A domain specific language for drum beat programming (A. D. Bois and R. Ribeiro)
A probabilistic model for recommending music based on acoustic features and listening data (R. Borges and M. Queiroz)
A score-informed approach for pitch visualisation of a cappella vocal quartet performances (R. Schramm, H. S. Nunes, and E. Benetos)
aAaA: an attribute aware abstraction architecture allowing arbitrary argument assignment in Pure Data (J. Padovani)
Challenges for a second decade of ubimus research: Metaphors for creative action (D. Keller)
Design and implementation of an open-source subtractive synthesizer on the Arduino due platform (R. Pirotti, M. Pimenta, and M. Johann)
Else library for pure data (A. Porres)
Gestures of body joints, musical pulses and laban effort actions: Towards an interactive tool for music and dance (L. Souza and S. Freire)
Impact of algorithmic composition on player immersion in computer games: A case study using Markov chains (R. Oliveira and T. Tavares)
Impact of genre in the prediction of perceived emotions in music (F. Tanios and T. Tavares)
Modeling a physical model with conditional adversarial autoencoders (S. Sinclair)
Synesthesia add-on: a tool for HTML sonification (R. Bodo and F. Schiavoni)
Technology enhanced learning of expressive music performance (R. Ramirez)
The million playlists songs dataset: a descriptive study over multiple sources of user-curated playlists (F. Falcão and D. Gondim)
Timbre spaces with sparse autoencoders (P. Riera, M. Zabaljauregui, and M. Eguia)
Vivace: a collaborative live coding language and platform (V. V. da Silva Junior, G. Lunhani, G. R. Junior, C. Luporini, D. Penalva, R. Fabbri and R. Fabbri)
Web audio application development with mosaicode (L. Gonçalves, F. Schiavoni, and A. Gomes)
Music Papers
Communicating a World View: figer, a Manifold Composition (Sever Tipei)
An analysis of Desdobramentos do continuo for violoncello and live electronics performed by audio descriptors (Danilo Rossetti, William Teixeira, Jônatas Manzolli)
The Maxwell Demon: Comprovisation in Ecologically Grounded Creative Practice (Luzilei Aliel, Damian Keller, Rogério Costa)
AirQ Sonification as a context for mutual contribution between Science and Music. (Julian Arango)
Web Orchestra Studio: a real-time interactive platform for music and education (J. Kestenberg, V. Rolla, D. Lúcio, and L. Velho)
Posters
A tool for the musical education of deaf people (E. Duarte and T. Tavares)
An algorithm for guiding expectation in free improvisational solo performances (J. Fornari)
An open dataset for vocal music transcription (M. Woitowitz, H. S. Nunes, and R. Schramm)
Complex networks of chord transitions in Alexander Scriabin’s piano pieces (J. Pérgola)
Developing a set of applications for music creation using low-cost brain-computer interfaces (G. Santo and M. Queiroz)
Live coding console with remote audience into the web (G. Lunhani and F. Schiavoni)
Melody and accompaniment separation using enhanced binary masks (S. Moura and M. Queiroz)
Methods on composer identification using markov chains (A. Neto and R. Pereira)
New developments on the augmentation of a classical guitar: Addition of embedded sound synthesis and OSC communication over network (E. Meneses and M. Wanderley)
Pedal board approach to sound effects customization (T. F. M. Arcanjo, F. M. R. Junior, and T. Rocha)
T2M/M2T: Sonifying text and textualizing sound using audio tags (B. Mesz and L. Samaruga)
Art
Allure, a machinic performance (Andre Martins)
Colour Etude I (Omar Peracha)
Desdobramentos do contínuo for violoncello and live electronics (Danilo Rossetti, William Teixeira)
figer, Computer-assisted Composition for Computer-generated Sounds (fixed media) (Sever Tipei)
For alto saxophone and live electronic sounds: “era como se estivéssemos vivos” (Rodolfo Valente)
Lignes et Pointes - étude pour la décomposition en deux parties dune oeuvre de Joan Miró (Antonio D’Amato)
