main.bib

@inproceedings{montag_low-cost_2011,
 abstract = {During the past decade, multi-touch surfaces have emerged as valuable tools for collaboration, display, interaction, and musical expression. Unfortunately, they tend to be costly and often suffer from two drawbacks for music performance:(1) relatively high latency owing to their sensing mechanism, and (2) lack of haptic feedback. We analyze the latency present in several current multi-touch platforms, and we describe a new custom system that reduces latency to an average of 30 ms while providing programmable haptic feed-back to the user. The paper concludes with a description of ongoing and future work.},
 address   = {Oslo, Norway},
 author    = {Montag, Matthew and Sullivan, Stefan and Dickey, Scott and Leider, Colby},
 booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
 doi       = {10.5281/zenodo.1178115},
 issn      = {2220-4806},
 keywords  = {multi-touch, haptics, frustrated total internal reflection, music performance, music composition, latency, DIY },
 pages     = {8--13},
 title     = {A Low-Cost, Low-Latency Multi-Touch Table with Haptic Feedback for Musical Applications},
 url       = {http://www.nime.org/proceedings/2011/nime2011_008.pdf},
 year      = {2011}
}

@book{horowitz_art_2020,
  author    = {Paul Horowitz and Winfield Hill},
  title     = {The Art of Electronics: The x Chapters},
  publisher = {Cambridge University Press},
  year      = {2020},
  isbn      = {9781108499941},
  url       = {https://x.artofelectronics.net/wp-content/uploads/2019/11/4xp3_TIA.pdf}
}

@misc{science_digital_2007,
  title     = {The digital dilemma: Strategic issues in archiving and accessing digital motion picture materials},
  author    = {Science and Technology Council (STC)},
  year      = {2007},
  publisher = {Academy of Motion Picture Arts and Sciences Beverly Hills, Calif.},
  url       = {https://www.oscars.org/sites/oscars/files/digital_dilemma.pdf},
  urldate   = {2025-10-21},
}

@article{terminology_terminology_2008,
  title   = {Terminology to characterize the conservation of tangible cultural heritage},
  author  = {Terminology, ICOM and Resolution, CC},
  journal = {ICOM CC},
  year    = {2008}
}

@online{sparkfun_qre1113_2025,
  author       = {{SparkFun Electronics}},
  title        = {SparkFun Line Sensor Breakout - QRE1113 (Analog)},
  year         = 2025,
  url          = {https://www.sparkfun.com/sparkfun-line-sensor-breakout-qre1113-analog.html},
  urldate      = {2025-10-17}
}

@online{san_colombano_2025,
  title        = {San Colombano: il museo della musica che suona, si rinnova e guarda al futuro},
  oragnization = {Genus Bononiae, Musei della Città — sito web},
  year         = {2025},
  note         = {Accesso: sito ufficiale “Genus Bononiae”; contiene informazioni su programmazione concertistica, iniziative didattiche e progetto ``Patrimonio Sonoro No Limits'' per l'accessibilità.},
  url          = {https://genusbononiae.it/news/san-colombano-un-museo-che-si-rinnova-tra-musica-accessibilita-e-innovazione/},
  urldate      = {2025-10-13}
}

@online{hamilton_documentation_2025,
  author       = {Matthew Hamilton},
  oragnization = {NEMUS Project},
  title        = {Harpsichord Interface Firmware Documentation},
  year         = {2025},
  url          = {https://nemus-project.github.io/harpsichord-interface-firmware/html/},
  urldate      = {2025-10-13}
}

@online{hamilton_matlab_2025,
  author       = {Matthew Hamilton},
  oragnization = {NEMUS Project},
  title        = {Magpie MATLAB Reference Documentation},
  year         = {2025},
  url          = {https://nemus-project.github.io/magpie-matlab/html/},
  urldate      = {2025-10-13}
}

@online{hamilton_python_2025,
  author       = {Matthew Hamilton},
  oragnization = {NEMUS Project},
  title        = {Magpie Python Interface Documentation},
  year         = {2025},
  url          = {https://nemus-project.github.io/magpie-python/html/index.html},
  urldate      = {2025-10-13}
}

@software{spaaks_cffconvert_2021,
  author       = {Spaaks, Jurriaan H. and
                  Klaver, Tom and
                  Verhoeven, Stefan and
                  Druskat, Stephan and
                  Leoncio Netto, Waldir},
  title        = {cffconvert},
  month        = sep,
  year         = 2021,
  publisher    = {Zenodo},
  version      = {2.0.0},
  doi          = {10.5281/zenodo.5521767},
  url          = {https://doi.org/10.5281/zenodo.5521767},
}

@online{epcc_research_2021,
  author       = {EPCC, University of Edinburgh},
  title        = {Research software now easy to cite on GitHub},
  year         = {2021},
  month        = {September 9},
  url          = {https://www.epcc.ed.ac.uk/whats-happening/articles/research-software-now-easy-cite-github},
  urldate      = {2025-10-13}
}

@online{github_citation_2021,
  author       = {GitHub, Inc.},
  title        = {About CITATION files},
  year         = {2021},
  url          = {https://docs.github.com/en/repositories/managing-your-repositorys-settings-and-features/customizing-your-repository/about-citation-files},
  urldate      = {2025-10-13}
}

@misc{druskat_citation_2021,
  author       = {Druskat, Stephan and
                  Spaaks, Jurriaan H. and
                  Chue Hong, Neil and
                  Haines, Robert and
                  Baker, James and
                  Bliven, Spencer and
                  Willighagen, Egon and
                  Pérez-Suárez, David and
                  Konovalov, Alexander},
  title        = {Citation File Format},
  month        = aug,
  year         = 2021,
  publisher    = {Zenodo},
  version      = {1.2.0},
  doi          = {10.5281/zenodo.5171937},
  url          = {https://doi.org/10.5281/zenodo.5171937},
}

@online{scipy_superlu_2025,
  title        = {SuperLU --- SciPy sparse.linalg Reference},
  author       = {SciPy},
  year         = {2025},
  url          = {https://docs.scipy.org/doc/scipy/reference/generated/scipy.sparse.linalg.SuperLU.html},
  urldate      = {2025-10-12},
  organization = {SciPy},
  version      = {1.16.2}
}

@article{davis_umfpack_2007,
  title   = {UMFPACK version 5.2. 0 user guide},
  author  = {Davis, Timothy A},
  journal = {University of Florida},
  volume  = {25},
  year    = {2007}
}

@inproceedings{dietrich_influence_2013,
  author    = {Pascal Dietrich and Martin Guski and Michael Vorländer},
  title     = {Influence of Loudspeaker Distortion on Room Acoustic Parameters},
  booktitle = {40th Italian (AIA) Annual Conference on Acoustics and the 39th German Annual Conference on Acoustics (DAGA)},
  year      = {2013}
}

@manual{ness_welcome_2016,
  title        = {NESS User Interface Guide (Welcome Pack)},
  author       = {NESS},
  year         = {2016},
  date         = {2016-10-27},
  url          = {https://www.ness.music.ed.ac.uk/wp-content/uploads/2016/12/nessWelcomePack.pdf},
  urldate      = {2025-10-08},
  note         = {Last updated October 27, 2016}
}

@article{cook_hearing_2023,
  title     = {Hearing historic Scotland: Reflections on recording in virtually reconstructed acoustics},
  author    = {Cook, James and Kirkman, Andrew and McAlpine, Kenneth B and Selfridge, Rod},
  journal   = {Journal of the Alamire Foundation},
  volume    = {15},
  number    = {1},
  pages     = {109--126},
  year      = {2023},
  publisher = {Brepols Publishers}
}

@inproceedings{ali_steelpan_2024,
  title        = {Steelpan Synthesis and Intangible Cultural Heritage},
  author       = {Ali, Randall and Khan, Bryan},
  booktitle    = {2024 32nd European Signal Processing Conference (EUSIPCO)},
  pages        = {1002--1006},
  year         = {2024},
  organization = {IEEE}
}

@online{zenodo_metadata_2025,
  author    = {{Zenodo}},
  title     = {Metadata checks},
  year      = 2025,
  url       = {https://help.zenodo.org/guides/eu/submit/metadata-checks/},
  urldate   = {2025-10-09},
  
}

@online{matlab_mex_2025,
  author   = {MathWorks},
  title    = {mex — Build MEX functions and engine or MAT file applications},  
  url      = {https://www.mathworks.com/help/matlab/ref/mex.html},
  urldate  = {2025-10-08},  
}

@article{bowen_assessing_2019,
  title     = {Assessing the sound of a woodwind instrument that cannot be played},
  author    = {Bowen, Keith and Buys, Kurijn and Dart, Mathew and Sharp, David},
  journal   = {Applied Acoustics},
  volume    = {143},
  pages     = {84--99},
  year      = {2019},
  publisher = {Elsevier}
}

@inproceedings{hornikx_exploring_2024,
  title        = {Exploring the current landscape of open research software in room acoustics},
  author       = {Hornikx, Maarten and Wang, Huiqing and Fichera, Ilaria and Paganini, Lav{\'\i}nia and Nolte, Alexander and Serebrenik, Alexander},
  booktitle    = {INTER-NOISE and NOISE-CON Congress and Conference Proceedings},
  volume       = {270},
  number       = {6},
  pages        = {5875--5884},
  year         = {2024},
  organization = {Institute of Noise Control Engineering}
}

@article{katz_exploring_2020,
  title     = {Exploring cultural heritage through acoustic digital reconstructions},
  author    = {Katz, Brian FG and Murphy, Damian and Farina, Angelo},
  journal   = {Physics today},
  volume    = {73},
  number    = {12},
  pages     = {32--37},
  year      = {2020},
  publisher = {AIP Publishing}
}

@article{fagerlande_adequaccao_2020,
  title   = {Adequa{\c{c}}{\~a}o ac{\'u}stica do Teatro Armando Gonzaga por meio de simula{\c{c}}{\~a}o computacional},
  author  = {Fagerlande, Guilherme and Niemeyer, Maria Lygia and Torres, Julio Cesar Boscher},
  journal = {Ac{\'u}stica e Vibra{\c{c}}{\~o}es},
  volume  = {35},
  number  = {52},
  pages   = {73--88},
  year    = {2020}
}

@online{hong_choosing_2025,
  author       = {Neil Chue Hong and Tim Parkinson},
  title        = {Choosing an Open-Source License},
  year         = {2025},
  url          = {https://www.software.ac.uk/guide/choosing-open-source-license},
  urldate       = {2025-10-08},
  organization = {Software Sustainability Institute},
  note         = {Last updated 2025; accessed October 8, 2025}
}

@online{procida_diataxis_2025,
  author    = {Daniele Procida},
  title     = {Diátaxis documentation framework},
  year      = {2025},
  url       = {https://diataxis.fr/},
  urldate   = {2025-10-08},
  orcid     = {0000-0001-5141-7509},
  note      = {Software project. Available online at \url{https://diataxis.fr/}}
}

@inproceedings{dietrich_matlab_2010,
  author    = {Dietrich, Pascal and Masiero, Bruno and M\"{u}ller-Trapet, Markus and Pollow, Martin and Scharrer, Roman},
  title     = {MATLAB Toolbox for the Comprehension of Acoustic Measurement and Signal Processing},
  booktitle = {Fortschritte der Akustik -- DAGA},
  year      = {2010}
}

@misc{ssi_checklist_2018,
  author       = {{The Software Sustainability Institute}},
  title        = {Checklist for a Software Management Plan},
  month        = dec,
  year         = 2018,
  publisher    = {Zenodo},
  version      = {1.0},
  doi          = {10.5281/zenodo.2159713},
  url          = {https://doi.org/10.5281/zenodo.2159713},
}

@article{ducceschi_modal_2015,
  title     = {Modal approach for nonlinear vibrations of damped impacted plates: Application to sound synthesis of gongs and cymbals},
  author    = {Ducceschi, Michele and Touz{\'e}, Cyril},
  journal   = {Journal of Sound and Vibration},
  volume    = {344},
  pages     = {313--331},
  year      = {2015},
  publisher = {Elsevier}
}

@online{charrier_lopen_2023,
  author       = {Cedric Charrier},
  title        = {lOpen Lab de l’ITEMM — Un lieu pour mutualiser les activités du pôle recherche et innovation et les rendre accessibles en ligne},
  year         = {2023},
  url          = {https://itemm.fr/itemm/lopen-lab-de-litemm-un-lieu-pour-mutualiser-les-activites-du-pole-recherche-et-innovation-et-les-rendre-accessibles-en-ligne/},
  urldate      = {2025-10-08},
}

@online{viala_guide_2021,
  author  = {Viala, Romain and Cabaret, Jérémy},
  year    = {2021},
  month   = {09},
  pages   = {},
  title   = {Guide pratique d'essais en facture instrumentale},
  url     = {https://itemm.fr/itemm/le-pole-recherche-et-innovation-a-ecrit-un-guide-pratique-dessais-en-facture-instrumentale/},
  urldate = {2025-10-08}
}

@article{bilbao_physical_2019,
  title     = {Physical modeling, algorithms, and sound synthesis: The NESS project},
  author    = {Bilbao, Stefan and Desvages, Charlotte and Ducceschi, Michele and Hamilton, Brian and Harrison-Harsley, Reginald and Torin, Alberto and Webb, Craig},
  journal   = {Computer Music Journal},
  volume    = {43},
  number    = {2-3},
  pages     = {15--30},
  year      = {2019},
  publisher = {MIT Press One Rogers Street, Cambridge, MA 02142-1209, USA journals-info~…},
  url       = {http://www.ness.music.ed.ac.uk/wp-content/uploads/2019/11/cmj_ness_aam.pdf},
  urldate   = {2025-10-08},
}

@online{spdx_licenses_2025,
  author    = {SPDX Project},
  title     = {SPDX License List},
  url       = {https://spdx.org/licenses/},
  urldate   = {2025-10-08},
  note      = {License reference list}
}

@online{osi_licenses_2025,
  author    = {Open Source Initiative},
  title     = {Open Source Licenses},
  url       = {https://opensource.org/licenses},
  urldate   = {2025-10-08},
  note      = {OSI approved licenses list}
}

@online{cc_faq_2016,
  author    = {{Creative Commons}},
  title     = {May I apply CC0 to computer software? If so, is there a recommended implementation?},
  year      = 2016,
  url       = {https://wiki.creativecommons.org/wiki/CC0_FAQ#May_I_apply_CC0_to_computer_software.3F_If_so.2C_is_there_a_recommended_implementation.3F},
  urldate   = {2025-10-08}
}

@manual{vkgong_manual_2017,
  title        = {VKgong 1.0 Reference Manual},
  author       = {Àngels Aragonès and Cédric Camier and Michele Ducceschi and Olivier Thomas and Cyril Touzé},
  year         = {2017},
  url          = {https://vkgong.ensta-paris.fr/files/VKgong1.0_documentation.pdf},
  urldate      = {2025-10-08},
  note         = {Version 1.0 - March 2017}
}

@online{writethedocs_sowftware_2025,
  author       = {{Write the Docs Community}},
  title        = {Software Documentation Guide},
  url          = {https://www.writethedocs.org/guide/},
  urldate      = {2025-10-07},
  organization = {Write the Docs},
  note         = {Git Repository: \url{https://github.com/writethedocs/www}}
}


@software{mousseau_vkplate_2025,
  author       = {Alexis Mousseau and Matthew Hamilton and Michele Ducceschi},
  title        = {Nemus-Project/VKPlate: Zenoto release},
  month        = aug,
  year         = 2025,
  publisher    = {Zenodo},
  version      = {0.2.1},
  doi          = {10.5281/zenodo.16880838},
  url          = {https://doi.org/10.5281/zenodo.16880838},
}

@misc{stallman_gnu_1992,
  title   = {GNU coding standards},
  author  = {Stallman, Richard and others},
  year    = {1992},
  note    = {Revision: 2025-07-05},
  url     = {https://www.gnu.org/prep/standards/standards.pdf},
  urldate = {2025-10-08}
}

@online{google_documentation_2025,
  author       = {Google, Inc.},
  title        = {Documentation Best Practices},
  url          = {https://google.github.io/styleguide/docguide/best_practices.html},
  urldate      = {2025-10-07},
}

@inproceedings{aghajani_software_2020,
  title     = {Software documentation: the practitioners' perspective},
  author    = {Aghajani, Emad and Nagy, Csaba and Linares-V{\'a}squez, Mario and Moreno, Laura and Bavota, Gabriele and Lanza, Michele and Shepherd, David C},
  booktitle = {Proceedings of the acm/ieee 42nd international conference on software engineering},
  pages     = {590--601},
  year      = {2020}
}

@online{mathworks_help_2025,
  author       = {MathWorks},
  title        = {Add Help for Your Program},
  url          = {https://www.mathworks.com/help/matlab/matlab_prog/add-help-for-your-program.html},
  urldate      = {2025-10-07}
}

@online{goodger_pep257_2001,
  author       = {David Goodger and Guido van Rossum},
  title        = {PEP 257: Docstring Conventions},
  year         = {2001},
  date         = {2001-05-29},
  status       = {Active},
  type         = {Informational Python Enhancement Proposal},
  url          = {https://peps.python.org/pep-0257/},
  urldate      = {2025-10-07},
  note         = {Last modified 13 June 2001}
}

@online{vanrossum_pep8_2001,
  author       = {Guido van Rossum and Barry Warsaw and Alyssa Coghlan},
  title        = {PEP 8: Style Guide for Python Code},
  year         = {2001},
  date         = {2001-07-05},
  status       = {Active},
  type         = {Process Python Enhancement Proposal},
  url          = {https://peps.python.org/pep-0008/},
  urldate      = {2025-10-07},
  note         = {Post-history includes revision on 1 August 2013}
}

@inproceedings{ducceschi_simulations_2015,
  title     = {Simulations of nonlinear plate dynamics: an accurate and efficient modal algorithm},
  author    = {Ducceschi, Michele and Touz{\'e}, Cyril},
  booktitle = {18th International Conference on Digital Audio Effects (DAFx-15)},
  year      = {2015}
}

@inproceedings{diaz_fast_2025,
  title     = {Fast Differentiable Modal Simulation of Non-Linear Strings, Membranes, and Plates},
  author    = {Diaz Fernandez, R and Sandler, M and others},
  year      = {2025},
  booktitle = {International Conference on Digital Audio Effects (DAFx25)}
}

@article{nguyen_nonlinear_2019,
  title     = {Nonlinear vibrations of thin plates with variable thickness: Application to sound synthesis of cymbals},
  author    = {Nguyen, Quoc Bao and Touz{\'e}, Cyril},
  journal   = {The Journal of the Acoustical Society of America},
  volume    = {145},
  number    = {2},
  pages     = {977--988},
  year      = {2019},
  publisher = {AIP Publishing}
}

@inproceedings{darcy_exploring_2010,
  title        = {Exploring complexity in open source software: Evolutionary patterns, antecedents, and outcomes},
  author       = {Darcy, David P and Daniel, Sherae L and Stewart, Katherine J},
  booktitle    = {2010 43rd Hawaii International Conference on System Sciences},
  pages        = {1--11},
  year         = {2010},
  organization = {IEEE}
}

@article{bangerth_makes_2013,
  title     = {What makes computational open source software libraries successful?},
  author    = {Bangerth, Wolfgang and Heister, Timo},
  journal   = {Computational Science \& Discovery},
  volume    = {6},
  number    = {1},
  pages     = {015010},
  year      = {2013},
  publisher = {IOP Publishing}
}

@online{eding_sparse_2019,
  author       = {Matt Eding},
  title        = {Sparse Matrices},
  year         = {2019},
  date         = {2019-04-25},
  url          = {https://matteding.github.io/2019/04/25/sparse-matrices/},
  urldate      = {2025-10-06}
}

@inproceedings{berzborn_ita_2017,
  title     = {The ITA-Toolbox: An open source MATLAB toolbox for acoustic measurements and signal processing},
  author    = {Berzborn, Marco and Bomhardt, Ramona and Klein, Johannes and Richter, Jan-Gerrit and Vorl{\"a}nder, Michael},
  booktitle = {Proceedings of the 43th Annual German Congress on Acoustics, Kiel, Germany},
  volume    = {6},
  year      = {2017},
  url       = {https://pub.dega-akustik.de/DAGA_2017/data/articles/000257.pdf},
  urldate   = {2025-10-08}
}

@article{innocente_framework_2023,
  title    = {A framework study on the use of immersive XR technologies in the cultural heritage domain},
  journal  = {Journal of Cultural Heritage},
  volume   = {62},
  pages    = {268-283},
  year     = {2023},
  issn     = {1296-2074},
  doi      = {https://doi.org/10.1016/j.culher.2023.06.001},
  url      = {https://www.sciencedirect.com/science/article/pii/S1296207423001000},
  author   = {Chiara Innocente and Luca Ulrich and Sandro Moos and Enrico Vezzetti},
  keywords = {Mixed reality (MR), Augmented reality (AR), Virtual reality (VR), Cultural heritage, Digital heritage, Head-mounted display (HMD)},
  abstract = {Most cultural promotion and dissemination are nowadays performed through the digitization of heritage sites and museums, a necessary requirement to meet the new needs of the public. Augmented Reality (AR), Mixed Reality (MR), and Virtual Reality (VR) have the potential to improve the experience quality and educational effect of these sites by stimulating users’ senses in a more natural and vivid way. In this respect, head-mounted display (HMD) devices allow visitors to enhance the experience of cultural sites by digitizing information and integrating additional virtual cues about cultural artifacts, resulting in a more immersive experience that engages the visitor both physically and emotionally. This study contributes to the development and incorporation of AR, MR, and VR applications in the cultural heritage domain by providing an overview of relevant studies utilizing fully immersive systems, such as headsets and CAVE systems, emphasizing the advantages that they bring when compared to handheld devices. We propose a framework study to identify the key features of headset-based Extended Reality (XR) technologies used in the cultural heritage domain that boost immersion, sense of presence, and agency. Furthermore, we highlight core characteristics that favor the adoption of these systems over more traditional solutions (e.g., handheld devices), as well as unsolved issues that must be addressed to improve the guests’ experience and the appreciation of the cultural heritage. An extensive search of Google Scholar, Scopus, IEEE Xplore, ACM Digital Library, and Wiley Online Library databases was conducted, including papers published from January 2018 to September 2022. To improve review reporting, the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines were used. Sixty-five papers met the inclusion criteria and were classified depending on the study’s purpose: education, entertainment, edutainment, touristic guidance systems, accessibility, visitor profiling, and management. Immersive cultural heritage systems allow visitors to feel completely immersed and present in the virtual environment, providing a stimulating and educational cultural experience that can improve the quality and learning purposes of cultural visits. Nonetheless, the analyzed studies revealed some limitations that must be faced to give a further impulse to the adoption of these technologies in the cultural heritage domain.}
}

@online{oshwa_best_2013,
  title        = {Best Practices for Open Source Hardware 1.0},
  author       = {{Open Source Hardware Association}},
  year         = {2013},
  date         = {2013-04-18},
  url          = {https://oshwa.org/resources/sharing-best-practices/},
  note         = {Last updated April 18, 2013},
  urldate      = {2025-10-03}
}

@inproceedings{moritz_best_2018,
  author    = "Moritz, Manuel and Redlich, Tobias and Wulfsberg, Jens",
  editor    = "Rocha, {\'A}lvaro and Guarda, Teresa",
  title     = "Best Practices and Pitfalls in Open Source Hardware",
  booktitle = "Proceedings of the International Conference on Information Technology {\&} Systems (ICITS 2018)",
  year      = "2018",
  publisher = "Springer International Publishing",
  address   = "Cham",
  pages     = "200--210",
  abstract  = "Easy-to-use and affordable means of production (e.g. 3D printer), access to these technologies (e.g. in makerspaces) and powerful tools for online product design led to the emergence of open source hardware (OSH). Like in open source software, projects and online platforms have been evolving around physical products from various technologies where people jointly develop and freely share designs. We also find businesses that sell products made from these designs and offer complimentary services. This decentralized and collaborative model of value creation offers new opportunities for social, economic and ecological sustainability, but also calls for a different understanding beyond traditional notions. Results from an exploratory study on OSH projects and companies revealed that licensing is a critical issue, communities and partners play a key role in the open source ecosystem and modes of value creation are either centered around design or production in combination with a mix of complimentary services.",
  isbn      = "978-3-319-73450-7"
}


@article{bonvoisin_source_2017,
  title   = {What is the “source” of open source hardware?},
  author  = {Bonvoisin, J{\'e}r{\'e}my and Mies, Robert and Boujut, Jean-Fran{\c{c}}ois and Stark, Rainer},
  journal = {Journal of Open Hardware},
  volume  = {1},
  number  = {1},
  year    = {2017}
}

@article{oellermann_open_2022,
  title     = {Open hardware in science: The benefits of open electronics},
  author    = {Oellermann, Michael and Jolles, Jolle W and Ortiz, Diego and Seabra, Rui and Wenzel, Tobias and Wilson, Hannah and Tanner, Richelle L},
  journal   = {Integrative and comparative biology},
  volume    = {62},
  number    = {4},
  pages     = {1061--1075},
  year      = {2022},
  publisher = {Oxford University Press}
}

@misc{nemus_github_2025,
  author       = {{NEMUS Project}},
  title        = {NEMUS: Numerical Restoration of Historical Musical Instruments GitHub Organization},
  year         = 2025,
  url          = {https://github.com/Nemus-Project},
  urldate      = {2025-10-01},
  institution  = {University of Bologna, Italy}
}

@article{ducceschi_affordable_2024,
  title    = "Affordable wide-band measurement ecosystem for musical acoustics based on electro-dynamic transducers",
  abstract = "The variability in responses of acoustic instruments can be attributed to a combination of fluctuations in critical parameters of wood, such as density, stiffness, and strength, and design features such as body shapes or bracing geometries. Recent studies have successfully implemented the sine sweep method with small exciters to measure the acoustic response of guitars, yielding frequency responses with high coherence over a bandwidth reaching up to 8 kHz. This paper proposes validating a cost-effective measurement system which integrates electro-dynamic transducers and wide-band test signals (sine sweep and noise) against the traditional impact hammer method in the case of unbraced plates. Data from four actuators of different size and power will be presented together with a simple strategy to assess reliable and neutral excitation points, thanks to two complementary models which describe the interaction between exciter and plate. The paper will then showcase the applications of this measurement system in two scenarios. The first case study will focus on a cost-effective method for selecting acoustic wood, while the second will explore experimental real-time spectral analysis using pink noise. These case studies demonstrate the measurement system{\textquoteright}s adaptability and immediacy, providing valuable insights for enhancing the design and performance of acoustic instruments.",
  keywords = "acoustic measurements, musical acoustics, exponential sine-sweep, soundboards, exciter, impedance measurements",
  author   = "Ludovico Ausiello and Michele Ducceschi and Sebastian Duran and Morrison, {Benjamin Kai}",
  year     = "2024",
  month    = oct,
  day      = "22",
  doi      = "10.1051/aacus/2024045",
  language = "English",
  volume   = "8",
  journal  = "Acta Acustica United with Acustica",
}

@software{mcvittie_generatejavascriptusingmatlabcoder_2021,
  author    = {Geoff McVittie},
  title     = {GenerateJavaScriptUsingMATLABCoder},
  subtitle  = {Version 3.1.1},
  year      = 2021,
  url       = {https://uk.mathworks.com/matlabcentral/fileexchange/69973-generatejavascriptusingmatlabcoder},
  urldate   = {2025-09-30},
  publisher = {MathWorks},
  version   = {3.1.1}
}

@article{macritchie_using_2015,
  title={Using historical accounts of harpsichord touch to empirically investigate the production and perception of dynamics on the 1788 Taskin},
  author={MacRitchie, Jennifer and Nuti, Giulia},
  journal={Frontiers in psychology},
  volume={6},
  pages={183},
  year={2015},
  publisher={Frontiers Media SA}
}

@online{python_expression_2025,
  author       = {{Python Software Foundation}},
  title        = {Expression Lists — Python 3.13.7 Documentation},
  year         = 2025,
  url          = {https://docs.python.org/3/reference/expressions.html\#expression-lists},
  note         = {Accessed: 2025-09-30}
}

@online{matlab_guide_2025,
  author       = {MathWorks},
  title        = {guide — MATLAB \texttt{guide} Function (Removed)},
  maintitle    = {MathWorks MATLAB Documentation},
  organization = {MathWorks},
  urldate      = {2025-09-30},
  url          = {https://uk.mathworks.com/help/matlab/ref/guide.html#mw_10928f5b-5143-48ed-a134-6cecf2b1bb6c}
}

