Recent Work
Parent: Integrated Composition, Improvisation and Technology (ICIT)
eScholarship stats: History by Item for May through August, 2026
| Item | Title | Total requests | 2026-08 | 2026-07 | 2026-06 | 2026-05 |
|---|---|---|---|---|---|---|
| 3p4375n5 | Gestural Control of Music Using the Vicon 8 Motion Capture System | 145 | 42 | 23 | 32 | 48 |
| 8v0022bd | The ‘E’ in NIME: Musical Expression with New Computer Interfaces | 145 | 63 | 30 | 11 | 41 |
| 5t46v6kh | Determining the Feasibility of Networked Musical Performances over WANs, LANs, and WLANs (Part 1: MIDI) | 133 | 49 | 14 | 19 | 51 |
| 3309r97m | Falsetas Móviles | 103 | 20 | 18 | 32 | 33 |
| 9tt9s9k0 | Intentional Inclusion :Promoting Diversity in Graduate Study of Music Technology | 101 | 19 | 11 | 30 | 41 |
| 71j6w686 | A METHOD FOR COMPUTER CHARACTERIZATION OF "GESTURE" IN MUSICAL IMPROVISATION | 96 | 18 | 10 | 28 | 40 |
| 7ww3h3xx | Realtime Stochastic Decision Making for Music Composition and Improvisation | 95 | 36 | 10 | 16 | 33 |
| 6qd4d7nv | Aesthetic Considerations in the Use of “Virtual” Music Instruments | 90 | 23 | 10 | 19 | 38 |
| 19c8535r | Riley's Revenge | 88 | 13 | 10 | 16 | 49 |
| 8766r1b7 | Programming New Realtime DSP Possibilities with MSP | 87 | 17 | 5 | 22 | 43 |
| 7ws9x4dh | Cultural ‘Content’ in Korean Music Made with Computers | 83 | 16 | 9 | 20 | 38 |
| 0x85j9td | EXPRESSIVE GESTURE : A TECHNIQUE FOR THE USE OF GESTURE DESCRIPTORS IN ALGORITHMIC IMPROVISATION | 74 | 16 | 4 | 13 | 41 |
| 7ck721n4 | STRATEGIES FOR CONTINUOUS PITCH AND AMPLITUDE TRACKING IN REALTIME INTERACTIVE IMPROVISATION SOFTWARE | 74 | 19 | 6 | 10 | 39 |
| 5qb21800 | This and That | 72 | 8 | 7 | 11 | 46 |
| 2cd323dr | For Zero | 63 | 8 | 3 | 11 | 41 |
| 8gk671qq | 18 Points of Coincidence | 63 | 12 | 6 | 25 | 20 |
| 0sf178kc | Now & Tomorrow | 58 | 15 | 5 | 9 | 29 |
| 4970q025 | Haibun | 56 | 12 | 6 | 12 | 26 |
| 6h74r7r6 | There's Just One Thing You Need To Know | 56 | 7 | 8 | 10 | 31 |
| 8gv067ff | In Tongues (Interproviplaytion IV) | 53 | 7 | 5 | 12 | 29 |
| 6t12b79s | Direct Current | 51 | 6 | 2 | 28 | 15 |
| 8844q6kp | Point of No Arrival | 51 | 12 | 9 | 7 | 23 |
| 3z79z8hf | (Cycles) America | 47 | 5 | 4 | 9 | 29 |
| 993192mk | Upon Reflection | 45 | 9 | 4 | 10 | 22 |
| 9fx7g1qh | Cycles Interrupted | 43 | 4 | 7 | 10 | 22 |
| 5xj593zk | Line/Phase Minutiae | 42 | 6 | 5 | 13 | 18 |
| 8gn0194r | Shadow Play | 42 | 13 | 3 | 6 | 20 |
| 2wp6n3tm | I, Alone | 39 | 2 | 3 | 13 | 21 |
| 6q56j765 | Insta-pene-playtion (Interproviplaytion II) | 38 | 9 | 7 | 5 | 17 |
| 70p7v3z0 | Play for Me (Interproviplaytion III) | 38 | 6 | 5 | 7 | 20 |
| 4zt310cz | Entropy | 36 | 8 | 3 | 7 | 18 |
| 33d9d1cm | Indignant Minority Scheme | 35 | 14 | 1 | 3 | 17 |
| 5bn4m9fj | Trans (Interproviplaytion V) | 33 | 6 | 2 | 8 | 17 |
| 2mr1f1t8 | In the In-Between | 32 | 6 | 3 | 11 | 12 |
| 8798j4z1 | Mannam (Interproviplaytion VI) | 27 | 5 | 3 | 5 | 14 |
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