2mr1f1t8 | In the In-Between | 28 | 13 | 6 | 6 | 3 |
| 3z79z8hf | (Cycles) America | 28 | 12 | 7 | 5 | 4 |
| 993192mk | Upon Reflection | 28 | 12 | 3 | 9 | 4 |
| 2cd323dr | For Zero | 27 | 12 | 4 | 8 | 3 |
| 4zt310cz | Entropy | 27 | 11 | 5 | 8 | 3 |
| 9fx7g1qh | Cycles Interrupted | 27 | 9 | 7 | 4 | 7 |
| 70p7v3z0 | Play for Me (Interproviplaytion III) | 25 | 9 | 5 | 6 | 5 |
| 8798j4z1 | Mannam (Interproviplaytion VI) | 24 | 6 | 10 | 5 | 3 |
| 2wp6n3tm | I, Alone | 23 | 11 | 7 | 2 | 3 |
| 8gv067ff | In Tongues (Interproviplaytion IV) | 23 | 5 | 6 | 7 | 5 |
| 5xj593zk | Line/Phase Minutiae | 21 | 8 | 2 | 6 | 5 |
| 6t12b79s | Direct Current | 20 | 9 | 3 | 6 | 2 |
| 5bn4m9fj | Trans (Interproviplaytion V) | 19 | 6 | 5 | 6 | 2 |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.