@online{go_fair_2016,
  title        = {The {FAIR} Principles},
  author       = {Wilkinson, Mark D. and Dumontier, Michel and Aalbersberg, Ivan Juergen and Appleton, Myles and Axton, Matthew and Baak, Arie and Blomberg, Niklas and Boiten, Jan-Willem and da Silva Santos, Luiz Bonino and Bourne, Philip E. and Bouwman, José and Brookes, Anthony J. and Clark, Tim and Crosas, Mercè and Dillo, Ingrid and Dumon, Olivier and Edmunds, Sophie and Evelo, Chris T. and Finkers, Roland and Gonzalez-Beltran, Alejandra and Gray, Alan J. G. and Groth, Paul and Goble, Carole and Grethe, Jeffrey S. and Heringa, Jaap and 't Hoen, Peter A. C. and Hooft, Rob M. and Kuhn, Tobias and Kok, Ruben and Kok, Jan and Lusher, Sara J. and Martone, Maryanne E. and Mons, Barend and Packer, Abel L. and Persson, Bertil and Rocca-Serra, Philippe and Roos, Marco and van Schaik, Ron and Sansone, Susanna-A. and Schultes, Erik and Sengstag, Thierry and Slater, Terry and Strawn, George and Swertz, Morris A. and Thompson, Matthew and van der Lei, Johan and van Mulligen, Erik and Velterop, Jan and Waagmeester, Andra and Wittenburg, Peter and Wolstencroft, Kyle and Zhao, Jun and Mons, Barend},
  maintitle    = {go-{FAIR}},
  date         = {2016-10-01},
  note         = {Accessed: 2025-09-30},
  url          = {https://www.go-fair.org/fair-principles/}
}

@online{scipy_bmat_2025,
  title     = {scipy.sparse.bmat — SciPy Documentation},
  maintitle = {SciPy Reference},
  organization = {SciPy Community},
  url       = {https://docs.scipy.org/doc/scipy/reference/generated/scipy.sparse.bmat.html},
  urldate   = {2025-09-30}
}

@online{guo_python_2014,
  author       = {Philip Guo},
  title        = {Python Is Now the Most Popular Introductory Teaching Language at Top U.S. Universities},
  date         = {2014-07-07},
  maintitle    = {Blog@CACM},
  organization = {Communications of the ACM},
  url          = {https://cacm.acm.org/blogcacm/python-is-now-the-most-popular-introductory-teaching-language-at-top-u-s-universities/},
  urldate = {2025-09-30}
}

@inproceedings{bevilacqua_sound_2023,
  title = {A sound from the arena: acoustic reconstruction of a Roman amphitheater located in Avella, south of Italy},
  author       = {Bevilacqua, Antonella and Iannace, Gino and Lombardi, Ilaria and Parente, Rosaria},
  booktitle    = {INTER-NOISE and NOISE-CON Congress and Conference Proceedings},
  volume       = {265},
  number       = {7},
  pages        = {894--899},
  year         = {2023},
  organization = {Institute of Noise Control Engineering}
}

@inproceedings{sun_3d_2020,
  author    = "Sun, Zezhou and Rod{\`a}, Antonio and Whiting, Emily and Faresin, Emanuela and Salemi, Giuseppe",
  editor    = "Rauterberg, Matthias",
  title     = "3D Virtual Reconstruction and Sound Simulation of an Ancient Roman Brass Musical Instrument",
  booktitle = "Culture and Computing",
  year      = "2020",
  publisher = "Springer International Publishing",
  address   = "Cham",
  pages     = "267--280",
  abstract  = "Digital technologies based on 3D models are always more used to document archaeological remains and obtain hypothetical reconstructions when these remains are more or less heavily damaged. This work addresses the case of remains of ancient musical instruments, and in particular the case study of a brass instrument from the Roman Empire period, found in Voghenza (Italy). The pieces composing the instrument were first digitized by means of a structured light system, then virtually restored and recomposed applying a on-purpose developed algorithm. Finally, some sounds coherent with the geometry of the reconstructed model were simulated using a physically-based synthesis approach.",
  isbn      = "978-3-030-50267-6"
}



@software{magpie_jupyter_2025,
  author       = {Matthew Hamilton},
  title        = {Nemus-Project/magpie-jupyter: Zenodo Integration release},
  month        = sep,
  year         = 2025,
  publisher    = {Zenodo},
  version      = {0.0.4-zenodo},
  doi          = {10.5281/zenodo.17226938},
  url          = {https://doi.org/10.5281/zenodo.17226938},
}

@book{wang_artful_2018,
    author    = {Wang, Ge},
    address   = {Stanford, CA},
    booktitle = {Artful design : technology in search of the sublime},
    isbn      = {9781503600522},
    keywords  = {Design and technology ; Art and design},
    language  = {eng},
    publisher = {Stanford University Press},
    title     = {Artful design : technology in search of the sublime },
    year      = {2018},
}

@inproceedings{hunt_importance_2002,
 abstract  = {In this paper we challenge the assumption that an electronic instrument consists solely of an interface and a sound generator. We emphasise the importance of the mapping between input parameters and system parameters, and claim that this can define the very essence of an instrument.},
 address   = {Dublin, Ireland},
 author    = {Hunt, Andy D. and Wanderley, Marcelo M. and Paradis, Matthew},
 booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
 date      = {2002-05-26},
 doi       = {10.5281/zenodo.1176424},
 issn      = {2220-4806},
 keywords  = {electronic musical instruments,human-computer interaction,mapping strategies},
 pages     = {88--93},
 title     = {The importance of Parameter Mapping in Electronic Instrument Design},
 url       = {http://www.nime.org/proceedings/2002/nime2002_088.pdf},
 year      = {2002}
}

@misc{jungleib_complete_1983,
  title     = {The Complete SCI MIDI, Sequential Circuits},
  author    = {Jungleib, Stanley},
  year      = {1983},
  publisher = {Inc},
  url       = {https://www.digitpress.com/library/techdocs/The_Complete_SCI_Midi-first_edition.pdf},
  urldate   = {2025-09-26},
}

@article{wiffen_prophet_1983,
  title     = {Prophet T8 (EMM Dec 1983)},
  author    = {Wiffen, Paul},
  journal   = {Electronics \& Music Maker},
  number    = {Dec 1983},
  pages     = {28--34},
  year      = {1983},
  publisher = {Music Maker Publications (UK), Future Publishing.}
}

@article{woolley_musical_2017,
  title   = {A Musical and Mechanical Study of Tracker Actions},
  author  = {Woolley, Alan and Campbell, Donald Murray},
  journal = {ISO Journal},
  number  = {56},
  pages   = {7--40},
  year    = {2017}
}

@article{franvcek_performance_2023,
  title     = {The performance of inertial measurement unit sensors on various hardware platforms for binaural head-tracking applications},
  author    = {Fran{\v{c}}ek, Petar and Jambro{\v{s}}i{\'c}, Kristian and Horvat, Marko and Planinec, Vedran},
  journal   = {Sensors},
  volume    = {23},
  number    = {2},
  pages     = {872},
  year      = {2023},
  publisher = {MDPI}
}

@inproceedings{summers_single_2000,
  title     = {Single channel information transfer through the skin: Limitations and possibilities},
  author    = {Summers, Ian R},
  booktitle = {Proceedings of ISAC},
  year      = {2000}
}

@article{khalifa_visitors_2025,
  title     = {Visitors' Interactions with the Exhibits and Behaviors in Museum Spaces: Insights from the National Museum of Bahrain},
  author    = {Al Khalifa, Haifa Ebrahim and Jiwane, Anamika Vishal},
  journal   = {Buildings},
  volume    = {15},
  number    = {8},
  pages     = {1324},
  year      = {2025},
  publisher = {MDPI}
}

@article{dorph_visitor_2019,
  author       = {Dorph, R. and Cannady, M. A. and Schunn, C. D.},
  title        = {What drives visitor engagement in exhibits? The interaction between visitor activation profiles and exhibit features},
  journal      = {Curator: The Museum Journal},
  year         = {2019},
  url          = {https://www.lrdc.pitt.edu/schunn/papers/dorph-etal2019-curator.pdf},
  urlddate     = {2025-09-25} 
}


@article{shillito_tacitus_2001,
  author    = {Ann Marie Shillito and Karin Paynter and Steven Wall and Mark Wright},
  title     = {'Tacitus' project: identifying multi-sensory perceptions in creative 3D practice for the development of a haptic computing system for applied artists},
  journal   = {Digital Creativity},
  volume    = {12},
  number    = {4},
  pages     = {195--204},
  year      = {2001},
  publisher = {CAA Website},
  doi       = {10.1076/digc.12.4.195.3219},
}

@incollection{classen_touch_2005,
  abstract  = {As museums became more established the free-and-easy ambience of their forerunners naturally gave way to a more structured approach that forbade touching the exhibits. In certain ways such museums were more formal than their successors, as, for example, when they only permitted guided visits. Early museums, in fact, retained many characteristics of the private collections on which they were based. The museum tour led by a curator matched the house tour that might be offered by a host. By allowing visitors to touch the objects within the museum, therefore, the curator enacted ancient notions of hospitality. Practical, as well as social, considerations contributed to the tactile accessibility of early museums. While certain particularly valuable or delicate artefacts were placed under glass, many were hung on walls, where they could often readily be touched, or stored in drawers where the inclination was to take them out and handle them.},
  author    = {Classen, Constance and Classen, Constance},
  booktitle = {The Book of Touch},
  copyright = {Constance Classen 2005},
  edition   = {1},
  chaoter   = {24},
  isbn      = {1845200586},
  language  = {eng},
  pages     = {275-288},
  publisher = {Routledge},
  title     = {Touch in the Museum},
  year      = {2005},
}

@article{howes_introduction_2014,
 author    = {David Howes},
 title     = {Introduction to Sensory Museology},
 journal   = {The Senses and Society},
 volume    = {9},
 number    = {3},
 pages     = {259--267},
 year      = {2014},
 publisher = {Routledge},
 doi       = {10.2752/174589314X14023847039917},
}

@article{candlin_rehabilitating_2017,
  author    = {Fiona Candlin},
  title     = {Rehabilitating unauthorised touch or why museum visitors touch the exhibits},
  journal   = {The Senses and Society},
  volume    = {12},
  number    = {3},
  pages     = {251--266},
  year      = {2017},
  publisher = {Routledge},
  doi       = {10.1080/17458927.2017.1367485},
}

@inproceedings{merchel_vibratory_2009,
  author    = "Merchel, Sebastian and Altinsoy, M. Ercan",
  editor    = "Altinsoy, M. Ercan and Jekosch, Ute and Brewster, Stephen",
  title     = "Vibratory and Acoustical Factors in Multimodal Reproduction of Concert DVDs",
  booktitle = "Haptic and Audio Interaction Design",
  year      = "2009",
  publisher = "Springer Berlin Heidelberg",
  address   = "Berlin, Heidelberg",
  pages     = "119--127",
  abstract  = "Sound and vibration perception are always coupled in live music experience. Just think of a rock concert or hearing (and feeling) a church organ sitting on a wooden pew. Even in classical concerts kettledrum and double bass are sensed not only with our ears. The air-borne sound causes seat vibrations or excites the skin surface directly. For some instruments (e.g. an organ) structure-borne sound is transmitted directly from the instrument to the listener.",
  isbn      = "978-3-642-04076-4"
}

@techreport{onsemiconductor_qrd1114_2024,
  author       = {ON Semiconductor},
  title        = {QRD1114 Reflective Object Sensor},
  institution = {ON Semiconductor},
  year         = {2024},
  url          = {https://www.onsemi.com/pdf/datasheet/qrd1114-d.pdf},
  urldate      = {2025-09-24}
}

@techreport{onsemiconductor_qre1113_2024,
  author       = {ON Semiconductor},
  title        = {QRE1113 Miniature Reflective Object Sensor},
  institution = {ON Semiconductor},
  year         = {2024},
  url          = {https://www.onsemi.com/download/data-sheet/pdf/qre1113-d.pdf},
  urldate      = {2025-09-24}
}


@inproceedings{klingensmith_using_2019,
  author       = {Klingensmith, Neil and Banerjee, Suman},
  title        = {Using Virtualized Task Isolation to Improve Responsiveness in Mobile and IoT Software},
  booktitle    = {Proceedings of the International Conference on Internet of Things Design and Implementation},
  year         = {2019},
  pages        = {160--171},
  publisher    = {ACM}
}


@online{mbed_ticker_2023,
  author       = {Arm Mbed},
  title        = {Ticker API Documentation},
  year         = {2023},
  url          = {https://os.mbed.com/docs/mbed-os/v6.16/apis/ticker.html},
  urldate      = {2025-09-24},
  note         = {Accessed: 2025-09-24}
}

@online{nordic_timer_2025,
  author       = {Nordic Semiconductor},
  title        = {Timer — Technical Documentation},
  year         = {2025},
  url          = {https://docs.nordicsemi.com/bundle/ps_nrf5340/page/timer.html},
  urldate      = {2025-09-24},
  note         = {Accessed: 2025-09-24}
}

@online{nordic_timer_2023,
  author       = {Nordic Semiconductor},
  title        = {nRFx Timer API Documentation},
  year         = {2023},
  url          = {https://docs.nordicsemi.com/bundle/nrfx_3.10.0/page/group_nrf_timer.html},
  urldate      = {2025-09-24},
  note         = {API documentation for the nrfx timer module in the Nordic Semiconductor nrfx library}
}

@online{wolff_realtime_2019,
  author       = {Wolff, Jared},
  title        = {How to Real Time Processing on Particle Mesh Using PPI},
  year         = {2019},
  month        = oct,
  url          = {https://www.jaredwolff.com/how-to-real-time-processing-on-particle-mesh/},
  urldate      = {2025-09-24},
  note         = {Blog post}
}

@online{gammon_interrupts_2012,
  author       = {Gammon, Nick},
  title        = {Interrupts},
  year         = {2012},
  url          = {http://www.gammon.com.au/interrupts},
  urldate      = {2025-09-24},
  note         = {Gammon Forum / Electronics / Microprocessors}
}


@techreport{olson_optimizing_2023,
  author       = {Zach Olson},
  title        = {Optimizing CMRR in Differential Amplifier Circuits With Precision Matched Resistor Divider Pairs},
  type         = {Application Note},
  institution  = {Texas Instruments},
  number       = {SBOA582},
  date         = {2023-11},
  url          = {https://www.ti.com/lit/an/sboa582/sboa582.pdf},
  note         = {Accessed: 2025-09-24}
}

@techreport{falco_understanding_2023,
  author       = {Eleazar Falco},
  title        = {Understanding Phototransistor Optocouplers},
  year         = {2023},
  month        = aug,
  institution  = {Würth Elektronik},
  url          = {https://www.we-online.com/components/media/o760909v410%20ANO007a_EN.pdf},
  note         = {Accessed: 2025-09-23}
}

@manual{ti_opa4377_2011,
  title        = {{OPA377 / OPA2377 / OPA4377} — 5 MHz, Low-Noise, Single, Dual, Quad CMOS Operational Amplifiers Datasheet},
  author       = {{Texas Instruments}},
  organization = {Texas Instruments},
  address      = {Dallas, TX, USA},
  edition      = {Rev.\,B},
  year         = {2011},
  month        = jan,
  url          = {https://www.ti.com/lit/ds/symlink/opa4377.pdf},
  note         = {SBOS504B – February 2010 / Revised January 2011},
}

@book{horowitz_art_2015,
  author    = {Horowitz, Paul and Hill, Winfield},
  address   = {New York, NY, USA},
  booktitle = {The Art of Electronics},
  edition   = {Third edition.},
  isbn      = {9780521809269},
  keywords  = {Electronics ; Electronic circuit design},
  language  = {eng},
  lccn      = {2015002303},
  publisher = {Cambridge University Press},
  title     = {The Art of Electronics},
  year      = {2015},
}

@book{wilkinson_handbook_1971,
  author       = {J. H. Wilkinson and C. Reinsch},
  title        = {Handbook for Automatic Computation: Volume II: Linear Algebra},
  series       = {Grundlehren der mathematischen Wissenschaften},
  volume       = {186},
  editor       = {F. L. Bauer and A. S. Householder and F. W. J. Olver and H. Rutishauser and K. Samelson and E. Stiefel},
  publisher    = {Springer},
  address      = {Berlin, Heidelberg},
  year         = {1971},
  isbn         = {978-3-642-86942-6,},
  doi          = {10.1007/978-3-642-86940-2},
}

@inproceedings{pardue_near_2013,
  abstract  = {This paper explores the potential of near-field optical reflective sensing formusical instrument gesture capture. Near-field optical sensors are inexpensive,portable and non-intrusive, and their high spatial and temporal resolutionmakes them ideal for tracking the finer motions of instrumental performance.The paper discusses general optical sensor performance with detailedinvestigations of three sensor models. An application is presented to violinbow position tracking using reflective sensors mounted on the stick. Bowtracking remains a difficult task, and many existing solutions are expensive,bulky, or offer limited temporal resolution. Initial results indicate that bowposition and pressure can be derived from optical measurements of thehair-string distance, and that similar techniques may be used to measure bowtilt.},
  address   = {Daejeon, Republic of Korea},
  author    = {Laurel Pardue and Andrew McPherson},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi       = {10.5281/zenodo.1178628},
  issn      = {2220-4806},
  keywords  = {optical sensor, reflectance, LED, photodiode, phototransistor, violin, bow tracking, gesture, near-field sensing},
  month     = may,
  pages     = {363--368},
  publisher = {Graduate School of Culture Technology, KAIST},
  title     = {Near-Field Optical Reflective Sensing for Bow Tracking},
  url       = {http://www.nime.org/proceedings/2013/nime2013_247.pdf},
  year      = {2013}
}

@inproceedings{jsokolovskis_optical_2014,
  abstract  = {This paper presents a method for locating the position of a strike on an acoustic drumhead. Near-field optical sensors were installed underneath the drumhead of a commercially available snare drum. By implementing time difference of arrival (TDOA) algorithm accuracy within 2cm was achieved in approximating the location of strikes. The system can be used for drum performance analysis, timbre analysis and can form a basis for an augmented drum performance system.},
  address   = {London, United Kingdom},
  author    = {Janis Sokolovskis and Andrew McPherson},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi       = {10.5281/zenodo.1178943},
  issn      = {2220-4806},
  month     = {June},
  pages     = {70--73},
  publisher = {Goldsmiths, University of London},
  title     = {Optical Measurement of Acoustic Drum Strike Locations},
  url       = {http://www.nime.org/proceedings/2014/nime2014_436.pdf},
  year      = {2014}
}

@techreport{dupont_delrin_2017,
  author       = {DuPont},
  institution  = {DuPont},
  title        = {Delrin® 100P BK602 Material Data Sheet},
  year         = 2017,
  url          = {https://www.picoplast.nl/uploads/b076b6cfae94ad109b542ae8797264b0Delrin%20100P%20BK602%20-%20MDS%20-%20EN.pdf},
  urldate      = {2025-09-20},
}

@techreport{bcn3d_pla_2019,
  author       = {BCN3D Technologies},
  title        = {Technical Data Sheet: PLA},
  institution  = {BCN3D Technologies},
  year         = 2019,
  url          = {https://www.bcn3d.com/wp-content/uploads/2019/09/BCN3D_FILAMENTS_TechnicalDataSheet_PLA_EN.pdf},
  urldate      = {2025-09-20},
}

@online{antalis_coala_2025,
  author       = {{Antalis UK}},
  title        = {Coala 1D 100 Gloss P Monomeric Self Adhesive Vinyl White Gloss Permanent 1370mm x 50 Metres 100 Micron},
  year         = 2025,
  url          = {https://www.antalis.co.uk/eshop/visual-communication/self-adhesive-printing/solvent-latex-uv-inkjet-printable/monomeric/coala-1d/SKU-607755},
  urldate      = {2025-09-20},
}

@inproceedings{calano_github_2025,
  title     = {GitHub Repository Complexity Leads to Diminished Web Archive Availability},
  author    = {Calano, David and Nelson, Michael and Weigle, Michele},
  booktitle = {Proceedings of the 17th ACM Web Science Conference 2025},
  pages     = {449--459},
  year      = {2025}
}

@article{chickerur_webgl_2024,
  title    = {WebGL vs. WebGPU: A Performance Analysis for Web 3.0},
  journal  = {Procedia Computer Science},
  volume   = {233},
  pages    = {919-928},
  year     = {2024},
  note     = {5th International Conference on Innovative Data Communication Technologies and Application (ICIDCA 2024)},
  issn     = {1877-0509},
  doi      = {https://doi.org/10.1016/j.procs.2024.03.281},
  url      = {https://www.sciencedirect.com/science/article/pii/S1877050924006410},
  author   = {Satyadhyan Chickerur and Sankalp Balannavar and Pranali Hongekar and Aditi Prerna and Soumya Jituri},
  keywords = {WebGL, WebGPU, Rendering, Performance analysis, Web3.0},
  abstract = {This study investigates web 3.0 heterogeneous computing with webGL, webGPU, and IPFS. The primary focus is on the benefits of utilising these technologies to enhance the functionality and performance of web 3.0 applications. The study investigates web 3.0 as it currently exists and the constraints that developers face due to graphic, computational, and storage capabilities. According to the findings, incorporating webGL and webGPU can considerably increase user experience, speed, efficacy, and decentralization. Finally, this study summarizes the importance of continuing research in this subject, particularly with relation to platform interoperability and the future prospects of heterogeneous computing on web 3.0 via graphical APIs.}
}

@inproceedings {lion_investigating_2022,
  author    = {David Lion and Adrian Chiu and Michael Stumm and Ding Yuan},
  title     = {Investigating Managed Language Runtime Performance: Why {JavaScript} and Python are 8x and 29x slower than C++, yet Java and Go can be Faster?},
  booktitle = {2022 USENIX Annual Technical Conference (USENIX ATC 22)},
  year      = {2022},
  address   = {Carlsbad, CA},
  pages     = {835--852},
  url       = {https://www.usenix.org/conference/atc22/presentation/lion},
  publisher = {USENIX Association},
  month     = jul
}

@inproceedings{reiser_accelerate_2017,
  author    = {Micha Reiser and Luc Bläser},
  title     = {Accelerate JavaScript applications by cross-compiling to WebAssembly},
  booktitle = {Proceedings of the 9th ACM SIGPLAN International Workshop on Virtual Machines and Intermediate Languages},
  pages     = {10--17},
  year      = {2017},
}

@misc{cc_can_2025,
  author       = {Creative Commons},
  title        = {Can I apply a Creative Commons license to software?},
  howpublished = {Frequently Asked Questions},
  year         = 2025,
  url          = {https://creativecommons.org/faq/#can-i-apply-a-creative-commons-license-to-software},
  urldate      = {2025-09-19}
}

@article{mcintyre_measuring_1988,
  title   = {On measuring the elastic and damping constants of orthotropic sheet materials},
  journal = {Acta Metallurgica},
  volume  = {36},
  number  = {6},
  pages   = {1397-1416},
  year    = {1988},
  issn    = {0001-6160},
  doi     = {https://doi.org/10.1016/0001-6160(88)90209-X},
  url     = {https://www.sciencedirect.com/science/article/pii/000161608890209X},
  author  = {Michael Edgeworth McIntyre and Jim H. Woodhouse},
}

@misc{stallman_why_2007,
  author       = {Richard Stallman},
  title        = {Why Open Source Misses the Point of Free Software},
  howpublished = {GNU Project / Free Software Foundation},
  year         = {2007},
  urldate      = {2025-09-19},
  url          = {https://www.gnu.org/philosophy/open-source-misses-the-point.html}
}

@misc{stallman_floss_2021,
  author       = {Stallman, Richard},
  title        = {FLOSS and FOSS},
  howpublished = {GNU Project / Free Software Foundation},
  year         = {2021},
  month        = sep,
  urldate      = {2025-09-19},
  url          = {https://www.gnu.org/philosophy/floss-and-foss.html}
}

@misc{stallman_free_1996,
  author       = {Stallman, Richard},
  title        = {What is Free Software?},
  howpublished = {GNU Project / Free Software Foundation},
  year         = {1996},
  urldate      = {2025-09-19},
  url          = {https://www.gnu.org/philosophy/free-sw.en.html}
}

@article{thompson_free_2012,
  author  = {Thompson, Kelly J.},
  title   = {Free as in Freedom, Not as in Beer: Free and Open Source Software ILS and the Library Community},
  journal = {B Sides: Fieldwork},
  year    = {2012},
  number  = {1},
  volume  = {2012},
  url     = {https://pubs.lib.uiowa.edu/bsides/article/id/27904/},
}

@inproceedings{duran_experimentally_2023,
  author    = {Duran, Sebastian and Ducceschi, Michele and Tahvanainen, Henna and Ausiello, Ludovico},
  title     = {Experimentally-tuned synthesis of a thin plate},
  booktitle = {Proceedings of the Institute of Acoustics},
  year      = {2023},
  volume    = {45},
  number    = {3},
  pages     = {1--8},
  publisher = {Institute of Acoustics}
}

@software{magpie_python_2025,
  author       = {Matthew Hamilton and
                  Michele and
                  Alexis Mousseau and
                  Sebastian Duran},
  title        = {Nemus-Project/magpie-python: 0.0.5},
  month        = sep,
  year         = 2025,
  publisher    = {Zenodo},
  version      = {0.0.2},
  doi          = {10.5281/zenodo.17131912},
  url          = {https://doi.org/10.5281/zenodo.17131912},
}

@software{magpie_matlab_2025,
  author       = {Michele Ducceschi and
                  Matthew Hamilton and
                  Alexis Mousseau and
                  Sebastian Duran},
  title        = {Nemus-Project/magpie-matlab: 0.0.2},
  month        = jun,
  year         = 2025,
  publisher    = {Zenodo},
  version      = {v0.0.2},
  doi          = {10.5281/zenodo.17328977},
  url          = {https://doi.org/10.5281/zenodo.17328977},
}

@software{eigen_git_2025,
  author       = {Antonio Sánchez and
                  Charles Schlosser and
                  Chip Kerchner and
                  Christoph Hertzberg and
                  Eigen Professor and
                  Everton Constantino and
                  Gael Guennebaud and
                  Rasmus Munk Larsen and
                  Sameer Agarwal and
                  William Kong},
  title        = {Eigen: C++ Template Library for Linear Algebra},
  url          = {https://gitlab.com/libeigen/eigen},
  version      = {3.4.0},
  urldate      = {2025-09-16},
}

@software{spectra_git_2025,
  author       = {yixuan and
                  JensWehner and
                  felipeZ and
                  v1kko and
                  NicoRenaud and
                  guacke and
                  jschueller and
                  shivupa and
                  eduardz1 and
                  topazus and
                  jdbancal and
                  jkflying and
                  AnnaAraslanova and
                  kriolog and
                  ryanlevy and
                  alexpghayes and
                  timokoch and
                  pmoulon},
  title        = {Spectra: Large Scale Eigenvalue Library},
  url          = {https://github.com/yixuan/spectra},
  version      = {1.2.0},
  date         = {2025-09-16},
}


@online{scipy_arpack_2025,
  author       = {SciPy},
  title        = {Sparse eigenvalue problems with ARPACK},
  year         = 2025,
  url          = {https://docs.scipy.org/doc/scipy/tutorial/arpack.html},
  urldate         = {2025-09-15},
}

@book{wilkinson_algebraic_1965,
  author    = {Wilkinson, J. H.},
  address   = {Oxford},
  booktitle = {The algebraic eigenvalue problem},
  keywords  = {Equations -- Numerical solutions ; Matrices ; Algebras Linear},
  language  = {eng},
  publisher = {Clarendon Press},
  series    = {Monographs on numerical analysis},
  title     = {The algebraic eigenvalue problem },
  year      = {1965},
}

@misc{nvidia_sparse_2025,
  author       = {{NVIDIA Corporation}},
  title        = {Sparse Matrix Formats},
  year         = 2025,
  url          = {https://docs.nvidia.com/nvpl/latest/sparse/storage_format/sparse_matrix.html},
  note         = {Accessed: 2025-09-13}
}

@book{dongarra_linpack_1979,
  title     = {LINPACK users' guide},
  author    = {Dongarra, Jack J and Moler, Cleve Barry and Bunch, James R and Stewart, Gilbert W},
  year      = {1979},
  publisher = {SIAM}
}

