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ORCIDAndrew P. McPherson
Andrew McPherson 0002
Person information
- affiliation: Queen Mary University of London, Centre for Digital Music, UK
Other persons with the same name
- Andrew McPherson 0001 (aka: Andrew I. W. McPherson) — University of California Berkeley, Department of Mechanical Engineering, Embodied Dexterity Group, CA, USA
- Andrew McPherson 0003 — Memorial Sloan Kettering Cancer Center, New York, NY, USA
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2020 – today
- 2024
[j8]Courtney N. Reed, Adán L. Benito, Franco Caspe, Andrew P. McPherson:
Shifting Ambiguity, Collapsing Indeterminacy: Designing with Data as Baradian Apparatus. ACM Trans. Comput. Hum. Interact. 31(6): 73:1-73:41 (2024)- [c96]Courtney N. Reed
, Landon Morrison, Andrew P. McPherson, David Fierro, Atau Tanaka:
Sonic Entanglements with Electromyography: Between Bodies, Signals, and Representations. Conference on Designing Interactive Systems 2024 - [c95]Landon Morrison, Andrew P. McPherson:
Entangling Entanglement: A Diffractive Dialogue on HCI and Musical Interactions. CHI 2024: 493:1-493:17 - [c94]Nicole Robson, Andrew P. McPherson, Nick Bryan-Kinns:
Thinking with Sound: Exploring the Experience of Listening to an Ultrasonic Art Installation. CHI 2024: 496:1-496:14 - [i8]Jordie Shier, Charalampos Saitis, Andrew Robertson, Andrew McPherson:
Real-time Timbre Remapping with Differentiable DSP. CoRR abs/2407.04547 (2024) - 2023
- [c93]Jianing Zheng, Andrew McPherson, Nick Bryan-Kinns:
When Materials Meet Sound: Discovering the Meaning of Deformable Materials in Musical Interaction. Conference on Designing Interactive Systems 2023: 312-325 - [c92]Charlotte Nordmoen, Andrew P. McPherson:
What the Sensor Knows: More-Than-Human Knowledge Co-Production in Wood Carving. Conference on Designing Interactive Systems 2023: 779-789 - [c91]Franco Caspe, Andrew P. McPherson, Mark B. Sandler:
FM Tone Transfer with Envelope Learning. Audio Mostly Conference 2023: 116-123 - [c90]Courtney N. Reed, Paul Strohmeier, Andrew P. McPherson:
Negotiating Experience and Communicating Information Through Abstract Metaphor. CHI 2023: 185:1-185:16 - [c89]Andrea Martelloni, Andrew P. McPherson, Mathieu Barthet:
Real-Time Percussive Technique Recognition and Embedding Learning for the Acoustic Guitar. ISMIR 2023: 121-128 - [c88]Jack Armitage, Thor Magnusson, Andrew McPherson:
Studying Subtle and Detailed Digital Lutherie: Motivational Contexts and Technical Needs. NIME 2023 - [c87]Jack Armitage, Thor Magnusson, Andrew McPherson:
A Scale-Based Ontology of Musical Instrument Design. NIME 2023 - [c86]Teodoro Dannemann, Nick Bryan-Kinns, Andrew McPherson:
Self-Sabotage Workshop: a starting point to unravel sabotaging of instruments as a design practice. NIME 2023 - [c85]Teresa Pelinski, Rodrigo Diaz, Adan L. Benito Temprano, Andrew McPherson:
Pipeline for recording datasets and running neural networks on the Bela embedded hardware platform. NIME 2023 - [c84]Jonathan Pigrem, Jennifer MacRitchie, Andrew McPherson:
Instructions Not Included: Dementia-Friendly approaches to DMI Design. NIME 2023 - [c83]Adan L. Benito Temprano, Teodoro Dannemann, Andrew McPherson:
Exploring the (un)ambiguous guitar: A Qualitative Study on the use of Gesture Disambiguation in Augmented Instrument Design. NIME 2023 - [c82]Eevee Zayas-Garin, Charlotte Nordmoen, Andrew McPherson:
Transmitting Digital Lutherie Knowledge: The Rashomon Effect for DMI Designers. NIME 2023 - [c81]Courtney N. Reed, Andrew P. McPherson:
The Body as Sound: Unpacking Vocal Embodiment through Auditory Biofeedback. TEI 2023: 7:1-7:15 - [i7]Teresa Pelinski, Rodrigo Diaz, Adan L. Benito Temprano, Andrew P. McPherson:
Pipeline for recording datasets and running neural networks on the Bela embedded hardware platform. CoRR abs/2306.11389 (2023) - [i6]Andrea Martelloni, Andrew P. McPherson, Mathieu Barthet:
Real-time Percussive Technique Recognition and Embedding Learning for the Acoustic Guitar. CoRR abs/2307.07426 (2023) - [i5]Ben Hayes, Jordie Shier, György Fazekas, Andrew P. McPherson, Charalampos Saitis:
A Review of Differentiable Digital Signal Processing for Music & Speech Synthesis. CoRR abs/2308.15422 (2023) - [i4]Jordie Shier, Franco Caspe, Andrew Robertson, Mark Sandler, Charalampos Saitis, Andrew P. McPherson:
Differentiable Modelling of Percussive Audio with Transient and Spectral Synthesis. CoRR abs/2309.06649 (2023) - [i3]Franco Caspe, Andrew P. McPherson, Mark Sandler:
FM Tone Transfer with Envelope Learning. CoRR abs/2310.04811 (2023) - 2022
- [c80]Charlotte Nordmoen, Andrew P. McPherson:
Making space for material entanglements: A diffractive analysis of woodwork and the practice of making an interactive system. Conference on Designing Interactive Systems 2022: 415-423 - [c79]Jianing Zheng, Nick Bryan-Kinns, Andrew P. McPherson:
Material Matters: Exploring Materiality in Digital Musical Instruments Design. Conference on Designing Interactive Systems 2022: 976-986 - [c78]Jonathan Pigrem, Andrew P. McPherson, Nick Bryan-Kinns, Robert H. Jack:
Sound -> Object -> Gesture: Physical Affordances of Virtual Materials. Audio Mostly Conference 2022: 59-66 - [c77]Courtney N. Reed, Sophie Skach, Paul Strohmeier, Andrew P. McPherson:
Singing Knit: Soft Knit Biosensing for Augmenting Vocal Performances. AHs 2022: 170-183 - [c76]Lia Mice, Andrew P. McPherson:
Super Size Me: Interface Size, Identity and Embodiment in Digital Musical Instrument Design. CHI 2022: 221:1-221:15 - [c75]Franco Caspe, Andrew McPherson, Mark Sandler:
DDX7: Differentiable FM Synthesis of Musical Instrument Sounds. ISMIR 2022: 608-616 - [c74]Andrea Guidi, Andrew McPherson:
Quantitative evaluation of aspects of embodiment in new digital musical instruments. NIME 2022 - [c73]Giacomo Lepri, John Bowers, Samantha Topley, Paul Stapleton, Peter Bennett, Kristina Andersen, Andrew McPherson:
The 10, 000 Instruments Workshop - (Im)practical Research for Critical Speculation. NIME 2022 - [c72]Lia Mice, Andrew McPherson:
The M in NIME: Motivic analysis and the case for a musicology of NIME performances. NIME 2022 - [c71]Courtney N. Reed, Charlotte Nordmoen, Andrea Martelloni, Giacomo Lepri, Nicole Robson, Eevee Zayas-Garin, Kelsey Cotton, Lia Mice, Andrew McPherson:
Exploring Experiences with New Musical Instruments through Micro-phenomenology. NIME 2022 - [c70]Nicole Robson, Andrew McPherson, Nick Bryan-Kinns:
Being With The Waves: An Ultrasonic Art Installation Enabling Rich Interaction Without Sensors. NIME 2022 - [c69]Eevee Zayas-Garin, Andrew McPherson:
Dialogic Design of Accessible Digital Musical Instruments: Investigating Performer Experience. NIME 2022 - [i2]Franco Caspe, Andrew McPherson, Mark Sandler:
DDX7: Differentiable FM Synthesis of Musical Instrument Sounds. CoRR abs/2208.06169 (2022) - 2021
- [j7]Giulio Moro, Andrew P. McPherson:
Performer Experience on a Continuous Keyboard Instrument. Comput. Music. J. 44(2-3): 69-91 (2021) - [j6]Giacomo Lepri, Andrew P. McPherson:
Embrace the Weirdness: Negotiating Values Inscribed into Music Technology. Comput. Music. J. 45(3): 39-57 (2021) - [c68]Adan L. Benito Temprano, Andrew McPherson:
A TMR Angle Sensor for Gesture Acquisition and Disambiguation on the Electric Guitar. Audio Mostly Conference 2021: 256-263 - [c67]Andrea Martelloni, Andrew McPherson, Mathieu Barthet:
Guitar augmentation for Percussive Fingerstyle: Combining self-reflexive practice and user-centred design. NIME 2021 - [c66]Luis Zayas-Garin, Jacob Harrison, Robert Jack, Andrew McPherson:
DMI Apprenticeship: Sharing and Replicating Musical Artefacts. NIME 2021 - [c65]Courtney N. Reed, Andrew P. McPherson:
Surface Electromyography for Sensing Performance Intention and Musical Imagery in Vocalists. TEI 2021: 22:1-22:11 - [i1]Michael Clayton, Lin Wang, Andrew McPherson, Andrea Cavallaro:
An embedded multichannel sound acquisition system for drone audition. CoRR abs/2101.06795 (2021) - 2020
- [c64]Giacomo Lepri, Andrew P. McPherson, John Bowers:
Useless, not Worthless: Absurd Making as Critical Practice. Conference on Designing Interactive Systems 2020: 1887-1899 - [c63]Giulio Moro, Andrew P. McPherson:
A platform for low-latency continuous keyboard sensing and sound generation. NIME 2020: 97-102 - [c62]Andrea Guidi, Fabio Morreale, Andrew P. McPherson:
Design for auditory imagery: altering instruments to explore performer fluency. NIME 2020: 103-108 - [c61]Fabio Morreale, S. M. Astrid Bin, Andrew P. McPherson, Paul Stapleton, Marcelo M. Wanderley:
A NIME Of The Times: Developing an Outward-Looking Political Agenda For This Community. NIME 2020: 160-165 - [c60]Andrew P. McPherson, Giacomo Lepri:
Beholden to our tools: negotiating with technology while sketching digital instruments. NIME 2020: 434-439 - [c59]Andrea Martelloni, Andrew P. McPherson, Mathieu Barthet:
Percussive Fingerstyle Guitar through the Lens of NIME: an Interview Study. NIME 2020: 440-445 - [c58]Robert H. Jack, Jacob Harrison, Andrew P. McPherson:
Digital Musical Instruments as Research Products. NIME 2020: 446-451 - [c57]Courtney N. Reed, Andrew P. McPherson:
Surface Electromyography for Direct Vocal Control. NIME 2020: 458-463 - [c56]Juan Pablo Martinez-Avila, Vasiliki Tsaknaki, Pavel Karpashevich, Charles Windlin, Niklas Valenti, Kristina Höök, Andrew P. McPherson, Steve Benford:
Soma Design for NIME. NIME 2020: 489-494 - [c55]Lia Mice, Andrew P. McPherson:
From miming to NIMEing: the development of idiomatic gestural language on large scale DMIs. NIME 2020: 570-575
2010 – 2019
- 2019
- [j5]Csaba Sulyok, Andrew P. McPherson, Christopher Harte:
Evolving the process of a virtual composer. Nat. Comput. 18(1): 47-60 (2019) - [c54]Giacomo Lepri, Andrew P. McPherson:
Making Up Instruments: Design Fiction for Value Discovery in Communities of Musical Practice. Conference on Designing Interactive Systems 2019: 113-126 - [c53]Charlotte Nordmoen, Jack Armitage, Fabio Morreale, Rebecca Stewart, Andrew P. McPherson:
Making Sense of Sensors: Discovery Through Craft Practice With an Open-Ended Sensor Material. Conference on Designing Interactive Systems 2019: 135-146 - [c52]Jack Armitage, Andrew P. McPherson:
Bricolage in a hybrid digital lutherie context: a workshop study. Audio Mostly Conference 2019: 82-89 - [c51]Jacob Harrison, Alan Chamberlain, Andrew P. McPherson:
Accessible Instruments in the Wild: Engaging with a Community of Learning-Disabled Musicians. CHI Extended Abstracts 2019 - [c50]Adrian Hazzard, Chris Greenhalgh, Maria Kallionpää, Steve Benford, Anne Veinberg, Zubin Kanga, Andrew P. McPherson:
Failing with Style: Designing for Aesthetic Failure in Interactive Performance. CHI 2019: 30 - [c49]Lia Mice, Andrew P. McPherson:
Embodied Cognition in Performers of Large Acoustic Instruments as a Method of Designing New Large Digital Musical Instruments. CMMR 2019: 577-590 - [c48]Fabio Morreale, Andrea Guidi, Andrew P. McPherson:
Magpick: an Augmented Guitar Pick for Nuanced Control. NIME 2019: 65-70 - [c47]Giacomo Lepri, Andrew P. McPherson:
Fictional instruments, real values: discovering musical backgrounds with non-functional prototypes. NIME 2019: 122-127 - [c46]Laurel Pardue, Kurijn Buys, Dan Overholt, Andrew P. McPherson, Michael Edinger:
Separating sound from source: sonic transformation of the violin through electrodynamic pickups and acoustic actuation. NIME 2019: 278-283 - [p5]Simon Holland, Tom Mudd, Katie Wilkie-McKenna, Andrew P. McPherson, Marcelo M. Wanderley:
Understanding Music Interaction, and Why It Matters. New Directions in Music and Human-Computer Interaction 2019: 1-20 - [p4]Andrew P. McPherson, Bill Verplank:
The Poetry of Strange Connections: An Interview with Bill Verplank. New Directions in Music and Human-Computer Interaction 2019: 61-70 - [p3]Andrew P. McPherson, Fabio Morreale, Jacob Harrison:
Musical Instruments for Novices: Comparing NIME, HCI and Crowdfunding Approaches. New Directions in Music and Human-Computer Interaction 2019: 179-212 - [p2]Andrew P. McPherson, Steve Benford:
Music, Design and Ethnography: An Interview with Steve Benford. New Directions in Music and Human-Computer Interaction 2019: 213-220 - [e1]Simon Holland, Tom Mudd, Katie Wilkie-McKenna, Andrew P. McPherson, Marcelo M. Wanderley:
New Directions in Music and Human-Computer Interaction. Springer 2019, ISBN 978-3-319-92068-9 [contents] - 2018
- [j4]Luca Turchet, Andrew P. McPherson, Mathieu Barthet:
Real-Time Hit Classification in a Smart Cajón. Frontiers ICT 5: 16 (2018) - [j3]Victor Zappi, Andrew P. McPherson:
Hackable Instruments: Supporting Appropriation and Modification in Digital Musical Interaction. Frontiers ICT 5: 26 (2018) - [c45]S. M. Astrid Bin, Nick Bryan-Kinns, Andrew P. McPherson:
Risky business: Disfluency as a design strategy. NIME 2018: 45-50 - [c44]Fabio Morreale, Andrew P. McPherson, Marcelo M. Wanderley:
NIME Identity from the Performer's Perspective. NIME 2018: 168-173 - [c43]Robert H. Jack, Jacob Harrison, Fabio Morreale, Andrew P. McPherson:
Democratising DMIs: the relationship of expertise and control intimacy. NIME 2018: 184-189 - [c42]Jack Armitage, Andrew P. McPherson:
Crafting Digital Musical Instruments: An Exploratory Workshop Study. NIME 2018: 281-286 - [c41]Jacob Harrison, Robert H. Jack, Fabio Morreale, Andrew P. McPherson:
When is a Guitar not a Guitar? Cultural Form, Input Modality and Expertise. NIME 2018: 299-304 - [c40]Giacomo Lepri, Andrew P. McPherson:
Mirroring the past, from typewriting to interactive art: an approach to the re-design of a vintage technology. NIME 2018: 328-333 - [c39]Jon Pigrem, Andrew P. McPherson:
Do We Speak Sensor? Cultural Constraints of Embodied Interaction . NIME 2018: 382-385 - 2017
- [c38]Fabio Morreale, Giulio Moro, Alan Chamberlain, Steve Benford, Andrew P. McPherson:
Building a Maker Community Around an Open Hardware Platform. CHI 2017: 6948-6959 - [c37]Fabio Morreale, Raul Masu, Andrew P. McPherson:
Constraining Control in Mixed-Initiative Musical Interfaces. MICI@CHI 2017 - [c36]S. M. Astrid Bin, Nick Bryan-Kinns, Andrew P. McPherson:
Hands where we can see them! Investigating the impact of gesture size on audience perception. ICMC 2017 - [c35]S. M. Astrid Bin, Fabio Morreale, Nick Bryan-Kinns, Andrew P. McPherson:
In-the-moment and Beyond: Combining Post-hoc and Real-Time Data for the Study of Audience Perception of Electronic Music Performance. INTERACT (1) 2017: 263-281 - [c34]Robert H. Jack, Tony Stockman, Andrew P. McPherson:
Rich gesture, reduced control: the influence of constrained mappings on performance technique. MOCO 2017: 15:1-15:8 - [c33]Fabio Morreale, Andrew P. McPherson:
Design for longevity: ongoing use of instruments from nime 2010-14. NIME 2017: 192-197 - [c32]Beici Liang, György Fazekas, Andrew P. McPherson, Mark B. Sandler:
Piano pedaller: a measurement system for classification and visualisation of piano pedalling techniques. NIME 2017: 325-329 - [c31]Jack Armitage, Fabio Morreale, Andrew P. McPherson:
The finer the musician, the smaller the details: nimecraft under the microscope. NIME 2017: 393-398 - [c30]Jacob Harrison, Andrew P. McPherson:
An adapted bass guitar for one-handed playing. NIME 2017: 507-508 - [c29]Robert H. Jack, Tony Stockman, Andrew P. McPherson:
Maintaining and Constraining Performer Touch in the Design of Digital Musical Instruments. TEI 2017: 717-720 - 2016
- [c28]Andrew P. McPherson, Alan Chamberlain, Adrian Hazzard, Sean McGrath, Steve Benford:
Designing for Exploratory Play with a Hackable Digital Musical Instrument. Conference on Designing Interactive Systems 2016: 1233-1245 - [c27]Robert H. Jack, Tony Stockman, Andrew P. McPherson:
Effect of latency on performer interaction and subjective quality assessment of a digital musical instrument. Audio Mostly Conference 2016: 116-123 - [c26]Simon Holland, Andrew P. McPherson, Wendy E. Mackay, Marcelo M. Wanderley, Michael D. Gurevich, Tom W. Mudd, Sile O'Modhrain, Katie L. Wilkie, Joseph W. Malloch, Jérémie Garcia, Andrew Johnston:
Music and HCI. CHI Extended Abstracts 2016: 3339-3346 - [c25]Andrew P. McPherson, Robert H. Jack, Giulio Moro:
Action-Sound Latency: Are Our Tools Fast Enough? NIME 2016: 20-25 - [c24]S. M. Astrid Bin, Nick Bryan-Kinns, Andrew P. McPherson:
Skip the Pre-Concert Demo: How Technical Familiarity and Musical Style Affect Audience Response. NIME 2016: 200-205 - [c23]Robert H. Jack, Tony Stockman, Andrew P. McPherson:
Navigation of Pitch Space on a Digital Musical Instrument with Dynamic Tactile Feedback. TEI 2016: 3-11 - [c22]Christian Heinrichs, Andrew P. McPherson:
Performance-Led Design of Computationally Generated Audio for Interactive Applications. TEI 2016: 697-700 - 2015
- [j2]Andrew P. McPherson:
Buttons, Handles, and Keys: Advances in Continuous-Control Keyboard Instruments. Comput. Music. J. 39(2): 28-46 (2015) - [c21]Csaba Sulyok, Andrew P. McPherson, Christopher Harte:
Corpus-taught Evolutionary Music Composition. ECAL 2015: 587-594 - [c20]Duncan Menzies, Andrew P. McPherson:
Highland piping ornament recognition using dynamic time warping. NIME 2015: 50-53 - [c19]Andrew P. McPherson, Victor Zappi:
Exposing the scaffolding of digital instruments with hardware-software feedback loops. NIME 2015: 162-167 - 2014
- [c18]Laurel Pardue, Dongjuan Nian, Christopher Harte, Andrew P. McPherson:
Low-Latency Audio Pitch Tracking: A Multi-Modal Sensor-Assisted Approach. NIME 2014: 54-59 - [c17]Janis Sokolovskis, Andrew P. McPherson:
Optical Measurement of Acoustic Drum Strike Locations. NIME 2014: 70-73 - [c16]Daniel Gábana Arellano, Andrew P. McPherson:
Radear: A Tangible Spinning Music Sequencer. NIME 2014: 84-85 - [c15]Liam Donovan, Andrew P. McPherson:
The Talking Guitar: Headstock Tracking and Mapping Strategies. NIME 2014: 351-354 - [c14]Victor Zappi, Andrew P. McPherson:
Dimensionality and Appropriation in Digital Musical Instrument Design. NIME 2014: 455-460 - [c13]Christian Heinrichs, Andrew P. McPherson:
Mapping and interaction strategies for performing environmental sound. SIVE@VR 2014: 25-30 - 2013
- [c12]Andrew P. McPherson, Adrian Gierakowski, Adam M. Stark:
The space between the notes: adding expressive pitch control to the piano keyboard. CHI 2013: 2195-2204 - [c11]Andrew P. McPherson:
Portable Measurement and Mapping of Continuous Piano Gesture. NIME 2013: 152-157 - [c10]Laurel Pardue, Andrew P. McPherson:
Near-Field Optical Reflective Sensing for Bow Tracking. NIME 2013: 363-368 - [p1]Andrew P. McPherson, Youngmoo E. Kim:
Piano Technique as a Case Study in Expressive Gestural Interaction. Music and Human-Computer Interaction 2013: 123-138 - 2012
- [j1]Andrew P. McPherson, Youngmoo E. Kim:
The Problem of the Second Performer: Building a Community Around an Augmented Piano. Comput. Music. J. 36(4): 10-27 (2012) - [c9]Christian Heinrichs, Andrew P. McPherson:
Recreating the parallax effect associated with Fishtank VR in a Real-Time telepresence system using head-tracking and a robotic camera. ISMAR 2012: 283-284 - [c8]N. Cameron Britt, Jeff Snyder, Andrew P. McPherson:
The EMvibe: An Electromagnetically Actuated Vibraphone. NIME 2012 - [c7]Andrew P. McPherson:
TouchKeys: Capacitive Multi-Touch Sensing on a Physical Keyboard. NIME 2012 - [c6]Andrew P. McPherson:
Techniques and Circuits for Electromagnetic Instrument Actuation. NIME 2012 - [c5]Duncan Menzies, Andrew P. McPherson:
An Electronic Bagpipe Chanter for Automatic Recognition of Highland Piping Ornamentation. NIME 2012 - [c4]Jeff Snyder, Andrew P. McPherson:
The JD-1: an Implementation of a Hybrid Keyboard/Sequencer Controller for Analog Synthesizers. NIME 2012 - 2011
- [c3]Andrew P. McPherson, Youngmoo E. Kim:
Multidimensional gesture sensing at the piano keyboard. CHI 2011: 2789-2798 - 2010
- [c2]Andrew P. McPherson, Youngmoo E. Kim:
Toward a computationally-enhanced acoustic grand piano. CHI Extended Abstracts 2010: 4141-4146 - [c1]Andrew P. McPherson, Youngmoo E. Kim:
Augmenting the Acoustic Piano with Electromagnetic String Actuation and Continuous Key Position Sensing. NIME 2010: 217-222
Coauthor Index
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