I report, for the CDF and D0 collaborations, results from the 92-93 Tevatron Collider run concerning charm and beauty quark production and beauty meson decay properties.

This paper deals with the question of how the development of new musical artifacts can benefit from deeply engaging with contemporary musical practice. With the novel ideas produced by the NIME community manifested in musical instruments in continuous use, new research questions can be answered and new sources of knowledge can be explored. This can also be very helpful in evaluation, as it is p...

This paper revisits/extends “Principles for Designing Computer Music Controllers” (NIME 2001), subsequently updated in a NIME 2007 keynote address. A redesign of SqueezeVox Maggie (a reoccurring NIME character) is used as an example of which principles have held fast over the years, and which have changed due to advances in technology. A few new principles are also added to the list.

The Epipe is a novel electronic woodwind controller with continuous tonehole coverage sensing, an initial design for which was introduced at NIME ’03. Since then, we have successfully completed two fully operational prototypes. This short paper describes some of the issues encountered during the design and construction of this controller. It also details our own early experiences and impression...

Many countries and cities in the world tend to have different types of preferred or popular music, such as pop, K-pop, and reggae. Music-related applications utilize geographical proximity for evaluating the similarity of music preferences between two regions. Sometimes, this can lead to incorrect results due to other factors such as culture and religion. To solve this problem, in this paper, w...

Music education is a rich subject with many approaches and methodologies that have developed over hundreds of years. More than ever, technology plays important roles at many levels of a musician’s practice. This paper begins to explore some of the ways in which technology developed out of the NIME community (specifically hyperinstruments), can inform a musician’s daily practice, through short a...

When learning a classical instrument, people often either take lessons in which an existing body of “technique” is delivered, evolved over generations of performers, or in some cases people will “teach themselves” by watching people play and listening to existing recordings. What does one do with a complex new digital instrument? In this paper I address this question drawing on my experience in...

This position paper likes to stress the role and importance of performance based education in NIME like subjects. It describes the ‘klankontwerp’ learning line at the ‘school of the arts Utrecht’ in its department Music Technology. Our educational system also reflects the way that we could treat performance in the NIME community as a whole. The importance of performing with our instruments othe...

This paper contributes to the current debate about the nature of beauty and aesthetics as they apply to interactive products. Current disagreement centres around the question of whether beauty should be viewed as a continuous property of objects or as a rare emotional response to object encounters (Hassenzahl 2004, Frohlich 2004). Here we develop a new perspective of beauty as a complex psychol...

In treating the subject of musical language, a Persian musician would be intrinsically drawn to the structural similarities between the Persian music and language. Indeed Persian music and language are extremely related in their metrics, intonations and structural phrases (syntax). Although we will draw upon this relationship, our aim in this article is to present “music as a language,” c...