@article{li_exact_2009,
  title    = {An exact series solution for the transverse vibration of rectangular plates with general elastic boundary supports},
  journal  = {Journal of Sound and Vibration},
  volume   = {321},
  number   = {1},
  pages    = {254-269},
  year     = {2009},
  issn     = {0022-460X},
  doi      = {https://doi.org/10.1016/j.jsv.2008.09.035},
  url      = {https://www.sciencedirect.com/science/article/pii/S0022460X08008146},
  author   = {W.L. Li and Xuefeng Zhang and Jingtao Du and Zhigang Liu},
  abstract = {An analytical method is developed for the vibration analysis of rectangular plates with elastically restrained edges. The displacement solution is expressed as a two-dimensional Fourier series supplemented with several one-dimensional Fourier series. Mathematically, such a series expansion is capable of representing any function (including the exact displacement solution) whose third-order partial derivatives are (required to be) continuous over the area of the plate. Since the discontinuities (or jumps) potentially related to the partial derivatives at the edges (when they are periodically extended onto the entire x–y plane as implied by a two-dimensional Fourier series expansion) have been explicitly “absorbed” by the supplementary terms, all the series expansions for up to the fourth-order derivatives can be directly obtained through term-by-term differentiations of the displacement series. Thus, an exact solution can be obtained by letting the series simultaneously satisfy the governing differential equation and the boundary conditions on a point-wise basis. Because the series solution has to be truncated numerically, the “exact solution” should be understood as a solution with arbitrary precision. Several numerical examples are presented to illustrate the excellent accuracy of the current solution. The proposed method can be directly extended to other more complicated boundary conditions involving non-uniform elastic restraints, point supports, partial supports, and their combinations.}
}

@article{li_simple_2009,
  title    = {A simple formula for predicting resonant frequencies of a rectangular plate with uniformly restrained edges},
  journal  = {Journal of Sound and Vibration},
  volume   = {327},
  number   = {1},
  pages    = {254-268},
  year     = {2009},
  issn     = {0022-460X},
  doi      = {https://doi.org/10.1016/j.jsv.2009.06.011},
  url      = {https://www.sciencedirect.com/science/article/pii/S0022460X09005148},
  author   = {K.M. Li and Z. Yu},
  abstract = {This paper provides empirical formulas for rapidly calculating the resonant frequencies of an orthotropic, rectangular plate with its edges constrained by elastic supports. In particular, the classical boundary condition with guided supports at its edges is considered. Other boundary conditions, such as the guided–free edges, guided–clamped edges and guided–free support edges have also been included in the present study. Simple and closed form empirical formulas have been derived to allow straightforward computations of the modal resonant frequencies. The empirical formulas are based on the analytical results obtained from the Rayleigh–Ritz method. However, the coefficient is determined empirically from the results obtained by other more accurate computational scheme, e.g. finite element method. The method is further generalized to predict the resonant frequencies for general boundary conditions of a square, orthotropic plate.}
}

@software{magpie_cpp_2025,
  author       = {Matthew Hamilton},
  title        = {Nemus-Project/magpie-cpp: 0.0.1-alpha Proof of Concept},
  month        = sep,
  year         = 2025,
  publisher    = {Zenodo},
  version      = {0.0.1-alpha},
  doi          = {10.5281/zenodo.17092437},
  url          = {https://doi.org/10.5281/zenodo.17092437},
}

@article{stewart_krylov_2002,
  author  = {Stewart, G. W.},
  title   = {A Krylov--Schur Algorithm for Large Eigenproblems},
  journal = {SIAM Journal on Matrix Analysis and Applications},
  volume  = {23},
  number  = {3},
  pages   = {601-614},
  year    = {2002},
  doi     = {10.1137/S0895479800371529},
  url     = {https://doi.org/10.1137/S0895479800371529},
}



@book{lehoucq_arpack_1998,
  author    = {Lehoucq, Richard B. and Sorensen, Danny C. and Yang, Chao},
  address   = {Philadelphia, Pa},
  booktitle = {ARPACK users' guide solution of large-scale eigenvalue problems with implicitly restarted Arnoldi methods},
  isbn      = {9780898719628},
  keywords  = {ARPACK (Computer file) ; Eigenvalues -- Data processing},
  language  = {eng},
  lccn      = {98060204},
  publisher = {Society for Industrial and Applied Mathematics SIAM, 3600 Market Street, Floor 6, Philadelphia, PA 19104},
  series    = {Software, environments, tools ; 6},
  title     = {ARPACK users' guide solution of large-scale eigenvalue problems with implicitly restarted Arnoldi methods },
  url       = {https://login.eux.idm.oclc.org/login?url=http://epubs.siam.org/ebooks/siam/software_environments_and_tools/se06},
  year      = {1998},
}

@article{viala_decision_2025,
    title    = {Value of information in the conservation of a heritage cello: An info-gap decision theory approach},
    journal  = {Journal of Cultural Heritage},
    volume   = {71},
    pages    = {165-174},
    year     = {2025},
    issn     = {1296-2074},
    doi      = {https://doi.org/10.1016/j.culher.2024.11.014},
    url      = {https://www.sciencedirect.com/science/article/pii/S1296207424002449},
    author   = {Romain Viala and Yakov Ben-Haim and Stéphane Vaiedelich and Scott Cogan},
    keywords = {Cultural heritage, Info-gap, Wood mechanics, Decision-making, Static analysis, Finite element method, Quartet instruments},
    abstract = {Decision-making for the conservation of heritage stringed musical instruments, especially their playing conditions, can be supported by science-based models. Mechanical stresses induced by string tension can prevent an instrument from being played if the risk of damage is too high since they can lead to plastic strains and permanently damage a rare object. Science-based modeling tools, such as the finite element method, require detailed knowledge of the mechanical and material properties of the instrument. However, many of these properties are uncertain, such as material properties, relative humidity conditions, or existing crack defects. Info-gap decision theory provides a framework to address uncertainty and to evaluate the robustness of decisions in situations where there are significant gaps in information. This is applied here to the decision-making process to determine whether an instrument is playable or not. It is applied on an antique cello by Pietro Guarneri, E.1555, kept in the Musée de la musique-philharmonie de Paris. The instrument shows local damages like a gallery created by a xylophageous insect. The info-gap robustness metric evaluates how wrong our physics-based model can be with respect to the baseline material properties without jeopardising the validity of this decision. Toward this end, a finite element model is created and a static analysis is performed to compute the stress field near the damaged area resulting from string tension. A robustness analysis is performed to compute the info-gap robustness curves for different uncertainty scenarios with respect to both the elastic properties and the yield stresses of wood with unknown properties. In this illustration, it is shown that it is more effective to reduce uncertainty in the elastic properties rather than yield stresses to ensure a robust decision concerning the playability of the instrument.}
}

@article{howard_musical_2022,
  title={Musical instruments as tangible cultural heritage and as/for intangible cultural heritage},
  author={Howard, Keith},
  journal={International Journal of Cultural Property},
  volume={29},
  number={1},
  pages={23--44},
  year={2022},
  publisher={Cambridge University Press}
}

@article{duran_use_2025,
  title={On the use of tonewood leftovers for elastic parameter estimation of soundboards},
  author={Duran, Sebastian and Tahvanainen, Henna and Ausiello, Ludovico and Ducceschi, Michele},
  journal={The Journal of the Acoustical Society of America},
  volume={157},
  number={4\_Supplement},
  pages={A311--A312},
  year={2025},
  publisher={Acoustical Society of America}
}

@inproceedings{viala_model_2019,
  title={Model-based decision support methods applied to the conservation of musical instruments: Application to an antique cello},
  author={Viala, Romain and Placet, Vincent and Le Conte, Sandie and Vaiedelich, St{\'e}phane and Cogan, Scott},
  booktitle={Model Validation and Uncertainty Quantification, Volume 3: Proceedings of the 37th IMAC, A Conference and Exposition on Structural Dynamics 2019},
  pages={223--227},
  year={2019},
  organization={Springer}
}

@article{krasner_description_1988,
  title = {A description of the model-view-controller user interface paradigm in the smalltalk-80 system},
  author    = {Krasner, Glenn E and Pope, Stephen T and others},
  journal   = {Journal of object oriented programming},
  volume    = {1},
  number    = {3},
  pages = {26--49},
  year  = {1988}
}

@article{baron_physical_1958,
  author  = {Báron, Julius G.},
  title   = {Physical Basis Of Piano Touch},
  journal = {The Journal of the Acoustical Society of America},
  volume  = {30},
  number  = {2},
  pages   = {151-152},
  year    = {1958},
  month   = {02},
  issn    = {0001-4966},
  doi     = {10.1121/1.1909519},
  url     = {https://doi.org/10.1121/1.1909519},
  eprint  = {https://pubs.aip.org/asa/jasa/article-pdf/30/2/151/18737486/151\_2\_online.pdf},
}

@inproceedings{galembo_quality_2003,
  title     = {Quality Assessment Of Musical Instruments-Effects Of Multimodality},
  author    = {Galembo, Alexander and Askenfelt, Anders},
  booktitle = {Proceedings of the 5th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM5), Hannover, Germany},
  pages     = {8--13},
  year      = {2003},
  url       = {https://www.epos.uni-osnabrueck.de/books/k/klww003/pdfs/004_Galembo_Proc.pdf},
}

@article{galembo_quality_1982,
  title   = {Quality evaluation of musical instruments},
  author  = {Galembo, A},
  journal = {Technitcheskaia Aesthetika},
  number  = {5},
  pages   = {16--17},
  year    = {1982}
}

@inproceedings{galembo_problem_1983,
  author    = {Galembo, Alexander},
  title     = {The problem of separate estimations of tonal and playing qualities of musical instruments},
  booktitle = {Proceedings of 10th USSR Acoustical Conference},
  year      = {1983}
}

@article{goebl_perception_2014,
  title     = {Perception Of Touch Quality In Piano Tones},
  author    = {Goebl, Werner and Bresin, Roberto and Fujinaga, Ichiro},
  journal   = {The Journal of the Acoustical Society of America},
  volume    = {136},
  number    = {5},
  pages     = {2839--2850},
  year      = {2014},
  publisher = {AIP Publishing},
  doi       = {10.1121/1.4896461},
  url       = {https://pubs.aip.org/asa/jasa/article/136/5/2839/985576}
}

@article{villena_challenges_2025,
  author   = {Villena-Taranilla, Rafael and Diago, Pascual D.},
  title    = {Challenges And Implications Of Virtual Reality In History Education: A Systematic Review},
  journal  = {Applied Sciences},
  volume   = {15},
  year     = {2025},
  number   = {10},  
  url      = {https://www.mdpi.com/2076-3417/15/10/5589},
  issn     = {2076-3417},
  abstract = {Virtual Reality (VR) has emerged as a promising tool for history education, offering immersive and interactive learning experiences. However, its implementation in educational settings presents several challenges that remain under-explored. This systematic review, conducted using the Preferred Reporting Items for Systematic reviews and Meta-Analyses (PRISMA) methodology, aims to identify the main technical, usability, economic, psychological, social, and ethical challenges associated with the use of VR in history teaching. A literature search was performed in the Scopus (Elsevier) database, retrieving 2794 studies, from which a final selection of 14 papers was made based on predefined eligibility criteria. The findings indicate that interoperability issues, high hardware and software requirements, and navigation difficulties hinder VR integration. Moreover, usability concerns, including complex interfaces and cognitive overload, affect both students and educators, emphasizing the need for specialized teacher training. Economic barriers, such as the high cost of VR equipment and software, limit accessibility in resource-constrained institutions. Additionally, psychological and social challenges, including user discomfort, confusion between reality and fiction, and ethical concerns, were identified. These findings highlight the necessity of addressing these limitations to optimize VR’s pedagogical potential in history education. Future research should focus on developing cost-effective solutions, enhancing usability, and designing comprehensive training programs to facilitate the effective adoption of VR in educational contexts.},
  doi      = {10.3390/app15105589}
}

@article{wang_grand_2025,
  author    = {Hanbing Wang and Junyan Du and Yue Li and Lie Zhang and Xiang Li},
  title     = {Grand Challenges In Immersive Technologies For Cultural Heritage},
  journal   = {International Journal of Human–Computer Interaction},
  volume    = {0},
  number    = {0},
  pages     = {1--22},
  year      = {2025},
  publisher = {Taylor \& Francis},
  doi       = {10.1080/10447318.2025.2475996},
  url       = {https://doi.org/10.1080/10447318.2025.2475996},
}


@article{cadoz_synthese_1981,
  title   = {Synth{\`E}Se Musicale Par Simulation Des M{\'E}Canismes Instrumentaux, Transducteurs Gestuels R{\'E}Troactifs Pour L'{\'E}Tude Du Jeu Instrumental},
  author  = {Cadoz, Claude and Luciani, Annie and Florens, Jean-Loup},
  journal = {Revue d'acoustique},
  volume  = {4},
  number  = {59},
  pages   = {279--292},
  year    = {1981}
}

@book{loughridge_sounding_2023,
  author    = {Loughridge, Deirdre},
  address   = {Chicago},
  booktitle = {Sounding human : music and machines, 1740/2020},
  isbn      = {9780226830100},
  keywords  = {Auto-tune (Computer file) ; Electronic music -- History and criticism ; Mechanical musical instruments -- History ; Music and technology -- History ; Music -- Performance -- Philosophy and aesthetics ; Popular music -- Production and direction},
  language  = {eng},
  publisher = {The University of Chicago Press},
  series    = {Chicago scholarship online},
  title     = {Sounding Human : Music And Machines, 1740/2020 },
  year      = {2023},
}

@inproceedings{fluckiger_evaluation_2018,
  title        = {Evaluation Of A Digital Grand Piano For Vibrotactile Feedback Experiments And Impact Of Finger Touch On Piano Key Vibrations},
  author       = {Fl{\"u}ckiger, Matthias and Grosshauser, Tobias and Tr{\"o}ster, Gerhard},
  booktitle    = {2018 IEEE Haptics Symposium (HAPTICS)},
  pages        = {119--124},
  year         = {2018},
  organization = {IEEE}
}

@article{fluckiger_influence_2018,
  author         = {Flückiger, Matthias and Grosshauser, Tobias and Tröster, Gerhard},
  title          = {Influence Of Piano Key Vibration Level On Players’ Perception And Performance In Piano Playing},
  journal        = {Applied Sciences},
  volume         = {8},
  year           = {2018},
  number         = {12},
  article-number = {2697},
  url            = {https://www.mdpi.com/2076-3417/8/12/2697},
  issn           = {2076-3417},
  abstract       = {In this study, the influence of piano key vibration levels on players’ personal judgment of the instrument quality and on the dynamics and timing of the players’ performance of a music piece excerpt is examined. In an experiment four vibration levels were presented to eleven pianists playing on a digital grand piano with grand piano-like key action. By evaluating the players’ judgment of the instrument quality, strong integration effects of auditory and tactile information were observed. Differences in the sound of the instrument were perceived by the players, when the vibration level in the keys was changed and the results indicate a sound-dependent optimum of the vibration levels. By analyzing the influence of the vibration levels on the timing and dynamics accuracy of the pianists’ musical performances, we could not observe systematic differences that depend on the vibration level.},
  doi            = {10.3390/app8122697}
}

@inproceedings{lozada_novel_2007,
  author    = {Lozada, Jos{\'e} and Moustapha Hafez and Xavier Boutillon},
  booktitle = {2007 IEEE/ASME international conference on advanced intelligent mechatronics}, 
  title     = {A Novel Haptic Interface For Musical Keyboards}, 
  year      = {2007},
  volume    = {},
  number    = {},
  pages     = {1-6},
  keywords  = {Haptic interfaces;Keyboards;Magnetic flux;Magnetic liquids;Magnetic fields;Damping;Magnetic field induced strain;Force control;Feedback;Viscosity;Index Terms;Magneto-rheological fluids;haptic interface;analytical model},
  doi       = {10.1109/AIM.2007.4412605}
}


@article{altinsoy_electrotactile_2011,
  title     = {Electrotactile Feedback For Handheld Devices With Touch Screen And Simulation Of Roughness},
  author    = {Altinsoy, M Ercan and Merchel, Sebastian},
  journal   = {IEEE Transactions on Haptics},
  volume    = {5},
  number    = {1},
  pages     = {6--13},
  year      = {2011},
  publisher = {IEEE}
}

@inproceedings{miyashita_thermoscore_2004,
  abstract  = {In this paper, we propose Thermoscore, a musical score form-that dynamically alters the temperature of the instrument/player interface. We developed the first version of theThermoscore display by lining Peltier devices on piano keys.The system is controlled by MIDI notes-on messages from anMIDI sequencer, so that a composer can design songs that aresequences of temperature for each piano key. We also discussmethodologies for composing with this system, and suggesttwo approaches. The first is to make desirable keys (or otherkeys) hot. The second one uses chroma-profile, that is, a radarchart representation of the frequency of pitch notations in the-piece. By making keys of the same chroma hot in reverse proportion to the value of the chroma-profile, it is possible to-constrain the performer's improvisation and to bring the tonality space close to a certain piece.},
  address   = {Hamamatsu, Japan},
  author    = {Miyashita, Homei and Nishimoto, Kazushi},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi       = {10.5281/zenodo.1176637},
  issn      = {2220-4806},
  keywords  = {musical score, improvisation, peltier device, chroma profile},
  pages     = {104--107},
  title     = {Thermoscore: A New-Type Musical Score With Temperature Sensation},
  url       = {http://www.nime.org/proceedings/2004/nime2004_104.pdf},
  year      = {2004}
}

@inproceedings{hwang_airpiano_2017,
  title        = {Airpiano: Enhancing Music Playing Experience In Virtual Reality With Mid-Air Haptic Feedback},
  author       = {Hwang, Inwook and Son, Hyungki and Kim, Jin Ryong},
  booktitle    = {2017 IEEE world haptics conference (WHC)},
  pages        = {213--218},
  year         = {2017},
  organization = {IEEE}
}

@inproceedings{gillespie_virtual_1994,
  title        = {The Virtual Piano Action: Design And Implementation},
  author       = {Gillespie, Brent},
  booktitle    = {Proceedings of the International Computer Music Conference},
  pages        = {167--167},
  year         = {1994},
  publisher    = {International Computer Music Association},
  note         = {Published 1994/9/12}
}

@article{baker_active_1990,
  title     = {Active Touch Keyboard},
  author    = {Baker, Richard P},
  journal   = {The Journal of the Acoustical Society of America},
  volume    = {88},
  number    = {1},
  pages     = {595--595},
  year      = {1990},
  publisher = {Acoustical Society of America}
}

@inproceedings{gillespie_touch_1992,
  title        = {Touch Back Keyboard},
  author       = {Gillespie, Brent},
  booktitle    = {Proceedings of the International Computer Music Conference},
  pages        = {447--447},
  year         = {1992},
  organization = {INTERNATIONAL COMPUTER MUSIC ACCOCIATION}
}

@article{cadoz_cordis_1993,
  title     = {Cordis-Anima: A Modeling And Simulation System For Sound And Image Synthesis: The General Formalism},
  author    = {Cadoz, Claude and Luciani, Annie and Florens, Jean Loup},
  journal   = {Computer music journal},
  volume    = {17},
  number    = {1},
  pages     = {19--29},
  year      = {1993},
  publisher = {JSTOR}
}

@article{oboe_mikey_2006,
  ISSN      = {01489267, 15315169},
  URL       = {http://www.jstor.org/stable/4617942},
  author    = {Roberto Oboe},
  journal   = {Computer Music Journal},
  number    = {3},
  pages     = {38--52},
  publisher = {The MIT Press},
  title     = {A Multi-Instrument, Force-Feedback Keyboard},
  urldate   = {2025-08-28},
  volume    = {30},
  year      = {2006},
  abstract  = {This article presents the preliminary results
                                obtained by the MIKEY (Multi-Instrument active KEYboard) project. The project
                                is aimed at the realization of a multi-instrument active keyboard with
                                realistic touch feedback. In particular, the instruments to be emulated are
                                the grand piano, the harpsichord, and the Hammond organ. Given the previous
                                consideration, it is clear that some tradeoff between model accuracy and
                                real-time operability had to be made at the beginning of the project,
                                especially for the grand piano. The research presented here started from the
                                work of Gillespie and has been improved by adding some additional features,
                                namely the hammer-string impact, various statedependent hammer-key impacts,
                                and the escapement effect. Also, to improve the quality of the haptic
                                feedback, a direct-drive, low-friction motor has been used. Finally,
                                particular attention has been paid to the cost of the overall system, by using
                                inexpensive devices for sensing, actuation, and real-time computation}
}


@techreport{fujitsu_fram_2011,
  author       = {Fujitsu Semiconductor America, Inc.},
  title        = {Non-Volatile Ferroelectric Random-Access Memory (Fram)},
  institution  = {Fujitsu Semiconductor America, Inc.},
  year         = 2011,
  url          = {https://www.fujitsu.com/us/Images/FRAM-Standalone-FS.pdf},
  note         = {Accessed: 2025-08-27}
}

@techreport{arduino_nano33iot_2025,
  author       = {{Arduino S.r.l.}},
  title        = {Arduino Nano 33 Iot User Manual},
  institution  = {{Arduino S.r.l.}},
  year         = 2025,
  url          = {https://docs.arduino.cc/resources/datasheets/ABX00027-datasheet.pdf},
  urldate      = {2025-08-27},
}


@inproceedings{mcpherson_augmented_2010,
 abstract = {This paper presents the magnetic resonator piano, an augmented instrument enhancing the capabilities of the acoustic grand piano. Electromagnetic actuators induce the stringsto vibration, allowing each note to be continuously controlled in amplitude, frequency, and timbre without external loudspeakers. Feedback from a single pickup on thepiano soundboard allows the actuator waveforms to remainlocked in phase with the natural motion of each string. Wealso present an augmented piano keyboard which reportsthe continuous position of every key. Time and spatial resolution are sufficient to capture detailed data about keypress, release, pretouch, aftertouch, and other extended gestures. The system, which is designed with cost and setupconstraints in mind, seeks to give pianists continuous control over the musical sound of their instrument. The instrument has been used in concert performances, with theelectronically-actuated sounds blending with acoustic instruments naturally and without amplification.},
 address = {Sydney, Australia},
 author = {McPherson, Andrew and Kim, Youngmoo},
 booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
 doi = {10.5281/zenodo.1177849},
 issn = {2220-4806},
 keywords = {Augmented instruments, piano, interfaces, electromagnetic actuation, gesture measurement},
 pages = {217--222},
 title = {Augmenting The Acoustic Piano With Electromagnetic String Actuation And Continuous Key Position Sensing},
 url = {http://www.nime.org/proceedings/2010/nime2010_217.pdf},
 year = {2010}
}

@inproceedings{lozada_modelisations_2007,
  title={Mod{\'E}Lisations M{\'E}Caniques De La Touche De Piano Et De Son Imitation Haptique},
  author={Lozada, Jos{\'e} and Boutillon, Xavier and Hafez, Moustapha},
  booktitle={CFM 2007-18{\`e}me Congr{\`e}s Fran{\c{c}}ais de M{\'e}canique},
  pages={6--p},
  year={2007}
}

@patent{boutillon_dispositif_2024,
  author       = {Boutillon, Xavier and Greef De, Vincent and Chichignoud, Jérémie},
  title        = {Dispositif De Simulation Haptique D’Un Instrument De Musique},
  number       = {FR3125162B1},
  date         = {2024-11-08},
  year         = {2024},
  holder       = {École Polytechnique and Centre National de la Recherche Scientifique (CNRS)},
  priority     = {2021-07-07},
  url          = {https://patents.google.com/patent/FR3125162B1/fr},
}

@misc{horizon_seeing_2010,
  title        = {Horizon: Is Seeing Believing?},  
  author       = {Naomi Austin},
  date         = {2010-10-18},
  time         = {21:00},
  organization = {BBC Two England},
  note         = {Runtime: 00:60:00},
  url          = {https://learningonscreen.ac.uk/ondemand/index.php/prog/0175990B?bcast=54283586},
  urldate      = {2025-08-26},
}


@article{proverbio_skilled_2016,
  author   = {Proverbio, Alice M. and Massetti, Gemma and Rizzi, Ezia and Zani, Alberto},
  title    = {Skilled Musicians Are Not Subject To The Mcgurk Effect},
  journal  = {Scientific Reports},
  year     = {2016},
  month    = jul,
  day      = {25},
  volume   = {6},
  number   = {1},
  pages    = {30423},
  abstract = {The McGurk effect is a compelling illusion in which humans auditorily perceive mismatched audiovisual speech as a completely different syllable. In this study evidences are provided that professional musicians are not subject to this illusion, possibly because of their finer auditory or attentional abilities. 80 healthy age-matched graduate students volunteered to the study. 40 were musicians of Brescia Luca Marenzio Conservatory of Music with at least 8--13 years of musical academic studies. /la/, /da/, /ta/, /ga/, /ka/, /na/, /ba/, /pa/ phonemes were presented to participants in audiovisual congruent and incongruent conditions, or in unimodal (only visual or only auditory) conditions while engaged in syllable recognition tasks. Overall musicians showed no significant McGurk effect for any of the phonemes. Controls showed a marked McGurk effect for several phonemes (including alveolar-nasal, velar-occlusive and bilabial ones). The results indicate that the early and intensive musical training might affect the way the auditory cortex process phonetic information.},
  issn     = {2045-2322},
  doi      = {10.1038/srep30423},
  url      = {https://doi.org/10.1038/srep30423}
}

@article{alsius_forty_2018,
  abstract  = {Since its discovery 40 years ago, the McGurk illusion has been usually cited as a prototypical paradigmatic case of multisensory binding in humans, and has been extensively used in speech perception studies as a proxy measure for audiovisual integration mechanisms. Despite the well-established practice of using the McGurk illusion as a tool for studying the mechanisms underlying audiovisual speech integration, the magnitude of the illusion varies enormously across studies. Furthermore, the processing of McGurk stimuli differs from congruent audiovisual processing at both phenomenological and neural levels. This questions the suitability of this illusion as a tool to quantify the necessary and sufficient conditions under which audiovisual integration occurs in natural conditions. In this paper, we review some of the practical and theoretical issues related to the use of the McGurk illusion as an experimental paradigm. We believe that, without a richer understanding of the mechanisms involved in the processing of the McGurk effect, experimenters should be really cautious when generalizing data generated by McGurk stimuli to matching audiovisual speech events.},
  author    = {Alsius, Agnès and Paré, Martin and Munhall, Kevin G},
  address   = {Netherlands},
  copyright = {Copyright 2017 by Koninklijke Brill NV, Leiden, The Netherlands.},
  issn      = {2213-4794},
  journal   = {Multisensory research},
  keywords  = {Biophysics ; Psychology ; Psychology Experimental ; Social sciences ; Speech perception},
  language  = {eng},
  number    = {1-2},
  pages     = {111-144},
  publisher = {Brill},
  title     = {Forty Years After Hearing Lips And Seeing Voices: The Mcgurk Effect Revisited},
  volume    = {31},
  year      = {2018},
}



@inproceedings{fiordelmondo_longevity_2024,
  abstract     = {This paper presents the reactivation of Soundrise, an interactive multimedia application for deaf children, as a case study to demonstrate the application of time-based media art preservation and reactivation strategies in NIMEs. Drawing upon the Multilevel Dynamic Preservation (MDP) model and the Digital Preservation Object (DPO), structured frameworks designed to comprehensively document time-based media art across different levels of information and iterative processes, this article introduces a novel decision-making process for reactivating NIMEs, outlined in five steps: Collection, Assessment, (re)Design, Implementation, and Archiving. Through an exploration of the Soundrise reactivation, the article elaborates on each step of the proposed reactivation process, illustrating the application of the DPO and MDP model to ensure the preservation of the application. From the analysis of the previous iterations of the application, we also provide design reflections on obsolescence and longevity. By aligning our work with recent NIME literature on documentation and reuse, we aim to offer insights on how to preserve, reuse, or maintain and document research.},
  address      = {Utrecht, Netherlands},
  articleno    = {43},
  author       = {Alessandro Fiordelmondo and Giada Zuccolo and Sergio Canazza and Raul Masu},
  booktitle    = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi          = {10.5281/zenodo.13904858},
  editor       = {S M Astrid Bin and Courtney N. Reed},
  issn         = {2220-4806},
  month        = sep,
  numpages     = {10},
  pages        = {292--301},
  presentation = {https://youtu.be/rvFlk3ZsVZg?si=Vue2KyLJvwRnusCh},
  title        = {Longevity In Nime Research: A Case Study Using Time-Based Media Art Preservation Models},
  track        = {Papers},
  url          = {http://nime.org/proceedings/2024/nime2024_43.pdf},
  year         = {2024}
}

@techreport{ibm_riff_1991,
  title        = {Multimedia Programming Interface And Data Specifications 1.0},
  author       = {{IBM Corporation and Microsoft Corporation}},
  institution  = {IBM Corporation and Microsoft Corporation},
  year         = {1991},
  month        = aug,
  number       = {1.0},
  url          = {https://www.mmsp.ece.mcgill.ca/Documents/AudioFormats/WAVE/Docs/riffmci.pdf},
  note         = {Includes specifications for RIFF, WAVE, and MCI interfaces},
}

@techreport{nordic_nrf52840_2025,
  title        = {{Nrf52840} Product Specification – Saadc (Successive Approximation Adc)},
  author       = {{Nordic Semiconductor ASA}},
  institution  = {Nordic Semiconductor ASA},
  year         = {2025},
  url          = {https://docs.nordicsemi.com/bundle/ps_nrf52840/page/saadc.html},
  urldate      = {2025-08-24}
}

@inproceedings{ramesh_turning_2017,
  title     = {Turning Coders Into Makers: The Promise Of Embedded Design Generation},
  author    = {Ramesh, Rohit and Lin, Richard and Iannopollo, Antonio and Sangiovanni-Vincentelli, Alberto and Hartmann, Bj{\"o}rn and Dutta, Prabal},
  booktitle = {Proceedings of the 1st annual ACM symposium on computational fabrication},
  pages     = {1--10},
  year      = {2017}
}

@inproceedings{schmidt_sparksichord_2025,
  abstract  = {In line with a sustained community interest in electromagnetic actuation of musical instruments, we describe practical considerations for Lorentz Force actuation in conductive strings, exemplified by the Sparksichord – an augmented harpsichord that uses Lorentz Force actuation, optical feedback, and analog circuitry to sustain vibrations of its brass strings. Electromagnetically-actuated and feedback instruments have grown increasingly popular in NIME, though most systems rely on the use of solenoid-style electromagnetic coils. By running current through the string itself, Lorentz Force actuation offers an alternate arrangement of magnets and wire that can afford new modes of interaction, a broader frequency response, and cheaper implementation.  We aim to empower practitioners with a toolbox for designing and building actuated instruments of this style and describe our specific implementation for this instrument.},
  address   = {Canberra, Australia},
  articleno = {38},
  author    = {Adam Schmidt and Jeffrey Snyder and Gian Torrano Jacobs and Joseph Gascho and Joyce Chen and Andrew McPherson},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi       = {10.5281/zenodo.15698857},
  editor    = {Doga Cavdir and Florent Berthaut},
  issn      = {2220-4806},
  month     = jun,
  numpages  = {12},
  pages     = {268--279},
  title     = {The Sparksichord: Practical Implementation Of A Lorentz Force Electromagnetic Actuation And Feedback System},
  track     = {Paper},
  url       = {http://nime.org/proceedings/2025/nime2025_38.pdf},
  year      = {2025}
}

@phdthesis{perng_physical_2012,
  title     = {Physical Modeling Of The Harpsichord Plectrum-String Interaction},
  author    = {Perng, Chao-Yu Jack},
  year      = {2012},
  school = {Stanford University}
}

@phdthesis{hirschkorn_dynamic_2004,
  title  = {Dynamic Model Of A Piano Action Mechanism},
  author = {Hirschkorn, Martin C},
  year   = {2004},
  school = {University of Waterloo Waterloo, Canada}
}

@inproceedings{gillespie_dynamical_1992,
  title        = {Dynamical Modeling Of The Grand Piano Action},
  author       = {Gillespie, Brent and Cutkosky, M},
  booktitle    = {Proceedings of the International Computer Music Conference},
  pages        = {77--77},
  year         = {1992},
  organization = {International Computer Music Accociation}
}

@inproceedings{giordano_force_2012,
  abstract  = {Force-feedback devices can provide haptic feedback duringinteraction with physical models for sound synthesis. However, low-end devices may not always provide high-fidelitydisplay of the acoustic characteristics of the model. This article describes an enhanced handle for the Phantom Omnicontaining a vibration actuator intended to display the highfrequency portion of the synthesized forces. Measurementsare provided to show that this approach achieves a morefaithful representation of the acoustic signal, overcominglimitations in the device control and dynamics.},
  address   = {Ann Arbor, Michigan},
  author    = {Marcello Giordano and Stephen Sinclair and Marcelo M. Wanderley},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi       = {10.5281/zenodo.1178265},
  issn      = {2220-4806},
  keywords  = {Haptics, force feedback, bowing, audio, interaction},
  publisher = {University of Michigan},
  title     = {Bowing A Vibration-Enhanced Force Feedback Device},
  url       = {http://www.nime.org/proceedings/2012/nime2012_37.pdf},
  year      = {2012}
}

@inproceedings{onofrei_bowing_2022,
  title     = {Bowing virtual strings with realistic haptic feedback},
  author    = {Onofrei, Marius-George and Fontana, Federico and Willemsen, Silvin and Serafin, Stefania and others},
  booktitle = {Proceedings of the 24th International Congress on Acoustics},
  volume    = {7},
  year      = {2022}
}

@book{berthoz_brain_2000,
  author    = {Berthoz, Alain},
  address   = {Cambridge, Mass. ;},
  booktitle = {The brain's sense of movement},
  isbn      = {0674801091},
  keywords  = {Motion perception (Vision) ; Orientation (Physiology) ; Proprioception ; Brain ; Neuropsychology},
  language  = {eng},
  publisher = {Harvard University Press},
  series    = {Perspectives in cognitive neuroscience},
  title     = {The Brain's Sense Of Movement },
  year      = {2000},
}

@phdthesis{dewhirst_stringed_2016,
  author = {Edward Matthew Dewhirst},
  title  = {Stringed Keyboard Instruments At Nominal Octave Pitch},
  school = {University of Edinburgh},
  year   = 2016,
}

@book{campbell_musician_1987,
  author    = {Campbell, Murray and Greated, Clive},
  address   = {Oxford},
  booktitle = {The musician's guide to acoustics},
  isbn      = {9781383008227},
  keywords  = {Music -- Acoustics and physics},
  language  = {eng},
  publisher = {Oxford University Press},
  series    = {Oxford scholarship online},
  title     = {The Musician's Guide To Acoustics },
  year      = {1987},
}

@book{koster_keyboard_1994,
  author       = {Koster, John and Kirk, John T. and Germann, Sheridan.},
  address      = {Boston},
  booktitle    = {Keyboard musical instruments in the Museum of Fine Arts, Boston},
  isbn         = {0878464018},
  keywords     = {Keyboard instruments -- Catalogs and collections -- Massachusetts -- Boston},
  language     = {eng},
  lccn         = {lc 94075626},
  organization = {Museum of Fine Arts, Boston.},
  publisher    = {Museum of Fine Arts},
  title        = {Keyboard Musical Instruments In The Museum Of Fine Arts, Boston },
  year         = {1994},
}

@inproceedings{palacio_eight_2008,
  abstract  = {After eight years of practice on the first hyper-flute prototype (a flute extended with sensors), this article presentsa retrospective of its instrumental practice and the newdevelopments planned from both technological and musical perspectives. Design, performance skills, and mappingstrategies are discussed, as well as interactive compositionand improvisation.},
  address   = {Genoa, Italy},
  author    = {Palacio-Quintin, Cl\'{e}o},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi       = {10.5281/zenodo.1179609},
  issn      = {2220-4806},
  keywords  = {composition,gestural control,hyper-flute,hyper-instruments,improvisation,interactive music,mapping,nime08,sensors},
  pages     = {293--298},
  title     = {Eight Years Of Practice On The Hyper-Flute : Technological And Musical Perspectives},
  url       = {http://www.nime.org/proceedings/2008/nime2008_293.pdf},
  year      = {2008}
}

@inproceedings{hayes_vibrotactile_2011,
  address   = {Oslo, Norway},
  author    = {Hayes, Lauren},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi       = {10.5281/zenodo.1178043},
  issn      = {2220-4806},
  keywords  = {Vibrotactile feedback, human-computer interfaces, digital composition, real-time performance, augmented instruments. },
  pages     = {72--75},
  title     = {Vibrotactile Feedback-Assisted Performance},
  url       = {http://www.nime.org/proceedings/2011/nime2011_072.pdf},
  year      = {2011}
}

@inproceedings{bokowiec_ritual_2011,
  abstract  = {V'OCT(Ritual) is a work for solo vocalist/performer and Bodycoder System, composed in residency at Dartington College of Arts (UK) Easter 2010. This paper looks at the technical and compositional methodologies used in the realization of the work, in particular, the choices made with regard to the mapping of sensor elements to various spatialization functions. Kinaesonics will be discussed in relation to the coding of real-time one-to-one mapping of sound to gesture and its expression in terms of hardware and software design. Four forms of expressivity arising out of interactive work with the Bodycoder system will be identified. How sonic (electro-acoustic), programmed, gestural (kinaesonic) and in terms of the V'Oct(Ritual) vocal expressivities are constructed as pragmatic and tangible elements within the compositional practice will be discussed and the subsequent importance of collaboration with a performer will be exposed. },
  address   = {Oslo, Norway},
  author    = {Bokowiec, Mark A.},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi       = {10.5281/zenodo.1177967},
  issn      = {2220-4806},
  keywords  = {Bodycoder, Kinaesonics, Expressivity, Gestural Control, Interactive Performance Mechanisms, Collaboration. },
  pages     = {40--43},
  title     = {V'oct (Ritual): An Interactive Vocal Work For Bodycoder System And 8~{C}Hannel Spatialization},
  url       = {http://www.nime.org/proceedings/2011/nime2011_040.pdf},
  year      = {2011}
}


@inproceedings{kirkegaard_torquetuner_2020,
  abstract     = {TorqueTuner is an embedded module that allows Digital Musical Instrument (DMI) designers to map sensors to parameters of haptic effects and dynamically modify rotary force feedback in real-time. We embedded inside TorqueTuner a collection of haptic effects (Wall, Magnet, Detents, Spring, Friction, Spin, Free) and a bi-directional interface through libmapper, a software library for making connections between data signals on a shared network. To increase affordability and portability of force-feedback implementations in DMI design, we designed our platform to be wireless, self-contained and built from commercially available components. To provide examples of modularity and portability, we integrated TorqueTuner into a standalone haptic knob and into an existing DMI, the T-Stick. We implemented 3 musical applications (Pitch wheel, Turntable and Exciter), by mapping sensors to sound synthesis in audio programming environment SuperCollider. While the original goal was to simulate the haptic feedback associated with turning a knob, we found that the platform allows for further expanding interaction possibilities in application scenarios where rotary control is familiar.},
  address      = {Birmingham, UK},
  author       = {Kirkegaard, Mathias S and Bredholt, Mathias and Frisson, Christian and Wanderley, Marcelo},
  booktitle    = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi          = {10.5281/zenodo.4813359},
  editor       = {Romain Michon and Franziska Schroeder},
  issn         = {2220-4806},
  month        = jul,
  pages        = {273--278},
  presentation = {https://youtu.be/V8WDMbuX9QA},
  publisher    = {Birmingham City University},
  title        = {Torquetuner: A Self Contained Module For Designing Rotary Haptic Force Feedback For Digital Musical Instruments},
  url          = {https://www.nime.org/proceedings/2020/nime2020_paper52.pdf},
  year         = {2020}
}

@article{berdahl_firefader_2013,
  author  = {Berdahl, Edgar and Kontogeorgakopoulos, Alexandros},
  year    = {2013},
  month   = {03},
  pages   = {23-34},
  title   = {The Firefader: Simple, Open-Source, And Reconfigurable Haptic Force Feedback For Musicians},
  volume  = {37},
  journal = {Computer Music Journal},
  doi     = {10.1162/COMJ_a_00166},
  read    ={1},
  url     = {https://direct.mit.edu/comj/article/37/1/23/94408/The-FireFader-Simple-Open-Source-and}
}

@inproceedings{ferris_musical_2002,
  abstract  = {The Cardboard Box Garden (CBG) originated from a dissatisfaction with current computer technology as it is presented to children. This paper shall briefly review the process involved in the creation of this installation, from motivation through to design and subsequent implementation and user experience with the CBG. Through the augmentation of an everyday artefact, namely the standard cardboard box, a simple yet powerful interactive environment was created that has achieved its goal of stirring childrens imagination judging from the experience of our users. },
  address   = {Dublin, Ireland},
  author    = {Ferris, Kieran and Bannon, Liam},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2002-05-26},
  doi       = {10.5281/zenodo.1176410},
  issn      = {2220-4806},
  keywords  = {Education, play, augmented reality, pervasive computing, disappearing computer, assembly, cardboard box},
  pages     = {56--58},
  title     = {The Musical Box Garden},
  url       = {http://www.nime.org/proceedings/2002/nime2002_056.pdf},
  year      = {2002}
}

@inproceedings{gunther_multi_2002,
  abstract  = {This paper presents a novel coupling of haptics technology and music, introducing the notion of tactile composition or aesthetic composition for the sense of touch. A system that facilitates the composition and perception of intricate, musically structured spatio-temporal patterns of vibration on the surface of the body is described. An initial test of the system in a performance context is discussed. The fundamental building blocks of a compositional language for touch are considered. },
  address   = {Dublin, Ireland},
  author    = {Gunther, Eric and Davenport, Glorianna and O'Modhrain, Sile},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2002-05},
  doi       = {10.5281/zenodo.1176418},
  issn      = {2220-4806},
  keywords  = {multi-modal,music,tactile composition,vibrotactile},
  pages     = {73--79},
  title     = {Cutaneous Grooves: Composing For The Sense Of Touch},
  url       = {http://www.nime.org/proceedings/2002/nime2002_073.pdf},
  year      = {2002}
}

@inproceedings{pardue_hand_2013,
  abstract  = {The Hand Controller is a new interface designed to enable a performer toachieve detailed control of audio and visual parameters through a tangibleinterface combined with motion tracking of the hands to capture large scalephysical movement. Such movement empowers an expressive dynamic for bothperformer and audience. However tracking movements in free space isnotoriously difficult for virtuosic performance. The lack of tactile feedbackleads to difficulty learning the repeated muscle movements required for precisecontrol. In comparison, the hands have shown an impressive ability to mastercomplex motor tasks through feel. The hand controller uses both modes ofinteraction. Electro-magnetic field tracking enables 6D hand motion trackingwhile two options provide tactile interaction- a set of tracks that providelinear positioning and applied finger pressure, or a set of trumpet like sliderkeys that provide continuous data describing key depth. Thumbs actuateadditional pressure sensitive buttons. The two haptic interfaces are mountedto a comfortable hand grip that allows a significant range of reach, andpressure to be applied without restricting hand movement highly desirable inexpressive motion.},
  address   = {Daejeon, Republic of Korea},
  author    = {Laurel Pardue and William Sebastian},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi       = {10.5281/zenodo.1178630},
  issn      = {2220-4806},
  keywords  = {hand, interface, free gesture, force sensing resistor, new musical instrument, tactile feedback, position tracking},
  month     = may,
  pages     = {90--93},
  publisher = {Graduate School of Culture Technology, KAIST},
  title     = {Hand-Controller For Combined Tactile Control And Motion Tracking},
  url       = {http://www.nime.org/proceedings/2013/nime2013_245.pdf},
  year      = {2013}
}

@inproceedings{spapetti_multi_2015,
  abstract  = {This paper describes the design of a hardware/software system for rendering multi-point, localized vibrotactile feedback in a multi-touch musical interface. A prototype was developed, based on the Madrona Labs Soundplane, which was chosen for it provides easy access to multi-touch data, including force, and its easily expandable layered construction. The proposed solution makes use of several piezo actuator discs, densely arranged in a honeycomb pattern on a thin PCB layer. Based on off-the-shelf components, custom amplifying and routing electronics were designed to drive each piezo element with standard audio signals. Features, as well as electronic and mechanical issues of the current prototype are discussed.},
  address   = {Baton Rouge, Louisiana, USA},
  author    = {Stefano Papetti and S\'ebastien Schiesser and Martin Fr\''ohlich},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  doi       = {10.5281/zenodo.1179152},
  editor    = {Edgar Berdahl and Jesse Allison},
  issn      = {2220-4806},
  month     = may,
  pages     = {235--240},
  publisher = {Louisiana State University},
  title     = {Multi-Point Vibrotactile Feedback For An Expressive Musical Interface},
  url       = {http://www.nime.org/proceedings/2015/nime2015_118.pdf},
  year      = {2015}
}

@article{tan_multifinger_1996,
  author  = {Tan, Hong Z. and Rabinowitz, William M.},
  title   = {A New Multifinger Tactual Display},
  journal = {The Journal of the Acoustical Society of America},
  volume  = {99},
  number  = {4\_Supplement},
  pages   = {2477-2500},
  year    = {1996},
  month   = {04},
  abstract= {A multifinger positional display, called the Tactuator, was developed to study communication through the kinesthetic and vibrotactile aspects of the tactual sensory system of the hand. The display consists of three independent single‐point actuators interfaced (individually) with the fingerpads of the thumb, the index finger, and the middle finger. Each actuator utilizes a disk‐drive head‐positioning motor augmented with angular position feedback from a precision rotary variable differential transformer (RVDT). A floating‐point DSP system provides real‐time positional control, using position and derived‐velocity feedback. Stimuli from threshold to about 50 dB SL can be delivered throughout the frequency range from near dc to above 300 Hz, thereby encompassing the perceptual range from gross motion to vibration. Actuator frequency and step responses are well modeled as a second‐order linear system. Distortion is low allowing delivery of arbitrary stimulus waveforms, e.g., 25‐mm low‐frequency motion with superimposed high‐frequency vibration. System noise and interchannel cross talk are also small. As one example of behavioral performance verification, absolute thresholds measured with the stimulator are in general agreement with reference values. Overall, the Tactuator accurately follows its drive waveforms and is well suited for a variety of multifinger tactual perceptual studies. [Work supported by NIDCD.]},
  issn    = {0001-4966},
  doi     = {10.1121/1.415560},
  url     = {https://doi.org/10.1121/1.415560},
}

@article{sherrick_scale_1985,
  author   = {Sherrick, Carl E.},
  title    = {A Scale For Rate Of Tactual Vibration},
  journal  = {The Journal of the Acoustical Society of America},
  volume   = {78},
  number   = {1},
  pages    = {78-83},
  year     = {1985},
  month    = {07},
  abstract = {Observers were asked to make estimates of the rate of mechanical vibrations presented to the finger as pulses ranging from 2 to about 300 pps. From the functions generated by this study, a set of ten values of mechanical vibration rate was selected. In a second experiment additional observers were asked to learn to identify these values of rate. Information analysis of the data showed that, when rate alone is varied, observers can identify between three and five items correctly; when rate and intensity are covaried redundantly, between five and eight items can be identified correctly. These results are viewed as supporting those from studies of the DL for rate, and as evidence for a limited but useful role of rate discrimination in tactile displays of acoustic signals.},
  issn     = {0001-4966},
  doi      = {10.1121/1.392457},
  url      = {https://doi.org/10.1121/1.392457},
  eprint   = {https://pubs.aip.org/asa/jasa/article-pdf/78/1/78/6413922/78\_1\_online.pdf},
}

@inbook{srinivasan_tactual_1996,
  author    = "Srinivasan, Mandayam A. and LaMotte, Robert H.",
  editor    = "Franz{\'e}n, O. and Johansson, R. and Terenius, L.",
  title     = "Tactual discrimination of softness: abilities and mechanisms",
  booktitle = "Somesthesis and the Neurobiology of the Somatosensory Cortex",
  year      = "1996",
  publisher = "Birkh{\"a}user Basel",
  address   = "Basel",
  pages     = "123--135",
  abstract  = "The ability of human subjects to discriminate softness was investigated. In addition, the associated mechanistic cues and the peripheral neural codes on which the discrimination may be based were investigated using monkeys. Two sets of compliant objects were constructed: (1) those with a deformable surface, composed of transparent silicone rubber of variable softness; (2) rigid plates supported by springs of variable compliance in cylindrical sleeves. To assess the relative contributions of tactile and kinesthetic information, psychophysical experiments were performed on human subjects under both active and passive touch, with or without local anesthesia that blocked the tactile information from the fingerpads. The results for objects with deformable surfaces show that whereas the subjects are quite good at discriminating subtle differences in softness under both active and passive touch without anesthesia, they are unable to discriminate even large differences under active touch with anesthesia. Therefore, we conclude that the discrimination is based entirely on tactile information. The mechanistic data for rubber specimens indicates that the basis for the perception of softness of rubber-like objects is likely to be the spatio-temporal variation of pressure on the skin (or, equivalently, the skin displacement and its derivatives). Neurophysiological data shows that the resulting responses from slowly adapting type I afferent population within the skin might encode the compliance of the objects. For compliant objects with rigid surfaces best discrimination was achieved only with active touch, due to the availability of both tactile and kinesthetic information; under passive conditions, the absence of kinesthetic information resulted in considerable deterioration of discriminability",
  isbn      = "978-3-0348-9016-8",
  doi       = "10.1007/978-3-0348-9016-8_11",
  url       = "https://doi.org/10.1007/978-3-0348-9016-8_11"
}



@incollection{culmer_haptics_2020,
  title     = {15 - Haptics In Surgical Robots},
  editor    = {Mohammad H. Abedin-Nasab},
  booktitle = {Handbook of Robotic and Image-Guided Surgery},
  publisher = {Elsevier},
  pages     = {239-263},
  year      = {2020},
  isbn      = {978-0-12-814245-5},
  doi       = {https://doi.org/10.1016/B978-0-12-814245-5.00015-3},
  url       = {https://www.sciencedirect.com/science/article/pii/B9780128142455000153},
  author    = {Peter Culmer and Ali Alazmani and Faisal Mushtaq and William Cross and David Jayne},
  keywords  = {Robotics, surgical robotics, haptics, tactile, sensors, force feedback},
  abstract  = {This chapter addresses the use of haptics in robots for soft-tissue surgery, aiming to bring a cohesive consideration of the clinical context, underlying technologies, and state-of-the-art applications in this field. The fundamentals of haptics are first introduced, using the human sensory system as an example which serves as a benchmark for technological advances. The chapter then provides a description of the clinical context, describing surgical areas and procedures of particular relevance to robotics before introducing key clinical challenges that have the potential to be addressed by the introduction of haptic technology. The basic building blocks of haptics, sensing and feedback systems are then introduced to provide an understanding of the fundamentals together with an overview of state-of-the-art in each area. From this foundation, a review of haptics applied to surgical robots is presented, highlighting key commercial systems together with research advances. The chapter concludes with a discussion of current trends in this field and considers the technological and clinical challenges which remain.}
}

@article{bongers_tactual_1998,
  title    = {Tactual Display Of Sound Properties In Electronic Musical Instruments},
  journal  = {Displays},
  volume   = {18},
  number   = {3},
  pages    = {129-133},
  year     = {1998},
  note     = {Tactile Displays},
  issn     = {0141-9382},
  doi      = {https://doi.org/10.1016/S0141-9382(98)00013-4},
  url      = {https://www.sciencedirect.com/science/article/pii/S0141938298000134},
  author   = {Bert Bongers},
  keywords = {Tactile feedback, Force feedback, Electronic musical instruments, Tangible sound},
  abstract = {In order to enhance the control of electronic sound sources (synthesisers), multiple modes of interaction can be introduced. In this paper, several technologies for tactual display of properties of the sound and new methods of control will be described. For example, input devices such as gloves, gesture trackers and other technologies adapted from virtual reality research were applied to increase the number of sound parameters that the player can control simultaneously. Some initial work has been carried out with simple actuators for tactual feedback.}
}

@inproceedings{omodhrain_performer_2000,
  title     ={The Performer-Instrument Interaction: A Sensory Motor Perspective},
  author    ={O'Modhrain, M Sile and Chafe, Chris},
  booktitle ={Proceedings of the International Computer Music Conference},
  year      ={2000}
}


@phdthesis{omodhrain_playing_2000,
    author = {Maura Sile O'Modhrain},
    title  = {Playing By Feel: Incorporating Haptic Feedback Into Computer-Based Musical Instruments},
    school = {Stanford University},
    year   = 2000,    
}

@article{kaczmarek_electrotactile_1991,
  title    = "Electrotactile and vibrotactile displays for sensory substitution
              systems",
  author   = "Kaczmarek, Kurt A. and Webster, J G and Bach-y-Rita, P and Tompkins,
              W J",
  abstract = "Sensory substitution systems provide their users with
              environmental information through a human sensory channel (eye,
              ear, or skin) different from that normally used, or with the
              information processed in some useful way. We review the methods
              used to present visual, auditory, and modified tactile
              information to the skin. First, we discuss present and potential
              future applications of sensory substitution, including tactile
              vision substitution (TVS), tactile auditory substitution, and
              remote tactile sensing or feedback (teletouch). Next, we review
              the relevant sensory physiology of the skin, including both the
              mechanisms of normal touch and the mechanisms and sensations
              associated with electrical stimulation of the skin using surface
              electrodes (electrotactile (also called electrocutaneous)
              stimulation). We briefly summarize the information-processing
              ability of the tactile sense and its relevance to sensory
              substitution. Finally, we discuss the limitations of current
              tactile display technologies and suggest areas requiring further
              research for sensory substitution systems to become more
              practical.",
  journal  = "IEEE Trans Biomed Eng",
  volume   =  38,
  number   =  1,
  pages    = "1--16",
  month    =  jan,
  year     =  1991,
  address  = "United States",
  language = "en"
}


@article{rovan_typology_2000,
  title     ={Typology Of Tactile Sounds And Their Synthesis In Gesture-Driven Computer Music Performance},
  author    ={Rovan, Joseph and Hayward, Vincent},
  journal   ={Trends in gestural control of music},
  pages     ={297--320},
  year      ={2000},
  publisher ={Editions IRCAM: Paris}
}

@phdthesis{michon_hybrid_2018,
  author = {Romain Pierre Denis Michon},
  title  = {The Hybrid Mobile Instrument: Recoupling The Haptic, The Physical, And The Virtual},
  school = {Stanford University},
  year   = 2018,
  url    = {https://ccrma.stanford.edu/~rmichon/publications/doc/phdthesis-michon.pdf},
}

@article{vaiedelich_perception_2017,
  title    = {Perception Of Old Musical Instruments},
  journal  = {Journal of Cultural Heritage},
  volume   = {27},
  pages    = {S2-S7},
  year     = {2017},
  note     = {Wooden Musical Instruments Special Issue},
  issn     = {1296-2074},
  doi      = {https://doi.org/10.1016/j.culher.2017.02.014},
  url      = {https://www.sciencedirect.com/science/article/pii/S129620741730167X},
  author   = {Stéphane Vaiedelich and Claudia Fritz},
  keywords = {Musical instrument, Old instrument, Perception, Museum},
  abstract = {Defining what is an old instruments is complex. In a general way, we can distinguish two categories of old instruments. On one hand, there are the instruments which are not or barely in use nowadays. Due to a period of abandonment, those instruments are representative of an epoch different from ours and can be relatively easily dated. On the other hand, there are the instruments which are still being played despite having been made a few centuries ago. Time and use have usually given them a patina, so they are perceived as old in terms of visual aspect, but they have usually been modified as well and so they can be perceived as contemporary in terms of sound. Do we understand an old instrument by hearing it? Do we actually even need to hear it to understand it? This article is meant to provide some thoughts on these questions, to highlight the links between sight and hearing in our perception of a musical instrument and to illustrate how documentation and scientific knowledge can influence this perception.11In this paper, perception refers not only to the processing of sensory information but also to the understanding of the instrument in societal, historical and cultural terms.}
}

@inproceedings{ducceschi_simulation_2023,
  author = {Ducceschi, Michele and Hamilton, Matthew and Russo, Riccardo},
  year   = {2023},
  month  = {09},
  pages  = {},
  title  = {Simulation Of The Snare-Membrane Collision In Modal Form Using The Scalar Auxiliary Variable (Sav) Method},
  doi    = {10.61782/fa.2023.0995},
  booktitle= {Proceedings of 10th Convention of the European Acoustics Association (Forum Acusticum 2023)}
}

@inproceedings{ducceschi_simulation_2023_activities,
  author = {Ducceschi, Michele and \textbf{Matthew Hamilton} and Russo, Riccardo},
  year   = {2023},
  month  = {09},
  pages  = {},
  title  = {Simulation Of The Snare-Membrane Collision In Modal Form Using The Scalar Auxiliary Variable (Sav) Method},
  doi    = {10.61782/fa.2023.0995},
  booktitle= {Proceedings of 10th Convention of the European Acoustics Association (Forum Acusticum 2023)}
}

@inproceedings{russo_efficient_2023,
 author  = {Russo, Riccardo and Ducceschi, Michele and Bilbao, Stefan and Matthew Hamilton},
 year    = {2023},
 month   = {06},
 pages   = {},
 title   = {Efficient Simulation Of Acoustic Physical Models With Nonlinear Dissipation},
 booktitle = {Proceedings of Sound and Music Computing Conference 2023}
}

@inproceedings{russo_efficient_2023_activities,
 author  = {Russo, Riccardo and Ducceschi, Michele and Bilbao, Stefan and \textbf{Matthew Hamilton}},
 year    = {2023},
 month   = {06},
 pages   = {},
 title   = {Efficient Simulation Of Acoustic Physical Models With Nonlinear Dissipation},
 booktitle = {Proceedings of Sound and Music Computing Conference 2023}
}

@article{ducceschi_open_2024,
  author = {Ducceschi, Michele},
  year   = {2024},
  month  = {11},
  pages  = {},
  title  = {An Open-Source Toolbox For Direct And Inverse Modelling Of Orthotropic Plates},
  doi    = {10.2139/ssrn.5045108}
}

@online{remake_erc_2025,
  author =       "European Research Council",
  year =         "2024",
  title =        "ERC Synergy Grants 2024",
  url =          "https://erc.europa.eu/sites/default/files/2024-11/erc-2024-syg-results-all-domains.pdf",  
  lastaccessed = "January 20, 2025",
}

@inproceedings{hamilton_two_2025,
  author    = {Hamilton, Matthew and Russo, Riccardo and Webb, Craig and Ducceschi, Michele},
  year      = {2025},
  month     = {06},
  pages     = {},
  title     = {A Two-Register Haptic Interface For Articulated Control Of Harpsichord Physical Models},
  booktitle = {Proceedings of Forum Acusticum 2025},
  address   = {Malaga, Spain}
}

@inproceedings{hamilton_two_2025_activities,
  author    = {\textbf{Matthew Hamilton} and Russo, Riccardo and Webb, Craig and Ducceschi, Michele},
  year      = {2025},
  month     = {06},
  pages     = {},
  title     = {A Two-Register Haptic Interface For Articulated Control Of Harpsichord Physical Models},
  booktitle = {Proceedings of Forum Acusticum 2025},
  address   = {Malaga, Spain}
}

@article{computer_products_2005,
 ISSN      = {01489267, 15315169},
 URL       = {http://www.jstor.org/stable/3681889},
 journal   = {Computer Music Journal},
 number    = {1},
 pages     = {104--113},
 publisher = {The MIT Press},
 title     = {Products Of Interest},
 urldate   = {2025-08-14},
 volume    = {29},
 year      = {2005},
 notes     = {moog pianobar}
}

@book{prasad_surface_1997,
  author    = {Ray P. Prasad},
  title     = {Surface Mount Technology: Principles And Practice},
  publisher = {Springer},
  year      = {1997},
  edition   = {2nd},
  isbn      = {978-1-4615-4084-7},
  doi       = {10.1007/978-1-4615-4084-7},
  url       = {https://link.springer.com/book/10.1007/978-1-4615-4084-7}
}


@online{zenodo_1036_2025,
  author  = {Zenodo},
  title   = {Add Meaningful Test For Linear\_Map},
  year    = {2020},
  url     = {https://github.com/zenodo/zenodo/issues/1036},
  urldate = {2025-08-13}
}

@software{hamilton_firmware_2025,
  author       = {Matthew Hamilton},
  title        = {Nemus-Project/Harpsichord-Interface-Firmware: 0.1.1},
  month        = aug,
  year         = 2025,
  publisher    = {Zenodo},
  version      = {0.1.1},
  doi          = {10.5281/zenodo.17333529},
  url          = {https://doi.org/10.5281/zenodo.17333529},
}

@software{hamilton_models_2025,
  author       = {Matthew Hamilton},
  title        = {Nemus-Project/Harpsichord-Interface-Models: 0.1.0},
  month        = aug,
  year         = 2025,
  publisher    = {Zenodo},
  version      = {0.1.0},
  doi          = {10.5281/zenodo.16848275},
  url          = {https://doi.org/10.5281/zenodo.16848275},
}

@software{hamilton_cad_2025,
  author       = {Matthew Hamilton},
  title        = {Nemus-Project/Harpsichord-Interface-Cad: 0.1.1},
  month        = aug,
  year         = 2025,
  publisher    = {Zenodo},
  version      = {0.1.1},
  doi          = {10.5281/zenodo.17333493},
  url          = {https://doi.org/10.5281/zenodo.17333493},
}

@software{hamilton_nemus_2025,
  author       = {Matthew Hamilton},
  title        = {Nemus-Project/Harpsichord-Interface: 0.1.1},
  month        = aug,
  year         = 2025,
  publisher    = {Zenodo},
  version      = {0.1.1},
  doi          = {10.5281/zenodo.17333563},
  url          = {https://doi.org/10.5281/zenodo.17333563},
}

@manual{gplv3,
  title        = {Gnu General Public License, Version 3},
  author       = {{Free Software Foundation}},
  year         = 2007,
  month        = jun,
  url          = {https://www.gnu.org/licenses/gpl-3.0.en.html},
  urldate      = {2025-08-12}
}

@inproceedings{banhalmi_fundamental_2005,
  title     = {Fundamental Frequency Estimation By Least-Squares Harmonic Model Fitting.},
  author    = {B{\'a}nhalmi, Andr{\'a}s and Kov{\'a}cs, Korn{\'e}l and Kocsor, Andr{\'a}s and T{\'o}th, L{\'a}szl{\'o}},
  booktitle = {INTERSPEECH},
  pages     = {305--308},
  year      = {2005}
}

@article{staudacher_fast_2016,
 author    = {Staudacher, Michael and Steixner, Viktor and Griessner, Andreas and Zierhofer, Clemens},
 address   = {Cham},
 copyright = {The Author(s). 2016},
 issn      = {1687-4722},
 journal   = {EURASIP journal on audio, speech, and music processing},
 keywords  = {Acoustics ; Engineering ; Research ; Technology},
 language  = {eng},
 number    = {1},
 pages     = {1-},
 publisher = {Springer International Publishing},
 title     = {Fast Fundamental Frequency Determination Via Adaptive Autocorrelation},
 volume    = {2016},
 year      = {2016},
}

@article{mead_musical_2014,
  title   = {Musical Gold},
  author  = {Mead, Rebecca},
  journal = {The New Yorker},
  volume  = {90},
  number  = {24},
  pages   = {34--41},
  year    = {2014},
  url     = {https://www.newyorker.com/magazine/2014/07/28/musical-gold}
}

@online{kicad_eagle_2024,
  title        = {Kicad 9.0 Reference Manual},  
  organization = {KiCad},
  author       = {Jean-Pierre Charras and Fabrizio Tappero and Jon Evans and Graham Keeth.},
  url          = {https://docs.kicad.org/9.0/en/kicad/kicad.html#importing_a_project_from_another_eda_tool},
  year         = {2024},
  urldate      = {2025-08-12}
}

@article{rougier_loupe_2020,
  author       = {Nicolas P. Rougier},
  title        = {[Rp] Loupe},
  journal      = {ReScience C},
  year         = 2020,
  volume       = 6,
  number       = 1,
  month        = jun,
  doi          = {10.5281/zenodo.3886628},
  url          = {https://doi.org/10.5281/zenodo.3886628},
}

@online{autodesk_eagle_2024,
  title        = {Autodesk Eagle Announcement - Next Steps And Faq},  
  organization = {Autodesk},
  author       = {Autodesk},
  url          = {https://www.autodesk.com/support/technical/article/caas/sfdcarticles/sfdcarticles/Autodesk-EAGLE-Announcement-Next-steps-and-FAQ.html},
  year         = {2024},
  urldate      = {2025-08-12}
}



@online{tasten_project_2018,
  title        = {Tasten-Projekt},
  date         = {2018-02-01},
  organization = {University of Leipzig},
  author       = {Prof. Dr. Josef Focht and Prof. Dr. Gerik Scheuermann and Dr. Stefan Jänicke},
  url          = {https://mfm.uni-leipzig.de/en/Forschung/Tastenprojekt.php},
  year         = {2018},
}

@incollection{lamb_play_2007,
  author    = {Lamb, Andrew and Pye, Elizabeth},
  booktitle = {The Power of Touch},
  copyright = {Copyright © 2007 Taylor & Francis},
  edition   = {1},
  isbn      = {9781598743043},
  language  = {eng},
  pages     = {201-214},
  publisher = {Routledge},
  title     = {To Play Or Not To Play: Making A Collection Of Musical Instruments Accessible},
  year      = {2007},
}


@proceedings{woodmusick_effects_2015,
  year         = 2015,
  month        = sep,
  title    = {Effects Of Playing On Early And Modern Musical Instruments Cost Fp1302 Woodmusick 2nd Annual Conference},
  publisher    = {Royal College of Music},
  address      = {London},
  series       = {COST FP1302 WoodMusICK},
  volume       = 1,
  number       = 1,
  pages        = {},
  editor       = {Rossi Rognoni, Gabriele and Anna Maria Barry},
  organization = {International Committee for Museums and Collections of Musical Instruments}
}

@article{waitzman_music_1988,
 journal = {Music and Musicians},
 author  = {Mimi Waitzman},
 number  = {3},
 title   = {From ``Ancient Musicland'' To ``Authenticity''},
 volume  = {37},
 year    = {1988},
}

@article{koster_exact_1994,
  title        = {The `Exact Copy' As A Legitimate Goal},
  author       = {John Koster},
  year         = 1994,
  journal      = {CIMCIM Publications},
  number       = 3,
  pages        = {7--12},
  url          = {https://cimcim.mini.icom.museum/wp-content/uploads/sites/7/2019/01/Publication_No._1__1993__Recommendations_for_the_conservation_of_musical_instruments_in_collections.pdf}
}

@inbook{allen_fatto_2012,
  author    = {Aaron S. Allen},
  address   = {Oxford},
  booktitle = {Invaluable trees : cultures of nature, 1660-1830},
  isbn      = {9780729410489},
  keywords  = {Forests and forestry -- Social aspects -- History -- 17th century ; Forests and forestry -- Social aspects -- History -- 18th century ; Forests and forestry -- Social aspects -- History -- 19th century ; Human ecology -- History -- 17th century ; Human ecology -- History -- 18th century ; Human ecology -- History -- 19th century},
  language  = {eng},
  publisher = {Voltaire Foundation},
  series    = {SVEC, 2012:08},
  title     = {`Fatto Di Fiemme': Stradivari's Violins And The Musical Trees Of The Paneveggio},
  chapter   = 19,
  year      = {2012},
}

@online{fritz_musica_2017,
  title        = {Musica Seminar: Claudia Fritz – Stradivarius: Myth Or Reality?},
  date         = {2017-02-22},
  organization = {University of Edinburgh Acoustics and Audio Group},
  author       = {Claudia Fritz},
  url          = {http://www.musica.ed.ac.uk/archive/2017/claudia-fritz/},
  year         = {2017},
}

@article{viala_simultaneous_2020,
  title    = {Simultaneous Non-Destructive Identification Of Multiple Elastic And Damping Properties Of Spruce Tonewood To Improve Grading},
  journal  = {Journal of Cultural Heritage},
  volume   = {42},
  pages    = {108-116},
  year     = {2020},
  issn     = {1296-2074},
  doi      = {https://doi.org/10.1016/j.culher.2019.09.004},
  url      = {https://www.sciencedirect.com/science/article/pii/S1296207419303632},
  author   = {Romain Viala and Vincent Placet and Scott Cogan},
  keywords = {Tonewood grading, Non-destructive testing, Identification, Wood variability, Finite element model updating, Modal analysis, Violin and guitar making},
}

@article{viala_model_2021,
  author  = {Viala, Romain and Placet, Vincent and Cogan, Scott},
  year    = {2021},
  month   = {07},
  pages   = {},
  title   = {Model-Based Evidence Of The Dominance Of The Guitar Brace Design Over Material And Climatic Variability For Dynamic Behaviors},
  volume  = {182},
  journal = {Applied Acoustics},
  doi     = {10.1016/j.apacoust.2021.108275}
}

@inbook{viala_exploring_2024,
  author = {Cabaret, Jérémy and Viala, Romain},
  year   = {2024},
  month  = {08},
  pages  = {67-70},
  title  = {Exploring Modal Analysis For Characterizing Impact Of Making Process On The Properties Of Woods Used In Musical Instruments},
publisher = {Springer},
  book   = {Topics in Modal Analysis & Parameter Identification},
  volume = {9},
  isbn   = {978-3-031-68179-0},
  doi    = {10.1007/978-3-031-68180-6_8}
}

@article{koster_restoration_1996,
  author    = {Koster, John},
  address   = {Oxford, UK},
  copyright = {1996 UNESCO},
  issn      = {1350-0775},
  journal   = {Museum},
  language  = {eng},
  number    = {1},
  pages     = {36-40},
  publisher = {Blackwell Publishing Ltd},
  title     = {Restoration, Reconstruction And Copying In Musical-Instrument Collections},
  volume    = {48},
  year      = {1996},
}

@techreport{adlam_proposal_1972,
  author      = {Derek Adlam and Richard Burnett},
  title       = {Proposal For Restoration},
  institution = {Adlam Burnett, Fenton House records, The National Trust},
  year        = {1972}
}

@phdthesis{barclay_critical_1999,
  title   = {A Critical Analysis Of Actions Taken Upon Historic Musical Instruments Through The Period Of The Early Music Revival From The Beginning Of The 20th Century To The 1990s},
  author  = {Barclay, Robert Leslie},
  year    = {1999},
  school  = {Open University (United Kingdom)},
  url     = {https://oro.open.ac.uk/18804/1/pdf03.pdf}
}

@online{farina_registration_2007,
  author   = {Angelo Farina},
  title    = {Registration Policy},
  url      = {https://www.aurora-plugins.com/Registration.htm},
  urldate  = {2025-08-10},
}

@report{cites_cop17_2017,
  title        = {Seventeenth Meeting Of The Conference Of The Parties},
  publisher    = {CITES},  
  year         = {2016},
  address      = {Johannesburg (South Africa)},
  url          = {https://cites.org/sites/default/files/E-CoP17-62-R1.pdf},
  urldate      = {2025-08-10},
}

@report{cites_cop19_2019,
  title        = {Nineteenth Meeting Of The Conference Of The Parties},
  publisher    = {CITES},
  year         = {2022},
  address      = {Johannesburg (South Africa)},
  url          = {https://cites.org/sites/default/files/documents/E-CoP19-Inf-53_0.pdf},
  urldate      = {2025-08-10},
}

@report{cites_timber_2023,
  author       = {Madeleine Groves and Catherine Rutherford},
  publisher    = {CITES},
  year         = {2015},
  title        = {A Guide To Cites‑-Listed Tree Species 2023},
  url          = {https://cites.org/sites/default/files/timber_id_materials/files/CITES%20%20Timber%20-%20A%20guide%20to%20CITES-listed%20tree%20species%202023.pdf},
  urldate      = {2025-08-10},
}

@report{usda_species_2025,
  title        = {{Cites I—II—III Timber Species Manual}},
  year         = {2025},
  author       = {John Arcery and Deborah Briggs},
  publisher    = {U.S. Department of Agriculture},
  url          = {https://www.aphis.usda.gov/sites/default/files/cites.pdf},
  urldate      = {2025-08-10},
}

@article{fresa_digital_2014,
  author  = {Fresa, Antonella},
  year    = {2014},
  month   = {03},
  pages   = {107-123},
  title   = {Digital Cultural Heritage Roadmap For Preservation},
  volume  = {8},
  journal = {International Journal of Humanities and Arts Computing},
  doi     = {10.3366/ijhac.2014.0102}
}

@inbook{calegario_designing_2019,
 author    = {Calegario, Filipe},
 title     = {Challenges In Designing Dmis},
 booktitle = {Designing Digital Musical Instruments Using Probatio: A Physical Prototyping Toolkit },
 year      = {2019},
 publisher = {Springer International Publishing},
 address   = {Cham},
 pages     = {5--17},
 abstract  = {This chapter examines the concept of DMI and discusses a list of illustrative challenges one might face when conceiving and building these artifacts. The list is not comprehensive, but it attests the complexity of the area. Finally, we discuss why it is important to have various cycles of experimentation and implementation during the development of a new DMI.},
 isbn      = {978-3-030-02892-3},
 doi       = {10.1007/978-3-030-02892-3_2},
 url       = {https://doi.org/10.1007/978-3-030-02892-3_2}
}

@article{cook_remutualizing_2004,
  author   = {Perry R. Cook},
  title    = {Remutualizing The Musical Instrument: Co-Design Of Synthesis Algorithms And Controllers},
  journal  = {Journal of New Music Research},
  volume   = {33},
  number   = {3},
  pages    = {315--320},
  year     = {2004},
  publisher= {Routledge},
  doi      = {10.1080/0929821042000317877},
  url      = {https://doi.org/10.1080/0929821042000317877},
}

@inproceedings{magnusson_survey_2007,
 address   = {New York City, NY, United States},
 author    = {Magnusson, Thor and Mendieta, Enrike H.},
 booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
 doi       = {10.5281/zenodo.1177171},
 issn      = {2220-4806},
 keywords  = {Survey, musical instruments, usability, ergonomics, embodiment, mapping, affordances, constraints, instrumental entropy, audio programming. },
 pages     = {94--99},
 title     = {The Acoustic, The Digital And The Body : A Survey On Musical Instruments},
 url       = {http://www.nime.org/proceedings/2007/nime2007_094.pdf},
 year      = {2007}
}

@article{almagropastor_assessing_2021,
  title    = {Assessing Environmental Noise Impact Of Pa Systems With The Swept-Sine Method. A Case Study In The Heritage Site Of The Alhambra},
  journal  = {Applied Acoustics},
  volume   = {176},
  pages    = {107897},
  year     = {2021},
  issn     = {0003-682X},
  doi      = {https://doi.org/10.1016/j.apacoust.2020.107897},
  url      = {https://www.sciencedirect.com/science/article/pii/S0003682X20310008},
  author   = {Jose A. Almagro-Pastor and Rafael García-Quesada and Suso Ramallo and Fco. Javier Martínez-Irureta and Ángel F. Ramos-Ridao},
  keywords = {Noise impact, Swept-sine method, Noise annoyance, Public address, Urban noise, Concert noise},
}

@book{frey_acoustical_2013,
   title     = {Acoustical Impulse Response Functions Of Music Performance Halls},
   author    = {Frey, Douglas and Coelho, Victor and Rangayyan, Rangaraj M},
   year      = {2013},
   publisher = {Morgan \& Claypool Publishers}
}

@article{fausti_acoustic_2000,
 title    = {Acoustic Measurements In Opera Houses: Comparison Between Different Techniques And Equipment},
 journal  = {Journal of Sound and Vibration},
 volume   = {232},
 number   = {1},
 pages    = {213-229},
 year     = {2000},
 issn     = {0022-460X},
 doi      = {https://doi.org/10.1006/jsvi.1999.2694},
 url      = {https://www.sciencedirect.com/science/article/pii/S0022460X99926949},
 author   = {Fausti, Patrizio and Farina, Angelo},
}

@book{unesco_heritage_2003,
  title        = {Guidelines For The Preservation Of Digital Heritage},
  author       = {{National Library of Australia and UNESCO Information Society Division}},
  year         = {2003},
  publisher    = {National Library of Australia; UNESCO Information Society Division},
  address      = {Canberra \& Paris},
  pages        = {181},
  note         = {Includes index. Available online via UNESCO (ark:/48223/pf0000130071)},
  url          = {https://unesdoc.unesco.org/ark:/48223/pf0000130071}
}

@techreport{garrett_preserving_1996,
  title   = {Preserving Digital Information: Final Report And Recommendations},
  author  = {Garrett, John and Waters, Donald},  
  institution = {{The Commission on Preservation and Access} and {The Research Libraries Group}},
  volume  = {27},
  pages   = {2006},
  year    = {1996},
  url     = {https://www.clir.org/wp-content/uploads/sites/6/pub63watersgarrett.pdf} 
}

@article{vanderwal_digital_2015,
  author   = {van der Wal, Ren{\'e} and Arts, Koen},
  title    = {Digital Conservation: An Introduction},
  journal  = {Ambio},
  year     = {2015},
  month    = nov,
  day      = {01},
  volume   = {44},
  number   = {4},
  pages    = {517-521},
  issn     = {1654-7209},
  doi      = {10.1007/s13280-015-0701-5},
  url      = {https://doi.org/10.1007/s13280-015-0701-5}
}

@article{smith_software_2016,
 title    = {Software Citation Principles},
 author   = {Smith, Arfon M. and Katz, Daniel S. and Niemeyer, Kyle E. and FORCE11 Software Citation Working Group},
 year     = 2016,
 month    = sep,
 keywords = {Software citation, Software credit, Attribution},
 volume   = 2,
 pages    = {e86},
 journal  = {PeerJ Computer Science},
 issn     = {2376-5992},
 url      = {https://doi.org/10.7717/peerj-cs.86},
 doi      = {10.7717/peerj-cs.86}
}

@article{katz_recognizing_2021,
  author  = {Daniel S. Katz and Neil P. Chue Hong and Tim Clark and August Muench and Shelley Stall and Daina Bouquin and Matthew Cannon and Scott Edmunds and Telli Faez and Patricia Feeney and Martin Fenner and Michael Friedman and Gerry Grenier and Melissa Harrison and Joerg Heber and Adam Leary and Catriona MacCallum and Hollydawn Murray and Erika Pastrana and Katherine Perry and Douglas Schuster and Martina Stockhause and Jake Yeston},
  title   = {Recognizing The Value Of Software: A Software Citation Guide [Version 2; Peer Review: 2 Approved]},
  journal = {F1000Research},
  volume  = {9},
  year    = {2021},
  number  = {1257},
  doi     = {10.12688/f1000research.26932.2}
}

@article{soito_citations_2016,
  author       = {Soito, Laura and Hwang, Lorraine},
  year         = {2016},
  month        = {12},
  pages        = {},
  title        = {Citations For Software: Providing Identification, Access And Recognition For Research Software},
  volume       = {11},
  journal      = {International Journal of Digital Curation},
  doi          = {10.2218/ijdc.v11i2.390}
}

@article{stall_journal_2023,
  abstract     = {Software and data citation are emerging best practices in scholarly communication. This article provides structured guidance to the academic publishing community on how to implement software and data citation in publishing workflows. These best practices support the verifiability and reproducibility of academic and scientific results, sharing and reuse of valuable data and software tools, and attribution to the creators of the software and data. While data citation is increasingly well-established, software citation is rapidly maturing. Software is now recognized as a key research result and resource, requiring the same level of transparency, accessibility, and disclosure as data. Software and data that support academic or scientific results should be preserved and shared in scientific repositories that support these digital object types for discovery, transparency, and use by other researchers. These goals can be supported by citing these products in the Reference Section of articles and effectively associating them to the software and data preserved in scientific repositories. Publishers need to markup these references in a specific way to enable downstream processes.},
  author       = {Stall, Shelley and Bilder, Geoffrey and Cannon, Matthew and Chue Hong, Neil and Edmunds, Scott and Erdmann, Christopher C and Evans, Michael and Farmer, Rosemary and Feeney, Patricia and Friedman, Michael and Giampoala, Matthew and Hanson, R Brooks and Harrison, Melissa and Karaiskos, Dimitris and Katz, Daniel S and Letizia, Viviana and Lizzi, Vincent and MacCallum, Catriona and Muench, August and Perry, Kate and Ratner, Howard and Schindler, Uwe and Sedora, Brian and Stockhause, Martina and Townsend, Randy and Yeston, Jake and Clark, Timothy},
  language     = {en},
  location     = {England},
  date         = {2023-09},
  journaltitle = {Sci Data},
  number       = {1},
  pages        = {656},
  title        = {Journal Production Guidance For Software And Data Citations},
  volume       = {10},
}

@article{dolan_mimo_2017,
  author       = {Dolan, Emily I.},
  language     = {eng},
  location     = {Oakland},
  publisher    = {University of California Press},
  date         = {2017},
  issn         = {0003-0139},
  journaltitle = {Journal of the American Musicological Society},
  keywords     = {Evaluation ; Music ; Online information services},
  number       = {2},
  pages        = {555--565},
  title        = {Mimo: Musical Instrument Museums Online},
  volume       = {70},
}

@article{chen_open_2019,
  abstract     = {The solutions adopted by the high-energy physics community to foster reproducible research are examples of best practices that could be embraced more widely. This first experience suggests that reproducibility requires going beyond openness. The solutions adopted by the high-energy physics community to foster reproducible research are examples of best practices that could be embraced more widely. This first experience suggests that reproducibility requires going beyond openness.},
  author       = {Chen, Xiaoli and Dallmeier-Tiessen, Sünje and Dasler, Robin and Feger, Sebastian and Fokianos, Pamfilos and Gonzalez, Jose Benito and Hirvonsalo, Harri and Kousidis, Dinos and Lavasa, Artemis and Mele, Salvatore and Rodriguez, Diego Rodriguez and Šimko, Tibor and Smith, Tim and Trisovic, Ana and Trzcinska, Anna and Tsanaktsidis, Ioannis and Zimmermann, Markus and Cranmer, Kyle and Heinrich, Lukas and Watts, Gordon and Hildreth, Michael and Lloret Iglesias, Lara and Lassila-Perini, Kati and Neubert, Sebastian},
  language     = {eng},
  location     = {London},
  publisher    = {Nature Publishing Group UK},
  date         = {2019},
  issn         = {1745-2473},
  journaltitle = {Nature physics},
  keywords     = {Perspective ; Physics},
  number       = {2},
  pages        = {113--119},
  title        = {Open Is Not Enough},
  volume       = {15},
}

@article{magnani_small_2023,
  abstract     = {Of the 158 million things housed by the Smithsonian Institution, about 56 objects originate from Sami communities. By all accounts a small group of objects-even by the standards of the Arctic collections at the Institution-it may be easily overlooked or dismissed as insignificant, based on entrenched ideologies about idealized collections. Presenting a community-based methodology for the engagement of distant museum collections using three-dimensional technologies, this article establishes the latent potential of small collections for Indigenous communities. We demonstrate how a group of 56 objects not only chronicles complex histories of exchange and colonialism, but also provides a manageable conduit for learning and exchange to facilitate the continued restructuring of relationships between museums and descendent stakeholders, from the individual to community level. Small collections, far from incomplete, may not only contain materials significant to descendent groups on their own terms, but provide the grounds to generate new forms of Indigenous initiated, balanced reciprocity. Smithsonian institusuvdna aimmahussa 158 miljon davvira, main 56 davvira gullet Sapmai. Dat sami davvircoakkaldat lea oalle unni go dan veardida juoba Smithsonian institusuvnna eara arktalas coakkaldagaid viiddodahkii. Unnit coakkaldagat sahttet museain adnojuvvot eahpedievaslazzan ja unnit berostahttin dutkamiidda. Jurddaseapmi ollislas ja dievaslas vuorkkaid birra lea guhkka leamasan cieggan museasuorggai mailmmeviidosaccat. Dat calus bukta ovdan, mo servosvudot metodologiija bokte sahtta catnat oktii servosa, masa davvirat algoaggus gullet, ja gaiddus museacoakkaldagaid golbmadimensunala (3D) tegnologiijaid vehkiin. Mii calmmustahttit unna davvirvuorkkaid mearkkasumi eamialbmotjoavkkuide. Dan callosis deattuhuvvo sameservosa sajadat sihke dutkamis fagasuorggi dasis ja riikkaidgaskasas ovttasbarggus museasuorggis. Dat dutkamus guorahalla dan, mo 3D-teknologiija sahtta atnit gulahallan-ja dutkanreaidun eamialbmogiide gulli coakkaldagaid dutkamis-erenomazit jus daid vurkkodit guhkkin eret servosiin. Dutkangavdnosiid vuodul mii bastit dutkat daid coakkaldagaid mearkkasumi sameservosii. Mii cajehit mo 56 davvira calmmustahttet lotnolasgavppi historjja ja ja kolonialismma, muhto maiddai mielddisbuktet vejolasvuoda lahcit oahppan-ja ovttasbargo-oktavuodaid museaiguin. Danu mii hastalit sajaiduvvan museadoamma vugiid, bidjat guovddazii servosiid, sihke ovttaskas olbmuid ja servosa oktasas dasis. Unna coakkaldagat, lihkka mavssolaccat, sisttisdollet davviriid ja avdnasiid maid servosat atnet alla arvvus. Dat unna davvirvuorkkat sahttet bohciidahttit odda doaimmaid, maid eamialbmogat ieza alggahit olahan dihtii eambbo dassearvvosas gaskavuodaid museaiguin.},
  author       = {Magnani, Matthew and Porsanger, Jelena and Laiti, Sami and Magnani, Natalia and Olli, Anne May and Rauhala, Paula and Valkeapää, Samuel and Hollinger, Eric},
  language     = {eng},
  location     = {HOBOKEN},
  publisher    = {Wiley},
  date         = {2023},
  issn         = {0892-8339},
  journaltitle = {Museum anthropology},
  keywords     = {Anthropology ; Colonies ; Cultural property ; Digitization ; Indigenous peoples ; Material culture ; Museum objects ; Museum studies ; Museums},
  number       = {2},
  pages        = {92--105},
  title        = {Small Collections Remembered: Sámi Material Culture And Community-Based Digitization At The Smithsonian Institution},
  volume       = {46},
}

@inbook{basu_reanimating_2013,
  abstract  = {The institution of the museum and its associated practices undergo constant transformation in response to broader societal and technical developments. This is especially true of museums holding ethnographic, world culture, or world art collections. One of the most significant developments in such museums in recent years has been the changing understanding of the relationships between ethnographic collections and the so-called source or originating communities from whom they were obtained. Another key development has been the exploitation of digital technologies by museums, which has significantly widened access to these collections and facilitated more reciprocal forms of knowledge exchange around them. This chapter discusses a recent project that has sought to bring these two transformative spheres of museum practice together in order to explore the possibility of the museum's own transformative capacity as an agent of positive social change. The Reanimating Cultural Heritage project, which led to the creation of the digital heritage resource sierraleoneheritage.org, entailed a reconsideration of the value of dispersed and digitally remediated collections, and raised key questions concerning the adequacy of museological concepts such as the source community to fully enounce the relationships between differently situated stakeholders and these collections.},
  author    = {Basu, Paul},
  publisher = {John Wiley and Sons, Ltd},
  url       = {https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118829059.wbihms994},
  booktitle = {The International Handbooks of Museum Studies},
  chapter   = {15},
  date      = {2013},
  doi       = {https://doi.org/10.1002/9781118829059.wbihms994},
  eprint    = {https://onlinelibrary.wiley.com/doi/pdf/10.1002/9781118829059.wbihms994},
  isbn      = {9781118829059},
  keywords  = {capacity building,civil society,digital divide,digital repatriation,international development,knowledge network,object diaspora,postconflict,remittance,Sierra Leone,situated knowledge,source community},
  pages     = {337--364},
  title     = {Reanimating Cultural Heritage: Digital Curatorship, Knowledge Networks, And Social Transformation In Sierra Leone},
}

@article{foster_defining_1998,
  author       = {Foster, Richard and Savill, Rosalind and Jolly, Michael},
  language     = {eng},
  publisher    = {Royal Society of Arts},
  date         = {1998},
  issn         = {0958-0433},
  journaltitle = {RSA journal},
  keywords     = {Art museums ; Art objects ; Information technology ; Lecture ; Museum exhibits ; Museums ; National museums ; School museums ; Science museums},
  number       = {5487},
  pages        = {68--77},
  title        = {Defining Museums For The 21st Century},
  volume       = {146},
}

@incollection{boast_virtual_2013,
  abstract  = {Virtual Repatriation has caught the attention of the anthropological, archaeological, museological, and indigenous communities in recent years. The conjoined terms have been applied to everything from an alternative for material repatriation, to Reciprocal Research Networks, to almost any form of digital data sharing with source communities. There is no doubt that there is, and has been, a great number of good works that designate themselves as Virtual Repatriation. However, the problem, as we see it, is not the works themselves, in most instances, but the conjunction of the ``virtual'' with ``repatriation.'' In this chapter, the authors will challenge the use of the terms ``virtual,'' but mostly the term ``repatriation'' in conjunction with anything but patrimony. The challenge is not merely pedantic, but points to the larger social and political implications, and communal and historic consequences, of collapsing patrimony with their representations.},
  author    = {Boast, Robin and Enote, Jim},
  language  = {eng},
  location  = {New York, NY},
  publisher = {Springer New York},
  booktitle = {Heritage in the Context of Globalization},
  date      = {2013},
  isbn      = {9781461460763},
  issn      = {1861-6623},
  keywords  = {Information Dissemination},
  pages     = {103--113},
  series    = {SpringerBriefs in Archaeology},
  title     = {Virtual Repatriation: It Is Neither Virtual Nor Repatriation},
}

@online{mcmanamon_digital_2010,
  author       = {Mcmanamon, Francis P. and Kintigh, Keith W. and Brin, Adam},
  url          = {http://csanet.org/newsletter/fall10/nlf1002.html},
  date         = {2010},
  journaltitle = {The Center for the Study of Architecture Newsletter},
  title        = {Digital Antiquity And The Digital Archaeological Record (Tdar): Broadening Access And Ensuring Long-Term Preservation For Digital Archaeological Data},
  volume       = {XXIII, No,2},
}

@online{buskirk_bit-rot_2014,
  author = {Buskirk, Martha},
  url    = {https://hyperallergic.com/131304/bit-rot-the-limits-of-conservation/},
  date   = {2014},
  title  = {Bit Rot: The Limits Of Conservation},
}

@article{cieply_afterlife_2007,
  author       = {Cieply, Michael},
  url          = {https://www.nytimes.com/2007/12/23/business/media/23steal.html},
  date         = {2007},
  journaltitle = {The New York Times},
  title        = {The Afterlife Is Expensive For Digital Movies},
}

@article{rubio_work_2020,
  abstract     = {Impermanence and fragility have become the defining conditions of the digital age. Technologies that were ubiquitous barely a decade ago, like floppy disks, now look like archaeological relics. It takes only a few years, if not months, before software environments are replaced by newer versions, often with limited backward compatibility. At the same time, digital technologies rely on hardware that has short life expectancy. The radical obsolescence of this new digital register raises a number of important questions. How are we going to prevent the fragile memories of contemporary digital cultures from receding into oblivion? This essay answers this question by looking at one of the institutions in which the problems associated with digital fragility are most especially felt, the Museum of Modern Art (MoMA), and by exploring the ontological displacements that digital objects are operating at the heart of the museum.},
  author       = {Rubio, Fernando Domínguez and Wharton, Glenn},
  language     = {eng},
  location     = {Durham},
  publisher    = {Duke University Press},
  date         = {2020},
  issn         = {0899-2363},
  journaltitle = {Public culture},
  keywords     = {Anthropology ; Computer art ; Digital humanities ; Ethnology ; Humanities ; Life expectancy ; Museums ; Sociology ; Software},
  number       = {1},
  pages        = {215--245},
  title        = {The Work Of Art In The Age Of Digital Fragility},
  volume       = {32},
}

@article{morgan_de-growing_2020,
  abstract     = {This article focuses on curators' frustrations with (what we call) 'the profusion struggle'. Curators express the difficulty of collecting the material culture of everyday life when faced with vast existing collections. They explain that these were assembled, partly, from anxiety to gather up what was anticipated at risk of being lost. Unlimited accumulation, and keeping everything forever, are being called into question, especially through the disposal debate which has gained in intensity over the past three decades. While often with some reluctance, setting limits by slowing collecting or even reducing collections through targeted letting go, or what is variously called 'deaccessioning', 'disposing', and 'refining' collections, are undertaken to facilitate ongoing collecting, amongst other goals. To respond to curatorial interest in strategies for addressing profusion, we draw on ethnographic fieldwork looking predominantly at social history museums in the United Kingdom, to consider whether ideas borrowed from beyond museums might be of use. We explore the possible implications of economic concepts of 'de-growth' - partly by seeing the ways that these ideas are already practiced, but also by examining curators' own enthusiasms and reservations. To develop more sustainable collecting practices, we argue that ideas of collections 'growth' might be usefully reframed.},
  author       = {Morgan, Jennie and Macdonald, Sharon},
  language     = {eng},
  location     = {Abingdon},
  publisher    = {Routledge},
  date         = {2020},
  issn         = {1352-7258},
  journaltitle = {International journal of heritage studies : IJHS},
  keywords     = {Museums},
  number       = {1},
  pages        = {56--70},
  title        = {De-Growing Museum Collections For New Heritage Futures},
  volume       = {26},
}

@article{rivero-moreno_museums_2019,
  abstract     = {Purpose>Digital language has meant a revolution in the methods of production, distribution and conservation of contemporary art. The purpose of this paper is to reflect on the new status of museums within the digital age. Works using new media must be understood as spaces of non-hierarchical communication where an artist's role is diluted and the public becomes a user that completes an open process. Therefore, the function of the museum is challenged, being no longer a moral authority or a place of storing physical works. Because of its instability and obsolescence, the only valid method for the conservation of digital art is permanence through change.Design/methodology/approach>This research contrasts the theoretical material emerged in the past years related to the characteristic of new media to the practical work of conservation of digital pieces made by the new generation of museums and cultural centres. In addition, the fresh material offered by the Web itself allows analyzing the virtual activity of the museums themselves and the new platforms (online labs, databases, websites and blogs) arisen in the past decades. The latter are perfect examples of the new paths opened by the digital contemporary technology offering collective sites of communication in real time.Findings>The preservation of digital and intangible heritage is understood as a form of development of a collective memory that can help in the understanding of our age in the future. In this way, the goals and the responsibilities are common; citizens are required to keep an active culture that is no more a culture of the accumulation and concentration by a minority. In present context, there is a new possibility, maybe for the first time in history, of achieving a new narrative really democratized and decentralized through the new ways of interacting and sharing information offers by digital media.Social implications>The urgency of getting an open and free access to information and technology is part of the idiosyncratic of digital art. There is a real aim of generating alternative spaces of knowledge serving public interest, being apart from the economic and political interests of large corporations. In this respect, the role of the museum will be controversial. First of all, as an institution originally created to impose power and moral authority by the governments.Originality/value>Museums remains as the main artistic institution nowadays. However, they are in a difficult position as a traditional space for preserving and exhibiting art. That is why, they are adapting themselves to the new digital context helped by offering practical databases and updated information on their collections via websites and social networks.},
  author       = {Rivero Moreno, Luis D},
  language     = {eng},
  location     = {Bingley},
  publisher    = {Emerald Group Publishing Limited},
  date         = {2019},
  issn         = {2514-9326},
  journaltitle = {Collection building},
  keywords     = {Artists ; Digital preservation ; Museums},
  number       = {4},
  pages        = {89--93},
  title        = {Museums And Digital Era: Preserving Art Through Databases},
  volume       = {38},
}

@book{kelley_digital_2018,
  abstract  = {Proceedings from a workshop held at Wolfson College, Oxford in 2017. In light of rapid technological developments in digital imaging, this volume aims to inform specialist and general readers about some of the ways in which imaging technologies are transforming the study and presentation of archaeological and cultural artefacts.},
  author    = {Kelley, Kate and Wood, Rachel},
  language  = {eng},
  location  = {Oxford, England},
  publisher = {Archaeopress Publishing Limited},
  url       = {https://www.archaeopress.com/Archaeopress/DMS/AB71A2C4AB0849399B4F5F14E6133EA7/9781789690255-sample.pdf},
  booktitle = {Digital imaging of artefacts : developments in methods and aims},
  date      = {2018},
  isbn      = {1-78969-026-9},
  keywords  = {Imaging systems in archaeology},
  title     = {Digital Imaging Of Artefacts : Developments In Methods And Aims},
}

@inproceedings{schwarz_disk_2006,
  author    = {Schwarz, Thomas and Baker, Mary and Bassi, Steven and Baumgart, Bruce and Flagg, Wayne and Van Ingen, Catherine and Joste, Kobus and Manasse, Mark and Shah, Mehul},
  language  = {eng},
  booktitle = {IEEE Symposium on Mass Storage Systems and Technologies},
  date      = {2006},
  issn      = {2160-1968},
  title     = {Disk Failure Investigations At The Internet Archive},
}

@article{pink_broken_2018,
  abstract     = {In this article, we introduce and demonstrate the concept-metaphor of broken data. In doing so, we advance critical discussions of digital data by accounting for how data might be in processes of decay, making, repair, re-making and growth, which are inextricable from the ongoing forms of creativity that stem from everyday contingencies and improvisatory human activity. We build and demonstrate our argument through three examples drawn from mundane everyday activity: the incompleteness, inaccuracy and dispersed nature of personal self-tracking data; the data cleaning and repair processes of Big Data analysis and how data can turn into noise and vice versa when they are transduced into sound within practices of music production and sound art. This, we argue is a necessary step for considering the meaning and implications of data as it is increasingly mobilised in ways that impact society and our everyday worlds.},
  author       = {Pink, Sarah and Ruckenstein, Minna and Willim, Robert and Duque, Melisa},
  language     = {eng},
  location     = {London, England},
  publisher    = {SAGE Publications},
  date         = {2018},
  issn         = {2053-9517},
  journaltitle = {Big data and society},
  keywords     = {Big data ; Data Analysis ; Glitch art ; Humanities ; Music ; Noise ; Sound ; Sound art},
  number       = {1},
  pages        = {1--},
  title        = {Broken Data: Conceptualising Data In An Emerging World},
  volume       = {5},
}

@techreport{taylor_shaping_2022,
  author       = {Taylor, Rebecca and Walker, Johanna and Hettrick, Simon and Broadbent, Philippa and De Roure, David},
  publisher    = {Zenodo},
  url          = {https://doi.org/10.5281/zenodo.10518740},
  date         = {2022},
  doi          = {10.5281/zenodo.10518740},
  title        = {Shaping Data And Software Policy In The Arts And Humanities Research Community: A Study For The Ahrc},
  institution  = {Software Sustainability Institute},
}

@article{li_systematic_2024,
  abstract     = {Museum exhibitions, both temporary and permanent, form an essential link between a society and its cultural, historical, and artistic heritage sites. Curating artifacts and thematic displays in museum exhibitions can promote dialogue, foster cultural appreciation, and contribute to heritage preservation. The traditional way of holding museum exhibitions, heavily reliant on the expertise of designers and curatorial staff, makes them a labor-intensive process, from conceptualization to visitor engagement analysis. This review systematically compiles and examines how the application of digital transformation technologies (DTTs) has revolutionized museum exhibitions and augmented their future potential. DTTs such as artificial intelligence, immersive technologies, additive manufacturing, the Internet of Things, and cloud computing can help create engaging designs, improve accessibility and inclusivity, enhance educational potential, and allow for sophisticated visitor experience data collection and analyses, improving exhibit management. However, despite multiple specialized studies on DTTs and their roles in museum exhibitions, the connections between technology and application scenarios remain underexplored. By addressing this gap, this study is expected to inform and inspire practitioners in the museum and heritage sectors and present new research avenues for scholars.},
  author       = {Li, Jingjing and Zheng, Xiaoyang and Watanabe, Ikumu and Ochiai, Yoichi},
  url          = {https://www.sciencedirect.com/science/article/pii/S0747563224002759},
  date         = {2024},
  doi          = {https://doi.org/10.1016/j.chb.2024.108407},
  issn         = {0747-5632},
  journaltitle = {Computers in Human Behavior},
  keywords     = {Digital transformation technologies,Museum exhibitions,Cultural heritage,Visitor experience,Technology and application scenario},
  pages        = {108407},
  title        = {A Systematic Review Of Digital Transformation Technologies In Museum Exhibition},
  volume       = {161},
}

@book{parry_museums_2010,
  abstract  = {The influence of digital media on the cultural heritage sector has been pervasive and profound. Today museums are reliant on new technology to manage their collections. They collect digital as well as material things. New media is embedded within their exhibition spaces. And their activity online is as important as their physical presence on site. However, 'digital heritage' (as an area of practice and as a subject of study) does not exist in one single place. Its evidence base is complex, diverse and distributed, and its content is available through multiple channels, on varied},
  author    = {Parry, Ross},
  language  = {eng},
  location  = {London},
  publisher = {Routledge},
  booktitle = {Museums in a digital age},
  date      = {2010},
  edition   = {1st ed.},
  isbn      = {1-135-66631-8},
  keywords  = {Museums -- Technological innovations ; Cultural property -- Digitization ; Digital media ; Digital preservation ; Museums -- Data processing ; Museums -- Collection management ; Museums -- Curatorship},
  series    = {Leicester readers in museum studies},
  title     = {Museums In A Digital Age},
}

@article{gedert_technology_2017,
  abstract     = {At the Toledo Museum of Art, families can follow clues in a scavenger hunt that leads them to the animal that escaped from an art piece or take a virtual tour of a current exhibition. The museum partnered with Google and the mobile developer GuidiGO to create the augmented reality program, letting users view digital objects in the real world. The tour opened last week on the first floor but will be expanded to the museum's second floor by early summer, where murals, including the Detroit Industry frescoes by artist Diego Rivera, will feature virtual enhancements, she said. David Lerman, GuidiGO's founder, said the new program the company started developing a few years ago for museums has been tested through prototypes at Museu Nacional d'Art de Catalunya in Barcelona and about six other locations around the world, but the DIA project is the first one the mobile development company has put in visitors' hands. The scavenger hunt has 14 steps that take visitors all over the museum to try to catch an animal that has escaped from its spot on an art piece and is causing chaos throughout the institution, said Maria Iafelice, the museum's docent program manager and the project manager for the new app. Gallery One will be updated to Gallery One 2.0 this summer, a move that will create the same interactive experience without the touch screens and through the introduction of mirrors in which a visitor's reflection will trigger the launch of a game.},
  author       = {Gedert, Roberta},
  language     = {eng},
  location     = {Chicago},
  publisher    = {Tribune Content Agency LLC},
  url          = {https://www.toledoblade.com/a-e/art/2017/01/29/Art-Upgrade-From-virtual-tours-to-digital-displays-technology-is-changing-how-visitors-experience-museums/stories/20170127179},
  date         = {2017},
  journaltitle = {TCA Regional News},
  keywords     = {Augmented reality ; Smartphones ; Vision disorders},
  title        = {Technology Is Changing How Visitors Experience Museums},
}

@article{dutot_changing_2021,
  abstract     = {This article focuses on the use of immersive technologies as key enhancers of visitor experiences in museums. Using adoption theories and introducing the concepts of in-museum interactivity and smart retailing, the authors document the gap in the literature of museum digitalization and develop a conceptual model. The 279 answers of museum visitors were analyzed to test the model using SmartPLS software. The findings show that (1) smart retailing and in-museum interactivity directly and positively influence the adoption and use of immersive technologies in museums and that (2) gender and generational differences exist regarding adoption. This article offers a substantial contribution to academic research and to practitioners and museum managers as it provides a more comprehensive view of the process of the digitalization of museums.},
  author       = {Dutot, Vincent and Bouton, Anastasia and Méaux, Maxime and Mosconi, Elaine},
  language     = {eng},
  location     = {Hershey},
  publisher    = {IGI Global},
  date         = {2021},
  issn         = {2155-4196},
  journaltitle = {International journal of art, culture and design technologies},
  keywords     = {Digitization ; Mediation ; Museums ; Retail trade ; Social aspects},
  number       = {2},
  pages        = {1--18},
  title        = {Changing The Way We See The Museum: An In-Depth Look At Immersive Technologies For Enhancing Visitor Experiences},
  volume       = {10},
}

@online{ssi_online_2025,
  author = {Crouch, Steve},
  url    = {https://www.software.ac.uk/resources/online-sustainability-evaluation},
  title  = {Online Sustainability Evaluation},
  institution = {Software Sustainability Institute}
}

@article{prokoudine_ultimate_2021,
  author       = {Prokoudine, Alexandre},
  date         = {2021-05},
  journaltitle = {Libre Arts},
  title        = {Ultimate Guitar Launches Muse Group And Acquires Audacity},
}

@inproceedings{denti_pan_2024,
  author    = {Denti, Filippo and Fantini, Davide and Avanzini, Federico and Presti, Giorgio},
  booktitle = {Proceedings of the 19th International Audio Mostly Conference: Explorations in Sonic Cultures},
  date      = {2024},
  pages     = {332--340},
  title     = {Pan-Ar: A Multimodal Dataset Of Higher-Order Ambisonics Room Impulse Responses, Ambient Noise And Spherical Pictures},
}

@inproceedings{popp_speech_2024,
  author       = {Popp, Constantin and Murphy, Damian T},
  organization = {MDPI},
  booktitle    = {Virtual Worlds},
  date         = {2024},
  number       = {1},
  pages        = {40--61},
  title        = {Speech Intelligibility Versus Congruency: User Preferences Of The Acoustics Of Virtual Reality Game Spaces},
  volume       = {3},
}

@inproceedings{fontana_highly_2024,
  author       = {Fontana, Marco and Presti, Giorgio and Fantini, Davide and Avanzini, Federico and Reyes-Lecuona, Arcadio and others},
  organization = {University of Surrey},
  booktitle    = {PROCEEDINGS OF THE INTERNATIONAL CONFERENCE ON DIGITAL AUDIO EFFECTS},
  date         = {2024},
  pages        = {286--293},
  title        = {A Highly Parametrized Scattering Delay Network Implementation For Interactive Room Auralization},
}

@article{tronchin_acoustics_1997,
  author       = {Tronchin, Lamberto and Farina, Angelo},
  publisher    = {Audio Engineering Society},
  date         = {1997},
  journaltitle = {Journal of the Audio Engineering Society},
  number       = {12},
  pages        = {1051--1062},
  title        = {Acoustics Of The Former Teatro-La Fenice-In Venice},
  volume       = {45},
}

@article{farina_listening_2004,
  author       = {Farina, Angelo and Martignon, Paolo and Azzali, Andrea and Capra, Andrea},
  date         = {2004},
  journaltitle = {I seminario Música Ciênca e Tecnologia" Acústica Musical", São Paolo do Brasil},
  pages        = {3--5},
  title        = {Listening Tests Performed Inside A Virtual Room Acoustic Simulator},
}

@inproceedings{farina_new_2009,
  author       = {Campanini, Simone and Farina, Angelo},
  location     = {Parma, Italy},
  url          = {https://angelofarina.it/Public/Papers/246-LAC-2009.pdf},
  date         = {2009-04},
  booktitle    = {Proceedings of the Linux Audio Conference},
  title        = {A New Audacity Feature: Room Objective Acustical Parameters Calculation Module},
}

@article{farina_auralization_1995,
  author       = {Farina, Angelo},
  location     = {Trondheim, Norway},
  url          = {https://www.angelofarina.it/Public/Papers/077-ICA95.PDF},
  date         = {1995-06},
  journaltitle = {ICA95 (International Conference on Acoustics)},
  title        = {Auralization Software For The Evaluation Of The Results Obtained By A Pyramid Tracing Code: Results Of Subjective Listening Tests},
}

@book{barclay_preservation_2005,
	author={Barclay, Robert Leslie},
	booktitle = {The preservation and use of historic musical instruments : display case and concert hall},
	date = {2005},
	isbn = {1844071278},
	keywords = {Musical instruments -- Conservation and restoration ; Musical instruments -- Maintenance and repair},
	language = {eng},
	location = {London},
	publisher = {Earthscan},
	title = {The Preservation And Use Of Historic Musical Instruments : Display Case And Concert Hall}}

@software{farina_aurora_2025,
  author    = {Farina, Angelo and Campanini, Simone and Hamilton, Matthew},
  publisher = {Zenodo},
  url       = {https://doi.org/10.5281/zenodo.16759727},
  date      = {2025-08},
  doi       = {10.5281/zenodo.16759727},
  title     = {Aurora-For-Audacity/Aurora-For-Audacity: 0.0.1-Alpha},
  version   = {0.0.1-alpha},
}

@book{barclay_care_1997,
  author={Barclay, Robert Leslie},
  publisher = {The Museums and Galleries Commission; Canadian Conservation Institute ; CIMCIM},
  url       = {https://cimcim.mini.icom.museum/wp-content/uploads/sites/7/2019/01/The_Care_of_Historic_Musical_Instruments_small.pdf},
  date      = {1997},
  isbn      = {0-660-17116-3},
  title     = {The Care Of Historic Musical Instruments},
}

@article{hornbostel_classification_1914,
  author       = {Sachs, C},
  language     = {ger},
  location     = {NEW YORK},
  publisher    = {Springer Nature},
  date         = {1914},
  issn         = {0028-1042},
  journaltitle = {Die Naturwissenschaften},
  pages        = {1056--1059},
  title        = {The Hornbostel-Sachs Classification Of Musical Instruments},
  volume       = {2},
}

@book{smith_uses_2006,
  abstract  = {"Heritage value is too often seen as self-evident -- things must be preserved and treasured because they have an inherent importance. Laurajane Smith challenges this idea. She demonstrates forcefully that heritage value is not inherent in physical objects or places, rather these objects and places are used to give tangibility to the values that underpin different communities, and then to assert and affirm these values for a range of reasons. She identifies and explores the various uses to which heritage is put in a series of case studies from around the world, including the USA, Asia, Australia and New Zealand. The result is a practically-grounded, accessible theorzation of heritage as a cultural practice." http://www.loc.gov/catdir/enhancements/fy0654/ 2006006564-d.html.},
  author    = {Smith, Laurajane},
  language  = {eng},
  location  = {London ;},
  publisher = {Routledge},
  booktitle = {Uses of heritage},
  date      = {2006},
  isbn      = {0415318300},
  keywords  = {Material culture ; Group identity ; Performance art -- Social aspects},
  title     = {Uses Of Heritage},
}

@book{levinson_music_1990,
  abstract  = {This is a reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. A new introduction reflects on the essays and their influence over the last 20 years.},
  author    = {Levinson, Jerrold},
  language  = {eng},
  location  = {Oxford},
  publisher = {Oxford University Press},
  booktitle = {Music, art, and metaphysics : essays in philosophical aesthetics},
  date      = {2011},
  edition   = {[New ed.].},
  isbn      = {0-19-161578-1},
  keywords  = {Aesthetics ; Music -- Philosophy and aesthetics},
  title     = {Music, Art, And Metaphysics : Essays In Philosophical Aesthetics},
}

@techreport{uoe_collections_2020,
    author      = {Jacky MacBeath},
    title       = {Collections Management Policy 2020-2030},
    institution = {University of Edinburgh},
    year        = {2020},
    url         = {https://library.ed.ac.uk/sites/default/files/2024-08/Collections%20Management%20Policy%202020-2030.docx},
}
  
@inproceedings{bevilacqua_new_2023,
  author       = {Bevilacqua, Antonella and Farina, Adriano and Saccenti, Leonardo and others},
  organization = {Audio Engineering Society},
  booktitle    = {AES Europe 2023: 154th Audio Engineering Society Convention},
  date         = {2023},
  title        = {New Method For The Computation Of Acoustic Parameters According To The Updated Italian Legislation},
}

@article{farina_aurora_2000,
  author = {Farina, Angelo},
  url    = {https://www.melaudia.net/zdoc/sweepSine.PDF},
  date   = {2000-01},
  title  = {Simultaneous Measurement Of Impulse Response And Distortion With A Swept-Sine Technique}, 
  journal= {Audio Engineering Society Convention 108},
}

@article{farina_aurora_1995,
  author       = {Farina, Angelo and others},
  date         = {1995},
  journaltitle = {Noise \& Vibration Worldwide},
  pages        = {6--9},
  title        = {Aurora Listens To The Traces Of Pyramid Power},
  volume       = {26},
}

@article{robert_reproducibility_2020,
  author       = {Robert, Charles H.},
  url          = {https://doi.org/10.5281/zenodo.3886412},
  date         = {2020-06},
  doi          = {10.5281/zenodo.3886412},
  journaltitle = {ReScience C},
  number       = {1},
  title        = {[Rp] Reproducibility Report: Estimating Friction Coefficients Of Mixed Globular/Chain Molecules, Such As Protein/Dna Complexes. [Biophys J 69, 840-848 (1995)]},
  volume       = {6},
}

@inproceedings{mcpherson_nimehub_2016,
  author = {McPherson, Andrew P and Berdahl, Edgar and Lyons, Michael J and Jensensius, Alexander Refsum and Bukvic, Ivica Ico and Knudson, Arve},
  date   = {2016-07},
  title  = {Nimehub: Toward A Repository For Sharing And Archiving Instrument Designs},
  booktitle= {Proceedings of the International Conference on New Interfaces For Musical Expression},
  address= {Brisbane, Australia: Queensland Conservatorium Griffith University.}
}

@inproceedings{fiordelmondo_towards_2025,
  author    = {Fiordelmondo, Alessandro and Spanio, Matteo and Cadavid, Patricia and Chen, Xinran and Canazza, Sergio and Masu, Raul},
  editor    = {Cavdir, Doga and Berthaut, Florent},
  location  = {Canberra, Australia},
  url       = {http://nime.org/proceedings/2025/nime2025_81.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2025-06},
  doi       = {10.5281/zenodo.15698958},
  issn      = {2220-4806},
  pages     = {556--562},
  title     = {Towards A Repository Template For Music Technology Research},
}

@article{colazo_licence_2009,
  abstract     = {The Open Source Software (OSS) development model has emerged as an important competing paradigm to proprietary alternatives; however, insufficient research exists to understand the influence of some OSS project characteristics on the level of activity of the development process. A basic such characteristic is the selection of the project's software license. Drawing upon social movement theory, our study examined the relationship between OSS licenses and project activity. Some OSS licenses include a ``copyleft'' clause, which requires that if derivative products are to be released, it must be done under the license the original product had. We hypothesize that copylefted licenses, as opposed to noncopylefted licenses, are associated with higher developer membership and coding activity, faster development speed, and longer developer permanence in the project. To test the hypotheses, we used archival data sources of working OSS projects spanning several years of development time. We discuss practical and theoretical implications of the results as well as future research ideas.},
  author       = {Colazo, Jorge and Fang, Yulin},
  language     = {eng},
  location     = {Hoboken},
  publisher    = {Wiley Subscription Services, Inc., A Wiley Company},
  date         = {2009},
  issn         = {1532-2882},
  journaltitle = {Journal of the American Society for Information Science and Technology},
  keywords     = {Computer science ; Computer software ; Free computer software ; Licenses ; Open source software ; Public domain ; Software ; Software engineering ; Technology},
  number       = {5},
  pages        = {997--1011},
  title        = {Impact Of License Choice On Open Source Software Development Activity},
  volume       = {60},
}

@article{perkel_challenge_2020,
  author    = {Perkel, Jeffrey M.},
  url       = {https://doi.org/10.1038/d41586-020-02462-7},   
  journal   = {Nature},
  date      = {2020-08},
  doi       = {10.1038/d41586-020-02462-7},
  title     = {Challenge To Scientists: Does Your Ten-Year-Old Code Still Run?},
}

@inproceedings{calegario_documentation_2021,
  author    = {Calegario, Filipe and Tragtenberg, João and Frisson, Christian and Meneses, Eduardo and Malloch, Joseph and Cusson, Vincent and Wanderley, Marcelo M.},
  location  = {Shanghai, China},
  url       = {https://nime.pubpub.org/pub/czq0nt9i},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2021-06},
  doi       = {10.21428/92fbeb44.dc50e34d},
  issn      = {2220-4806},
  title     = {Documentation And Replicability In The Nime Community},
}

@article{omodhrain_framework_2011,
  author       = {O'Modhrain, Sile},
  date         = {2011-03},
  doi          = {10.1162/COMJ_a_00038},
  journaltitle = {Computer Music Journal},
  pages        = {28--42},
  title        = {A Framework For The Evaluation Of Digital Musical Instruments},
  volume       = {35},
}

@article{jorda_instruments_2004,
  author       = {Jordà, Sergi},
  publisher    = {Routledge},
  url          = {https://doi.org/10.1080/0929821042000317886},
  date         = {2004},
  doi          = {10.1080/0929821042000317886},
  journaltitle = {Journal of New Music Research},
  number       = {3},
  pages        = {321--341},
  title        = {Instruments And Players: Some Thoughts On Digital Lutherie},
  volume       = {33},
}

@article{laurenson_management_2005,
  author       = {Laurenson, Pip},
  language     = {eng},
  url          = {https://www.tate.org.uk/research/tate-papers/03/the-management-of-display-equipment-in-time-based-media-installations},
  date         = {2005},
  issn         = {1753-9854},
  journaltitle = {Tate papers},
  number       = {3},
  title        = {The Management Of Display Equipment In Time-Based Media Installations},
}

@incollection{davies_authenticity_2001,
  abstract  = {Authenticity is integral to the enterprise that takes the delivery of the composer's work as its goal. In such cases, authenticity is an ontological requirement, not an interpretative option, though any performance recognizable as of a given work will be minimally authentic. Whether a performance must comply with the composer's instrumentation, phrasing, tempo, and dynamics depends on whether these features are work‐determinative for the musical tradition within which the work was created. Practical considerations, recently entrenched traditions, and the possibility that performers can take for granted the audience's prior familiarity with orthodox readings might count against the pursuit of ideal authenticity, but the territory to be explored in an interpretation should lie nearer the ideal than the minimum end of the spectrum along which authenticity is measured.},
  author    = {Davies, Stephen},
  publisher = {Oxford University Press},
  url       = {https://doi.org/10.1093/0199241589.003.0005},
  booktitle = {Musical Works and Performances: A Philosophical Exploration},
  date      = {2001-06},
  doi       = {10.1093/0199241589.003.0005},
  eprint    = {https://academic.oup.com/book/0/chapter/159167195/chapter-ag-pdf/44933225/book\_10912\_section\_159167195.ag.pdf},
  isbn      = {9780199241583},
  title     = {Authenticity In Western Classical Music},
}

@article{torre_values_2013,
  author       = {de la Torre, Marta},
  publisher    = {Routledge},
  date         = {2013},
  doi          = {10.1179/2159032X13Z.00000000011},
  journaltitle = {Heritage \& Society},
  number       = {2},
  pages        = {155--166},
  title        = {Values And Heritage Conservation},
  volume       = {6},
}

@article{mason2002assessing,
  author       = {Mason, Randall and others},
  date         = {2002},
  journaltitle = {Assessing the values of cultural heritage},
  pages        = {5--30},
  title        = {Assessing Values In Conservation Planning: Methodological Issues And Choices},
  volume       = {1},
}

@report{avrami_values_2000,
  author      = {Avrami, Erica and Mason, Randall and Torre, Martadela},
  institution = {The Getty Conservation Institute},
  url         = {https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/valuesrpt.pdf},
  date        = {2000},
  title       = {Values And Heritage Conservation},
  type        = {techreport},
}

@book{salvador_contemporary_2005,
  author    = {Munoz-Vinas, Salvador},
  language  = {eng},
  location  = {London},
  publisher = {Routledge},
  booktitle = {Contemporary Theory of Conservation},
  date      = {2015},
  isbn      = {9781136414527},
  keywords  = {Historic preservation ; Cultural property -- Protection},
  title     = {Contemporary Theory Of Conservation},
}

@article{laurenson_authenticity_2006,
  abstract     = {This paper focuses on three concepts central to the theory of conservation: authenticity, change and loss. These terms are explored in relation to how they are viewed in traditional conservation practice and how they might usefully be interpreted in relation to time-based media works of art. Discussions about authenticity found in the philosophy of music suggest ways in which conservators might approach concepts of change and loss in relation to time-based media installations. (Author abstract)},
  author       = {Laurenson, Pip},
  language     = {eng},
  url          = {https://www.tate.org.uk/research/tate-papers/06/authenticity-change-and-loss-conservation-of-time-based-media-installations},
  date         = {2006},
  issn         = {1753-9854},
  journaltitle = {Tate papers},
  number       = {6},
  title        = {Authenticity, Change And Loss In The Conservation Of Time-Based Media Installations},
}

@book{mcluhan_understanding_1964,
  abstract  = {When first published, Marshall McLuhan's Understanding Media made history with its radical view of the effects of electronic communications upon man and life in the twentieth century. This edition of McLuhan's best-known book both enhances its accessibility to a general audience and provides the full critical apparatus necessary for scholars. In Terrence Gordon's own words, McLuhan is in full flight already in the introduction, challenging us to plunge with him into what he calls 'the creative process of knowing.' Much to the chagrin of his contemporary critics McLuhan's preference was for a prose style that explored rather than explained. Probes, or aphorisms, were an indispensable tool with which he sought to prompt and prod the reader into an "understanding of how media operate" and to provoke reflection. In the 1960s McLuhan's theories aroused both wrath and admiration. It is intriguing to speculate what he might have to say 40 years later on subjects to which he devoted whole chapters such as Television, The Telephone, Weapons, Housing and Money. Today few would dispute that mass media have indeed decentralized modern living and turned the world into a global village. This critical edition features an appendix that makes available for the first time the core of the research project that spawned the book and individual chapter notes are supported by a glossary of terms, indices of subjects, names, and works cited.},
  author    = {McLuhan, Marshall and Gordon, W. Terrence},
  language  = {eng},
  location  = {Corte Madera, CA},
  publisher = {Gingko Press},
  booktitle = {Understanding media the extensions of man},
  date      = {2003},
  edition   = {Critical edition.},
  keywords  = {Mass media},
  title     = {Understanding Media The Extensions Of Man},
}

@book{berger_ways_1972,
  author    = {Berger, John.},
  language  = {eng},
  location  = {London},
  publisher = {British Broadcasting Corporation},
  booktitle = {Ways of seeing : based on the BBC television series with John Berger},
  date      = {1972},
  isbn      = {0563122447},
  series    = {A Pelican original},
  title     = {Ways Of Seeing : Based On The Bbc Television Series With John Berger},
}

@inproceedings{clarke_longevity_2025,
  abstract  = {In this paper, we present an investigation into the longevity, reproducibility, and documentation quality of Deep Generative Models (DGMs) introduced in previous editions of the NIME conference. We begin by assessing whether DGM presented at NIME are still available in terms of code, data, and weights; afterward, we present the recreation process of seven unavailable models, to the end of investigation of the issues related to longevity and documentation. We examine the availability and completeness of resources needed to recreate DGM models, and discuss specific challenges encountered during such recreation. Drawing from this experience, we highlight key obstacles that hinder the long-term viability and reuse of DGMs in the NIME context, and propose guidelines to improve their documentation and future reuse within the community.},
  author    = {Clarke, Isaac and Rí, Francesco Ardan Dal and Masu, Raul},
  editor    = {Cavdir, Doga and Berthaut, Florent},
  location  = {Canberra, Australia},
  url       = {http://nime.org/proceedings/2025/nime2025_32.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2025-06},
  doi       = {10.5281/zenodo.15735662},
  issn      = {2220-4806},
  pages     = {224--230},
  title     = {Longevity Of Deep Generative Models In Nime: Challenges And Practices For Reactivation},
}

@inproceedings{holzer_imperfect_2025,
  abstract  = {Reenactment forms a unique method of exploring the social, political, historical, conceptual, contextual and other aspects of electronic sound instruments from the past, without necessarily reproducing the instrument's physical, functional or sonic characteristics. Rather, the reenactment presents a novel instrument, realized through contemporary means, reflecting on contemporary concerns and within a contemporary context. We find reenactment complementary to conservation, maintenance, reconstruction and emulation in working with archival and museum objects. Our paper presents an analytic framework developed for use in workshop scenarios. This series of questions helps determine and understand which aspects of an instrument might be reenacted. To illustrate the process in action, we describe an example workshop wherein participants use methods of media archaeology, design fiction and role playing to imagine and reenact new features, affordances, contexts and applications of electronic instruments from a museum exhibition.},
  author    = {Holzer, Derek and Frisk, Henrik and Holzapfel, André},
  editor    = {Cavdir, Doga and Berthaut, Florent},
  location  = {Canberra, Australia},
  url       = {http://nime.org/proceedings/2025/nime2025_44.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2025-06},
  doi       = {10.5281/zenodo.15698871},
  issn      = {2220-4806},
  pages     = {319--327},
  title     = {The Imperfect Copy: Role Playing Reenactments Of Historical Electronic Sound Instruments},
}

@article{ducceschi_method_2024,
  author       = {Ducceschi, Michele and Duran, Sebastian and Tahvanainen, Henna and Ausiello, Ludo},
  publisher    = {Elsevier},
  date         = {2024},
  journaltitle = {Applied Acoustics},
  pages        = {109949},
  title        = {A Method To Estimate The Rectangular Orthotropic Plate Elastic Constants Using Least-Squares And Chladni Patterns},
  volume       = {220},
}

@article{tee_novel_1963,
  author       = {Tee, G. J.},
  url          = {https://doi.org/10.1093/comjnl/6.2.177},
  date         = {1963},
  doi          = {10.1093/COMJNL/6.2.177},
  journaltitle = {Comput. J.},
  number       = {2},
  pages        = {177--192},
  title        = {A Novel Finite-Difference Approximation To The Biharmonic Operator},
  volume       = {6},
}

@article{li_an-exact_2009,
  author       = {Li, W.L. and Zhang, X. and Du, J. and Liu, Z.},
  publisher    = {Elsevier},
  date         = {2009},
  journaltitle = {Journal of sound and vibration},
  number       = {1-2},
  pages        = {254--269},
  title        = {An Exact Series Solution For The Transverse Vibration Of Rectangular Plates With General Elastic Boundary Supports},
  volume       = {321},
}

@incollection{karman_festigkeitsprobleme_1910,
  author    = {von Kármán, T.},
  booktitle = {Encyklopädie der {Mathematis}- chen {Wissenschaften}},
  date      = {1910},
  title     = {Festigkeitsprobleme Im {Maschinenbau}},
}

@article{li_free_2000,
  author       = {Li, Q.S.},
  publisher    = {Elsevier},
  date         = {2000},
  journaltitle = {Journal of sound and vibration},
  number       = {1},
  pages        = {63--85},
  title        = {Free Vibration Of Elastically Restrained Flexural-Shear Plates With Varying Cross-Section},
  volume       = {235},
}

@article{thomas_geometrically_2008,
  author       = {Thomas, O. and Bilbao, Stefan.},
  publisher    = {Elsevier},
  date         = {2008},
  journaltitle = {Journal of Sound and Vibration},
  number       = {3},
  pages        = {569--590},
  title        = {Geometrically Nonlinear Flexural Vibrations Of Plates: In-Plane Boundary Conditions And Some Symmetry Properties},
  volume       = {315},
}

@article{mindlin_influence_1951,
  abstract     = {{A two-dimensional theory of flexural motions of isotropic, elastic plates is deduced from the three-dimensional equations of elasticity. The theory includes the effects of rotatory inertia and shear in the same manner as Timoshenko's one-dimensional theory of bars. Velocities of straight-crested waves are computed and found to agree with those obtained from the three-dimensional theory. A uniqueness theorem reveals that three edge conditions are required.}},
  author       = {Mindlin, R. D.},
  url          = {https://doi.org/10.1115/1.4010217},
  date         = {1951-03},
  doi          = {10.1115/1.4010217},
  issn         = {0021-8936},
  journaltitle = {Journal of Applied Mechanics},
  number       = {1},
  pages        = {31--38},
  title        = {{Influence Of Rotatory Inertia And Shear On Flexural Motions Of Isotropic, Elastic Plates}},
  volume       = {18},
}

@book{bilbao_numerical_2009,
  author     = {Bilbao, Stefan},
  language   = {en},
  publisher  = {Wiley},
  url        = {https://onlinelibrary.wiley.com/doi/book/10.1002/9780470749012},
  date       = {2009-10},
  doi        = {10.1002/9780470749012},
  isbn       = {978-0-470-51046-9},
  shorttitle = {Numerical {Sound} {Synthesis}},
  title      = {Numerical {Sound} {Synthesis}: {Finite} {Difference} {Schemes} And {Simulation} In {Musical} {Acoustics}},
  urldate    = {2023-08-31},
}

@book{fletcher_physics_2012,
  author    = {Fletcher, N. H and Rossing, T.D.},
  publisher = {Springer Science \& Business Media},
  date      = {2012},
  title     = {The Physics Of Musical Instruments},
}

@article{love_small_1888,
  author       = {{Love}, Augustus Edward Hough },
  date         = {1888-01},
  doi          = {10.1098/rsta.1888.0016},
  journaltitle = {Philosophical Transactions of the Royal Society of London Series A},
  pages        = {491--546},
  title        = {{The Small Free Vibrations And Deformation Of A Thin Elastic Shell}},
  volume       = {179},
}

@book{szilard_theories_2004,
  author    = {Szilard, R.},
  location  = {Hoboken, New Jersey},
  publisher = {John Wiley \& Sons, Inc.},
  date      = {2004},
  title     = {Theories And Applications Of Plate Analysis},
}

@book{chladni_treatise_2015,
  author    = {Chladni, Ernst Florens Friedrich},
  publisher = {Springer},
  date      = {2015},
  title     = {Treatise On Acoustics: The First Comprehensive English Translation Of Eff Chladni's Traité D'acoustique},
}

@article{zhang_vibrations_2009,
  author       = {Zhang, X. and Li, W.L.},
  publisher    = {Elsevier},
  date         = {2009},
  journaltitle = {Journal of Sound and Vibration},
  number       = {1-2},
  pages        = {221--234},
  title        = {Vibrations Of Rectangular Plates With Arbitrary Non-Uniform Elastic Edge Restraints},
  volume       = {326},
}

@book{graff_wave_1991,
  author    = {Graff, Karl F.},
  publisher = {Dover Publications},
  date      = {1991},
  title     = {Wave Motion In Elastic Solids},
}

@article{farshidi_noncontact_2010,
  abstract     = {Experimental modal analysis (EMA) is the empirical study of the dynamic properties of structures under vibrational excitation. Non-contact EMA is advantageous when the target is susceptible to damage or contamination. In this study, we investigated non-contact EMA as we excite a cantilever beam using a collimated air impulse controlled by a solenoid valve. The reflected airwave from the beam surface was measured by a microphone array. The air actuation is calibrated by utilizing a separate pressure sensor that simultaneously measures the air impulse. The effect of changing the pressure and the opening time interval of the solenoid valve are investigated and found to be adequate for the frequency range of interest. The force transferred from the air impulse to the target depends on the upstream pressure, as well as the gap between the target and the nozzle. The effect of changing both the pressure and the gap distance between the target and the nozzle on the magnitude of force is investigated with a series of tests. Pre-processing is performed on the reflected signals to minimize the noise level, and the optimal gap distance between the sensor array and the target is found. The experimental tests demonstrate the effectiveness of the proposed methodology to both accurately and cost-effectively measure structural dynamics in translational and rotational degrees using a non-contact excitation and sensor mechanism.},
  author       = {Farshidi, R. and Trieu, D. and Park, S.S. and Freiheit, T.},
  url          = {https://www.sciencedirect.com/science/article/pii/S0263224110000357},
  date         = {2010},
  doi          = {https://doi.org/10.1016/j.measurement.2010.02.004},
  issn         = {0263-2241},
  journaltitle = {Measurement},
  keywords     = {Experimental modal analysis,Air impulse,Microphone},
  number       = {6},
  pages        = {755--765},
  title        = {Non-Contact Experimental Modal Analysis Using Air Excitation And A Microphone Array},
  volume       = {43},
}

@article{duerinck_experimental_2021,
  abstract     = {For decades, modal analysis has been a tool to gain insights in the vibrational and acoustical behavior of music instruments. This study provides a critical comparison of various experimental modal analysis approaches with the violin as a case study. Both contact and non-contact excitation and different acquisition approaches are considered. The influence of different boundary conditions (clamped, supported, free/free) on the vibrational response of the violin is investigated. The response is analyzed to extract relevant modal parameters (frequency, damping and mode shape) within the frequency range of 0--1000 Hz. The performance of the different approaches is evaluated in terms of (i) signature vibration modes, (ii) experimental reproducibility, (iii) contact requirement and (iv) cost of required equipment. Two optimal approaches are proposed for performing modal analysis on violins: a contact method for use in the violinmaker's practice, and a non-contact method for use with fragile instruments.},
  author       = {Duerinck, Tim and Segers, Joost and Skrodzka, Ewa and Verberkmoes, Geerten and Leman, Marc and {Van Paepegem}, Wim and Kersemans, Mathias},
  url          = {https://www.sciencedirect.com/science/article/pii/S0003682X21000359},
  date         = {2021},
  doi          = {https://doi.org/10.1016/j.apacoust.2021.107942},
  issn         = {0003-682X},
  journaltitle = {Applied Acoustics},
  keywords     = {Modal analysis,Violin,NDT,Acoustic excitation},
  pages        = {107942},
  title        = {Experimental Comparison Of Various Excitation And Acquisition Techniques For Modal Analysis Of Violins},
  volume       = {177},
}

@article{corradi_modal_2017,
  abstract     = {This paper deals with the development and validation of a finite element numerical model of a grand piano soundboard. The most important details of the manufacturing process are reproduced in this model. In particular, by modelling the gluing of the ribs and the bridges to the board, the curved geometry (the crown) and the residual stresses induced in the soundboard are taken into account. Experimental modal analysis results are presented at three stages of the manufacturing process of the same soundboard: (i) freely suspended soundboard before gluing the bridges, (ii) freely suspended soundboard including the two bridges, and (iii) soundboard attached to the piano frame. The experimental data at the first of these three stages are used to update the material properties of the finite element model, so as to minimise the difference between calculated and experimental vibration modes, in terms of both natural frequencies and mode shapes. The simulation of the other manufacturing stages is then performed without any additional tuning. Vibration modes obtained from experiments up to 400--450Hz are compared with those obtained through the numerical model. Point mobilities measured on the bridge at the different manufacturing stages are also shown and discussed. Above 200Hz, the mobilities measured on the bridge of the freely suspended soundboard and on the bridge of the soundboard fixed to the frame are very similar, thus showing that in this frequency range the effect of the soundboard local dynamic stiffness is predominant over boundary conditions. Finally, point mobility at the bridge is also calculated through the finite element model and compared to the experiments, with good agreement up to 4kHz.},
  author       = {Corradi, Roberto and Miccoli, Stefano and Squicciarini, Giacomo and Fazioli, Paolo},
  url          = {https://www.sciencedirect.com/science/article/pii/S0003682X17303444},
  date         = {2017},
  doi          = {https://doi.org/10.1016/j.apacoust.2017.04.010},
  issn         = {0003-682X},
  journaltitle = {Applied Acoustics},
  keywords     = {Piano soundboard,Experimental modal analysis,Bridge point mobility,Numerical modelling},
  pages        = {113--127},
  title        = {Modal Analysis Of A Grand Piano Soundboard At Successive Manufacturing Stages},
  volume       = {125},
}

@article{fritz_soloist_2014,
  abstract     = {Many researchers have sought explanations for the purported tonal superiority of Old Italian violins by investigating varnish and wood properties, plate tuning systems, and the spectral balance of the radiated sound. Nevertheless, the fundamental premise of tonal superiority has been investigated scientifically only once very recently, and results showed a general preference for new violins and that players were unable to reliably distinguish new violins from old. The study was, however, relatively small in terms of the number of violins tested (six), the time allotted to each player (an hour), and the size of the test space (a hotel room). In this study, 10 renowned soloists each blind-tested six Old Italian violins (including five by Stradivari) and six new during two 75-min sessions---the first in a rehearsal room, the second in a 300-seat concert hall. When asked to choose a violin to replace their own for a hypothetical concert tour, 6 of the 10 soloists chose a new instrument. A single new violin was easily the most-preferred of the 12. On average, soloists rated their favorite new violins more highly than their favorite old for playability, articulation, and projection, and at least equal to old in terms of timbre. Soloists failed to distinguish new from old at better than chance levels. These results confirm and extend those of the earlier study and present a striking challenge to near-canonical beliefs about Old Italian violins.},
  author       = {Fritz, Claudia and Curtin, Joseph and Poitevineau, Jacques and Borsarello, Hugues and Wollman, Indiana and Tao, Fan-Chia and Ghasarossian, Thierry},
  language     = {eng},
  location     = {WASHINGTON},
  publisher    = {National Academy of Sciences},
  date         = {2014},
  issn         = {0027-8424},
  journaltitle = {Proceedings of the National Academy of Sciences - PNAS},
  keywords     = {Acoustics ; Audio-visual equipment ; Italy ; Loudness ; Mechanics ; Music-halls ; Musical instruments ; Physics ; Quality of products ; Social sciences ; Stringed instruments ; Violinists},
  number       = {20},
  pages        = {7224--7229},
  title        = {Soloist Evaluations Of Six Old Italian And Six New Violins},
  volume       = {111},
}

@article{fritz_listener_2017,
  abstract     = {Old Italian violins are routinely credited with playing qualities supposedly unobtainable in new instruments. These qualities include the ability to project their sound more effectively in a concert hall---despite seeming relatively quiet under the ear of the player---compared with new violins. Although researchers have long tried to explain the ``mystery'' of Stradivari's sound, it is only recently that studies have addressed the fundamental assumption of tonal superiority. Results from two studies show that, under blind conditions, experienced violinists tend to prefer playing new violins over Old Italians. Moreover, they are unable to tell new from old at better than chance levels. This study explores the relative merits of Stradivari and new violins from the perspective of listeners in a hall. Projection and preference are taken as the two broadest criteria by which listeners might meaningfully compare violins. Which violins are heard better, and which are preferred? In two separate experiments, three new violins were compared with three by Stradivari. Projection was tested both with and without orchestral accompaniment. Projection and preference were judged simultaneously by dividing listeners into two groups. Results are unambiguous. The new violins projected better than the Stradivaris whether tested with orchestra or without, the new violins were generally preferred by the listeners, and the listeners could not reliably distinguish new from old. The single best-projecting violin was considered the loudest under the ear by players, and on average, violins that were quieter under the ear were found to project less well.},
  author       = {Fritz, Claudia and Curtin, Joseph and Poitevineau, Jacques and Tao, Fan-Chia},
  language     = {eng},
  location     = {WASHINGTON},
  publisher    = {National Academy of Sciences},
  date         = {2017},
  issn         = {0027-8424},
  journaltitle = {Proceedings of the National Academy of Sciences - PNAS},
  keywords     = {Acoustics ; Auditory perception ; Human beings ; Life sciences ; Listening ; Music ; Musical instruments ; Perception ; Physical sciences ; Projection ; Social sciences ; Violin},
  number       = {21},
  pages        = {5395--5400},
  title        = {Listener Evaluations Of New And Old Italian Violins},
  volume       = {114},
}

@article{fritz_player_2012,
  abstract     = {Most violinists believe that instruments by Stradivari and Guarneri "del Gesu" are tonally superior to other violins---and to new violins in particular. Many mechanical and acoustical factors have been proposed to account for this superiority; however, the fundamental premise of tonal superiority has not yet been properly investigated. Player's judgments about a Stradivari's sound may be biased by the violin's extraordinary monetary value and historical importance, but no studies designed to preclude such biasing factors have yet been published. We asked 21 experienced violinists to compare violins by Stradivari and Guarneri del Gesu with high-quality new instruments. The resulting preferences were based on the violinists' individual experiences of playing the instruments under double-blind conditions in a room with relatively dry acoustics. We found that (i) the most-preferred violin was new; (ii) the least-preferred was by Stradivari; (iii) there was scant correlation between an instrument's age and monetary value and its perceived quality; and (iv) most players seemed unable to tell whether their most-preferred instrument was new or old. These results present a striking challenge to conventional wisdom. Differences in taste among individual players, along with differences in playing qualities among individual instruments, appear more important than any general differences between new and old violins. Rather than searching for the "secret" of Stradivari, future research might best focused on how violinists evaluate instruments, on which specific playing qualities are most important to them, and on how these qualities relate to measurable attributes of the instruments, whether old or new.},
  author       = {Fritz, Claudia and Curtin, Joseph and Poitevineau, Jacques and Morrel-Samuels, Palmer and Tao, Fan-Chia},
  language     = {eng},
  location     = {WASHINGTON},
  publisher    = {National Academy of Sciences},
  date         = {2012},
  issn         = {0027-8424},
  journaltitle = {Proceedings of the National Academy of Sciences - PNAS},
  keywords     = {Acoustics ; Choice (Psychology) ; Correlation (Statistics) ; Human beings ; Judgment ; Mechanics ; Music ; Musical perception ; Older people ; Perception ; Physics ; Social sciences ; Sound ; Stringed instruments ; Taste ; Time Factors ; Tone color (Music) ; Violinists},
  number       = {3},
  pages        = {760--763},
  title        = {Player Preferences Among New And Old Violins},
  volume       = {109},
}

@article{tsay_sight_2013,
  abstract     = {Social judgments are made on the basis of both visual and auditory information, with consequential implications for our decisions. To examine the impact of visual information on expert judgment and its predictive validity for performance outcomes, this set of seven experiments in the domain of music offers a conservative test of the relative influence of vision versus audition. People consistently report that sound is the most important source of information in evaluating performance in music. However, the findings demonstrate that people actually depend primarily on visual information when making judgments about music performance. People reliably select the actual winners of live music competitions based on silent video recordings, but neither musical novices nor professional musicians were able to identify the winners based on sound recordings or recordings with both video and sound. The results highlight our natural, automatic, and nonconscious dependence on visual cues. The dominance of visual information emerges to the degree that it is overweighted relative to auditory information, even when sound is consciously valued as the core domain content.},
  author       = {Tsay, Chia-Jung},
  language     = {eng},
  location     = {WASHINGTON},
  publisher    = {National Academy of Sciences},
  date         = {2013},
  issn         = {0027-8424},
  journaltitle = {Proceedings of the National Academy of Sciences - PNAS},
  keywords     = {Auditory perception ; Cognition ; Communication ; Cues ; Decision making ; Evaluation ; Evidence Expert ; Female ; Human beings ; Information resources ; Judgment ; Judgments ; Male ; Music ; Musicians ; Photic Stimulation ; Social perception ; Social psychology ; Social sciences ; Sound ; Visual perception},
  number       = {36},
  pages        = {14580--14585},
  title        = {Sight Over Sound In The Judgment Of Music Performance},
  volume       = {110},
}

@inproceedings{nichols_vbow_2002,
  abstract  = {This paper describes the development of a virtual violin bow haptic human-computer interface, which senses bow position with encoders, to drive bowed-string physical model synthesis, while engaging servomotors, to simulate the haptic feedback of a violin bow on a string. Construction of the hardware and programming of the software are discussed, as well as the motivation for building the instrument, and its planned uses.},
  author    = {Nichols, Charles},
  location  = {Dublin, Ireland},
  url       = {http://www.nime.org/proceedings/2002/nime2002_133.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2002},
  doi       = {10.5281/zenodo.1176450},
  issn      = {2220-4806},
  keywords  = {bow,controller,haptic,hci,interface,violin},
  pages     = {133--136},
  title     = {The Vbow: Development Of A Virtual Violin Bow Haptic Human-Computer Interface},
}

@inproceedings{willemsen_resurrecting_2020,
  title        = {Resurrecting the tromba marina: A bowed virtual reality instrument using haptic feedback and accurate physical modelling},
  author       = {Willemsen, Silvin and Paisa, Razvan and Serafin, Stefania},
  booktitle    = {17th Sound and Music Computing Conference},
  pages        = {300--307},
  year         = {2020},
  organization = {Axea sas/SMC Network}
}

@article{cadoz_modular_1990,
  abstract     = {The modular feedback keyboard (MFK) design that we describe in this article was conceived and constructed at ACROE. It was first presented to the public on 17 October, 1989 in Grenoble at the opening celebration of our center's new studio. The system we present is the prototype of a more general device, and its construction is the result of research into the relationship between instrument and performer within the framework of a system for realtime sound synthesis and computer-assisted musical creation. The first feature of this device is that it is a gestural control system with feedback for the tactile senses-it enables actual fingering of a physical instrument to be simulated. The second important feature is that this is a modular system: the piano- or organ-type keyboard is its nominal form, but its mechanical morphology can be modified and easily configured for other applications or types of performance interfaces.},
  author       = {Cadoz, Claude and Lisowski, Leszek and Florens, Jean-Loup},
  language     = {eng},
  location     = {CAMBRIDGE},
  publisher    = {MIT Press},
  date         = {1990},
  issn         = {0148-9267},
  journaltitle = {Computer music journal},
  keywords     = {Computer music ; Computer science ; Design ; Gesture ; Motors ; Music ; Technology ; Transducers},
  number       = {2},
  pages        = {47--51},
  title        = {A Modular Feedback Keyboard Design},
  volume       = {14},
}

@article{moog_evolution_1990,
  author       = {Moog, Robert A. and Rhea, Thomas L.},
  language     = {eng},
  location     = {CAMBRIDGE},
  publisher    = {MIT Press},
  date         = {1990},
  issn         = {0148-9267},
  journaltitle = {Computer music journal},
  keywords     = {Computer science ; Hammers ; Keyboard instrument music ; Keyboard instruments ; Music ; Technology},
  number       = {2},
  pages        = {52--60},
  title        = {Evolution Of The Keyboard Interface: The Bösendorfer 290 Se Recording Piano And The Moog Multiply-Touch-Sensitive Keyboards},
  volume       = {14},
}

@thesis{gillespie_haptic_1996,
  author      = {Gillespie, Brent},
  institution = {Stanford University},
  location    = {Stanford, California},
  url         = {https://ccrma.stanford.edu/files/papers/stanm92.pdf},
  date        = {1996-01},
  keywords    = {displays,haptic,kinematic constraints,virtual piano action},
  number      = {STAN-M-92},
  title       = {Haptic Displays Of Systems With Changing Kinematic Constraints: The Virtual Piano Action},
  type        = {mathesis},
  volume      = {Ph.D.},
}

@inproceedings{jack_effect_2016,
  abstract     = {When designing digital musical instruments the importance of low and consistent action-to-sound latency is widely accepted. This paper investigates the effects of latency (0-20ms) on instrument quality evaluation and performer interaction. We present findings from an experiment conducted with musicians who performed on an percussive digital musical instrument with variable amounts of latency. Three latency conditions were tested against a zero latency condition, 10ms, 20ms and 10ms \$\pm\$ 3ms jitter. The zero latency condition was significantly rated more positively than the 10ms with jitter and 20ms latency conditions in six quality measures, emphasising the importance of not only low, but stable latency in digital musical instruments. There was no significant difference in rating between the zero latency condition and 10ms condition. A quantitative analysis of timing accuracy in a metronome task under latency conditions showed no significant difference in mean synchronisation error. This suggests that the 20ms and 10ms with jitter latency conditions degrade subjective impressions of an instrument, but without significantly affecting the timing performance of our participants. These findings are discussed in terms of control intimacy and instrument transparency.},
  author       = {Jack, Robert H. and Stockman, Tony and McPherson, Andrew},
  language     = {eng},
  location     = {New York, NY, USA},
  organization = {ACM},
  publisher    = {ACM},
  booktitle    = {ACM International Conference Proceeding Series},
  date         = {2016},
  isbn         = {9781450348225},
  keywords     = {Engineering ; Struggle ; Technology},
  pages        = {116--123},
  title        = {Effect Of Latency On Performer Interaction And Subjective Quality Assessment Of A Digital Musical Instrument},
  volume       = {4-06-},
}

@inproceedings{mudd_feeling_2013,
  abstract  = {This paper presents a system for exploring different dimensions of a soundthrough the use of haptic feedback. The Novint Falcon force feedback interfaceis used to scan through soundfiles as a subject moves their hand horizontallyfrom left to right, and to relay information about volume, frequency content,noisiness, or potentially any analysable parameter back to the subject throughforces acting on their hand. General practicalities of mapping sonic elements to physical forces areconsidered, such as the problem of representing detailed data through vaguephysical sensation, approaches to applying forces to the hand that do notinterfering with the smooth operation of the device, and the relative merits ofdiscreet and continuous mappings. Three approaches to generating the forcevector are discussed: 1) the use of simulated detents to identify areas of anaudio parameter over a certain threshold, 2) applying friction proportional tothe level of the audio parameter along the axis of movement, and 3) creatingforces perpendicular to the subject's hand movements.Presentation of audio information in this manner could be beneficial for`pre-feeling' as a method for selecting material to play during a liveperformance, assisting visually impaired audio engineers, and as a generalaugmentation of standard audio editing environments.},
  author    = {Mudd, Tom},
  location  = {Daejeon, Republic of Korea},
  publisher = {Graduate School of Culture Technology, KAIST},
  url       = {http://www.nime.org/proceedings/2013/nime2013_46.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2013-05},
  doi       = {10.5281/zenodo.1293003},
  issn      = {2220-4806},
  keywords  = {Haptics,force feedback,mapping,human-computer interaction},
  pages     = {369--372},
  title     = {Feeling For Sound: Mapping Sonic Data To Haptic Perceptions},
}

@book{tagliavini_clavicembali_1987,
  author    = {Tagliavini, Luigi Ferdinando and Meer, John Henry van der and Bergamini, Wanda. and Hellwig, Friedemann. and di risparmio in Bologna., Cassa},
  language  = {ita},
  location  = {Casalecchio di Reno},
  publisher = {Grafis},
  booktitle = {Clavicembali e spinette dal XVI al XIX secolo : Collezione L.F. Tagliavini ; [catalogue of an exhibition held] Chiesa di San Giorgio in Poggiale, 1 novembre-21 dicembre 1986},
  date      = {1987},
  edition   = {2 edizione.},
  keywords  = {Harpsichord ; Keyboard instruments},
  title     = {Clavicembali E Spinette Dal Xvi Al Xix Secolo : Collezione L.F. Tagliavini ; [Catalogue Of An Exhibition Held] Chiesa Di San Giorgio In Poggiale, 1 Novembre-21 Dicembre 1986},
}

@book{ghisalberti_dizionario_1960,
  author    = {Ghisalberti, Alberto Maria and Istituto della Enciclopedia italiana, issuing body.},
  language  = {ita},
  location  = {Roma},
  publisher = {Istituto della Enciclopedia italiana},
  booktitle = {Dizionario biografico degli Italiani},
  keywords  = {Italy},
  title     = {Dizionario Biografico Degli Italiani},
  volume    = {9},
  year      = {1960},
}

@article{karp_restoration_1979,
  author       = {Karp, Cary},
  language     = {eng},
  publisher    = {Oxford University Press},
  date         = {1979},
  issn         = {0306-1078},
  journaltitle = {Early music},
  keywords     = {Maintenance ; Musical instruments},
  number       = {1},
  pages        = {79--84},
  title        = {Restoration, Conservation: Repair And Maintenance: Some Considerations On The Care Of Musical Instruments},
  volume       = {7},
}

@inproceedings{mcpherson_portable_2013,
  abstract  = {This paper presents a portable optical measurement system for capturingcontinuous key motion on any piano. Very few concert venues have MIDI-enabledpianos, and many performers depend on the versatile but discontinued MoogPianoBar to provide MIDI from a conventional acoustic instrument. The scannerhardware presented in this paper addresses the growing need for alternativesolutions while surpassing existing systems in the level of detail measured.Continuous key position on both black and white keys is gathered at 1kHz samplerate. Software extracts traditional and novel features of keyboard touch fromeach note, which can be flexibly mapped to sound using MIDI or Open SoundControl. RGB LEDs provide rich visual feedback to assist the performer ininteracting with more complex sound mapping arrangements. An application ispresented to the magnetic resonator piano, an electromagnetically-augmentedacoustic grand piano which is performed using continuous key positionmeasurements.},
  author    = {McPherson, Andrew},
  location  = {Daejeon, Republic of Korea},
  publisher = {Graduate School of Culture Technology, KAIST},
  url       = {http://www.nime.org/proceedings/2013/nime2013_240.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2013-05},
  doi       = {10.5281/zenodo.1178610},
  issn      = {2220-4806},
  keywords  = {Piano,keyboard,optical sensing,gesture sensing,visual feedback,mapping,magnetic resonator piano},
  pages     = {152--157},
  title     = {Portable Measurement And Mapping Of Continuous Piano Gesture},
}

@book{papetti_musical_2018,
  abstract  = {This Open Access book offers an original interdisciplinary overview of the role of haptic feedback in musical interaction. Divided into two parts, part I examines the tactile aspects of music performance and perception, discussing how they affect user experience and performance in terms of usability, functionality and perceived quality of musical instruments. Part II presents engineering, computational, and design approaches and guidelines that have been applied to render and exploit haptic feedback in digital musical interfaces. Musical Haptics introduces an emerging field that brings together engineering, human-computer interaction, applied psychology, musical aesthetics, and music performance. The latter, defined as the complex system of sensory-motor interactions between musicians and their instruments, presents a well-defined framework in which to study basic psychophysical, perceptual, and biomechanical aspects of touch, all of which will inform the design of haptic musical interfaces. Tactile and proprioceptive cues enable embodied interaction and inform sophisticated control strategies that allow skilled musicians to achieve high performance and expressivity. The use of haptic feedback in digital musical interfaces is expected to enhance user experience and performance, improve accessibility for disabled persons, and provide an effective means for musical tuition and guidance.},
  author    = {Papetti, Stefano and Papetti, Stefano. and Saitis, Charalampos.},
  language  = {eng},
  location  = {Cham},
  publisher = {Springer Nature},
  booktitle = {Musical Haptics},
  date      = {2018},
  edition   = {1st ed. 2018.},
  isbn      = {3-319-58316-6},
  keywords  = {User interfaces (Computer systems)},
  series    = {Springer Series on Touch and Haptic Systems},
  title     = {Musical Haptics},
}

@online{music_3d-printed_2024,
  author = {of Music, Royal College},
  url    = {https://www.rcm.ac.uk/research/projects/3dprintedmusicalinstruments/},
  date   = {2024},
  title  = {3d Printed Musical Instruments},
}

@article{wachowiak_3d-scanning_2009,
  author       = {Wachowiak, Melvin J. and Karas, Basiliki Vicky},
  date         = {2009},
  journaltitle = {Journal of the American Institute for Conservation},
  number       = {2},
  pages        = {141--158},
  title        = {3d Scanning And Replication For Museum And Cultural Heritage Applications},
  volume       = {48},
}

@inproceedings{moro_platform_2020,
  abstract  = {On several acoustic and electromechanical keyboard instruments, the produced sound is not always strictly dependent exclusively on a discrete key velocity parameter, and minute gesture details can affect the final sonic result. By contrast, subtle variations in articulation have a relatively limited effect on the sound generation when the keyboard controller uses the MIDI standard, used in the vast majority of digital keyboards. In this paper we present an embedded platform that can generate sound in response to a controller capable of sensing the continuous position of keys on a keyboard. This platform enables the creation of keyboard-based DMIs which allow for a richer set of interaction gestures than would be possible through a MIDI keyboard, which we demonstrate through two example instruments. First, in a Hammond organ emulator, the sensing device allows to recreate the nuances of the interaction with the original instrument in a way a velocity-based MIDI controller could not. Second, a nonlinear waveguide flute synthesizer is shown as an example of the expressive capabilities that a continuous-keyboard controller opens up in the creation of new keyboard-based DMIs.},
  author    = {Moro, Giulio and McPherson, Andrew},
  editor    = {Michon, Romain and Schroeder, Franziska},
  location  = {Birmingham, UK},
  publisher = {Birmingham City University},
  url       = {https://www.nime.org/proceedings/2020/nime2020_paper19.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2020-07},
  doi       = {10.5281/zenodo.4813253},
  issn      = {2220-4806},
  pages     = {97--102},
  title     = {A Platform For Low-Latency Continuous Keyboard Sensing And Sound Generation},
}

@online{carlino_bologna_2017,
  author = {del Carlino, Il Resto},
  url    = {https://www.ilrestodelcarlino.it/bologna/cronaca/morto-luigi-fernando-tagliavini-5ede8eba},
  date   = {2017},
  title  = {Bologna, È Morto Il Maestro Luigi Fernando Tagliavini},
}

@online{bolognablog_bologna_2020,
  author = {BOLOGNABLOG},
  url    = {https://bolognablog.info/2020/02/21/bologna-san-colombano-collezione-tagliavini-strumenti-musicali-antichi/},
  date   = {2020},
  title  = {Bologna: San Colombano, Collezione Tagliavini (Strumenti Musicali Antichi)},
}

@book{meer_collezione_2007,
  author    = {van der Meer, John H. and Tagliavini, Luigi F. and Latcham, Michael and Bergamini, Wanda},
  publisher = {Bononia University Press},
  date      = {2007},
  isbn      = {9788873952657},
  number    = {v. 1-3},
  series    = {Collezione Tagliavini : catalogo degli strumenti musicali},
  title     = {Collezione Tagliavini : Catalogo Degli Strumenti Musicali},
  volume    = {1},
}

@online{council_erc-synergy_2024,
  author = {Council, European Research},
  url    = {https://erc.europa.eu/sites/default/files/2024-11/erc-2024-syg-results-all-domains.pdf},
  date   = {2024},
  title  = {Erc Synergy Grants 2024},
}

@inproceedings{serafin_expressive_2001,
  title={Expressive Controllers For Bowed String Physical Models},
  author={Serafin, Stefania and Burtner, Matthew and Nichols, Charles and O’Modhrain, Sile},
  booktitle={Proc. DAFX 2001, Limerick, Ireland},
  year={2001}
}

@inproceedings{schaich_from_2007,
  author    = {Schaich, Martin},
  editor    = {Nimmrichter, J. and Kautek, W. and Schreiner, M.},
  location  = {Berlin, Heidelberg},
  publisher = {Springer Berlin Heidelberg},
  booktitle = {Lasers in the Conservation of Artworks},
  date      = {2007},
  pages     = {463--471},
  title     = {From 3d Scanning To Analytical Heritage Documentation},
}

@article{mcgurk_hearing_1976,
  abstract     = {MOST verbal communication occurs in contexts where the listener can see the speaker as well as hear him. However, speech perception is normally regarded as a purely auditory process. The study reported here demonstrates a previously unrecognised influence of vision upon speech perception. It stems from an observation that, on being shown a film of a young woman's talking head, in which repeated utterances of the syllable {\$[\$}ba{\$]\$} had been dubbed on to lip movements for {\$[\$}ga{\$]\$}, normal adults reported hearing {\$[\$}da{\$]\$}. With the reverse dubbing process, a majority reported hearing {\$[\$}bagba{\$]\$} or {\$[\$}gaba{\$]\$}. When these subjects listened to the soundtrack from the film, without visual input, or when they watched untreated film, they reported the syllables accurately as repetitions of {\$[\$}ba{\$]\$} or {\$[\$}ga{\$]\$}. Subsequent replications confirm the reliability of these findings; they have important implications for the understanding of speech perception.},
  author       = {McGurk, Harry and Macdonald, John},
  url          = {https://doi.org/10.1038/264746a0},
  date         = {1976},
  doi          = {10.1038/264746a0},
  journaltitle = {Nature},
  number       = {5588},
  pages        = {746--748},
  title        = {Hearing Lips And Seeing Voices},
  volume       = {264},
}

@article{timmermans_multibody-based_2020,
  abstract     = {A piano key prototype actuated by a custom-made linear actuator is proposed to enhance the touch of digital pianos by reproducing the force feedback of an acoustic piano action. This paper presents the design and the validation of the haptic device. The approach exploits a multibody model to compute the action dynamics and the corresponding force on the key in real time. More specifically, a grand piano model that includes the five action bodies, its geometry and the specific force laws, is computed in the haptic device. A presizing step along with Finite Element Method (FEM) analysis produced an especially made actuator satisfying the design requirements, in particular the highly dynamic nature of the force to be transmitted. Force peaks, up to 50 (N) in less than 20 (ms), are reachable with low power consumption. Compared to previous solutions: (i) the key physical characteristics are preserved; (ii) the feedback is based on a real-time multibody model that is easily configurable and interchangeable; (iii) an experimental validation of the actuator within the prototype is developed and demonstrates its feasibility. The results confirm that the voice coil can produce suitable haptic feedback. In particular, rendering a grand piano action within the device shows promising haptic force profiles.},
  author       = {Timmermans, Sébastien and Dehez, Bruno and Fisette, Paul},
  url          = {https://www.mdpi.com/2075-1702/8/4/76},
  date         = {2020},
  doi          = {10.3390/machines8040076},
  issn         = {2075-1702},
  journaltitle = {Machines},
  number       = {4},
  title        = {Multibody-Based Piano Action: Validation Of A Haptic Key},
  volume       = {8},
}

@phdthesis{templeton_museum_2018,
  title={Museum Visitor Engagement Through Resonant, Rich And Interactive Experiences},
  author={Templeton, Cheryl A},
  year={2011},
  school={Carnegie Mellon University},
  url    = {https://kilthub.cmu.edu/articles/thesis/Museum_Visitor_Engagement_Through_Resonant_Rich_and_Interactive_Experiences/6723569},  
}

@article{pine_museums_2007,
  author       = {Pine II, Joseph B. and Gilmore, James H.},
  url          = {https://northernlight.nl/wp-content/uploads/Pine-and-Gilmore-Museums-and-Authenticity.pdf},
  date         = {2007},
  journaltitle = {Museum News},
  title        = {Museums And Authenticity},
}


@book{papetti_musical-haptics_2018,
  abstract  = {This Open Access book offers an original interdisciplinary overview of the role of haptic feedback in musical interaction. Divided into two parts, part I examines the tactile aspects of music performance and perception, discussing how they affect user experience and performance in terms of usability, functionality and perceived quality of musical instruments. Part II presents engineering, computational, and design approaches and guidelines that have been applied to render and exploit haptic feedback in digital musical interfaces. Musical Haptics introduces an emerging field that brings together engineering, human-computer interaction, applied psychology, musical aesthetics, and music performance. The latter, defined as the complex system of sensory-motor interactions between musicians and their instruments, presents a well-defined framework in which to study basic psychophysical, perceptual, and biomechanical aspects of touch, all of which will inform the design of haptic musical interfaces. Tactile and proprioceptive cues enable embodied interaction and inform sophisticated control strategies that allow skilled musicians to achieve high performance and expressivity. The use of haptic feedback in digital musical interfaces is expected to enhance user experience and performance, improve accessibility for disabled persons, and provide an effective means for musical tuition and guidance.},
  author    = {Stefano Papetti and Papetti, Stefano. and Saitis, Charalampos.},
  address   = {Cham},
  booktitle = {Musical Haptics},
  edition   = {1st ed. 2018.},
  isbn      = {9783319583167},
  keywords  = {User interfaces (Computer systems) ; Cognitive psychology ; User Interfaces and Human Computer Interaction ; Music ; Cognitive Psychology},
  language  = {eng},
  publisher = {Springer Nature},
  series    = {Springer Series on Touch and Haptic Systems},
  title     = {Musical Haptics },
  year      = {2018},
}

@inbook{omodhrain_once_2018,
  author    = {Sile O'Modhrain and Brent Gillespie},
  editor    = {Papetti, Stefano and Papetti, Stefano. and Saitis, Charalampos.},
  publisher = {Springer Nature},
  chapter   = {2},
  date      = {2018},
  doi       = {10.1007/978-3-319-58316-7},
  edition   = {1st.},  
  title     = {Once More, With Feeling: Revisiting The Role Of Touch In Performer Instrument Interaction.},
  booktitle = {Musical Haptics},
}

@inbook{hayward_brief_2018,
  author    = {Vincent Hayward},
  editor    = {Papetti, Stefano and Papetti, Stefano. and Saitis, Charalampos.},
  publisher = {Springer Nature},
  chapter   = {3},
  date      = {2018},
  doi       = {10.1007/978-3-319-58316-7},
  edition   = {1st.},  
  title     = {A Brief Overview Of The Human Somatosensory System},
  booktitle = {Musical Haptics},
}

@inbook{fontana_perception_2018,
  author    = {Fontana, Federico and Papetti, Stefano and Järveläinen, Hanna and Avanzini, Federico and Giordano, Bruno L.},
  editor    = {Papetti, Stefano and Papetti, Stefano. and Saitis, Charalampos.},
  publisher = {Springer Nature},
  chapter   = {4},
  date      = {2018},
  doi       = {10.1007/978-3-319-58316-7},
  edition   = {1st.},
  title     = {Perception Of Vibrotactile Cues In Musical Performance},
  booktitle = {Musical Haptics},
}

@inbook{charalampos_role_2018,
  author    = {Saitis, Charalampos and Järveläinen, Hanna and Fritz, Claudia},
  editor    = {Papetti, Stefano and Papetti, Stefano. and Saitis, Charalampos.},
  publisher = {Springer Nature},
  chapter   = {5},
  date      = {2018},
  doi       = {10.1007/978-3-319-58316-7},
  edition   = {1st.},
  title     = {The Role Of Haptic Cues In Musical Instrument Quality Perception},
  booktitle = {Musical Haptics},
}

@inbook{young_musical_2018,
  author    = {Gareth W. Young and David Murphy and Jeffrey Weeter},
  editor    = {Papetti, Stefano and Papetti, Stefano. and Saitis, Charalampos.},
  publisher = {Springer Nature},
  chapter   = {6},
  date      = {2018},
  doi       = {10.1007/978-3-319-58316-7},
  edition   = {1st.},  
  title     = {A Functional Analysis Of Haptic Feedback In Digital Musical Instrument Interactions},
  booktitle = {Musical Haptics},
}

@inbook{merchel_functional_2018,
  author    = {Merchel, Sebastian and Altinsoy, Ercan M.},
  editor    = {Papetti, Stefano and Papetti, Stefano. and Saitis, Charalampos.},
  publisher = {Springer Nature},
  chapter   = {7},
  date      = {2018},
  doi       = {10.1007/978-3-319-58316-7},
  edition   = {1st.},  
  title     = {Auditory-Tactile Experience Of Music},
  booktitle = {Musical Haptics},
}

@article{karp_musical_1985,
  author       = {Karp, Cary},
  language     = {eng},
  publisher    = {Taylor and Francis Group},
  date         = {1985},
  issn         = {0260-4779},
  journaltitle = {The International journal of museum management and curatorship},
  number       = {2},
  pages        = {179--182},
  title        = {Musical Instruments In Museums},
  volume       = {4},
}

@article{veroli_optimising_2012,
  author       = {Veroli, Claudio Di},
  location     = {Hebden Bridge, UK},
  publisher    = {Ruxbury Publications Ltd.},
  date         = {2012},
  issn         = {1463-0036},
  journaltitle = {Harpsichord and Fortepiano},
  pages        = {8--13},
  title        = {Optimising Harpsichord Staggering},
  volume       = {16},
}

@inproceedings{mcalpine_sampling_2014,
  abstract  = {In the last decade, the heritage sector has had to adapt to a shifting cultural landscape of public expectations and attitudes towards ownership and intellectual property. One way it has done this is to focus on each visitor{'}s encounter and provide them with a sense of experiential authenticity.There is a clear desire by the public to engage with music collections in this way, and a sound museological rationale for providing such access, but the approach raises particular curatorial problems, specifically how do we meaningfully balance access with the duty to preserve objects for future generations?This paper charts the development of one such project. Based at Fenton House in Hampstead, and running since 2008, the project seeks to model digitally the keyboard instruments in the Benton Fletcher Collection and provide a dedicated interactive exhibit, which allows visitors to view all of the instruments in situ, and then play them through a custom-built two-manual MIDI controller with touch-screen interface.We discuss the approach to modelling, which uses high-definition sampling, and highlight the strengths and weaknesses of the exhibit as it currently stands, with particular focus on its key shortcoming: at present, there is no way to effectively model the key feel of a historic keyboard instrument.This issue is of profound importance, since the feel of any instrument is fundamental to its character, and shapes the way performers relate to it. The issue is further compounded if we are to consider a single dedicated keyboard as being the primary mode of interface for several instrument models of different classes, each with its own characteristic feel.We conclude by proposing an outline solution to this problem, detailing early work on a real-time adaptive haptic keyboard interface that changes its action in response to sampled resistance curves, measured on a key-by-key basis from the original instruments.},
  author    = {McAlpine, {Kenneth B.}},
  editor    = {Hepworth-Sawyer, Russ and Hodgson, J. and Toulson, R. and Paterson, {J. L.}},
  language  = {English},
  publisher = {Future Technology Press},
  url       = {http://inmusic13.innovationinmusic.com/},
  booktitle = {Innovation in Music 2013},
  date      = {2014},
  isbn      = {9780956151681},
  note      = {Innovation In Music 2013, InMusic'13 ; Conference date: 04-12-2013 Through 06-12-2013},
  pages     = {110--125},
  series    = {KES Transactions on Innovation in Music},
  title     = {Sampling The Past: A Tactile Approach To Interactive Musical Instrument Exhibits In The Heritage Sector},
}

@inproceedings{memis_hyper-ney_2024,
  abstract  = {The Hyper-Ney is a hyperinstrument prototype enhancing the traditional ney flute by integrating electronic sensors to expand creative possibilities beyond its affordances. These allow the control of sound synthesis and processing parameters to create a blend of acoustic and synthesized sounds. The core idea is to remap the existing fingering gestures, exploiting acoustically unresponsive holes of the ney flute for enhanced control. Additional interaction methods include lip positioning and instrument movement. We evaluated the system through a study focused on audience reactions, suggesting engaging sonic and visual elements. We complemented this evaluation by including the first author's self-reflections as Hyper-Ney performer.},
  author    = {Memis, Ahmet Emin and Fasciani, Stefano and Erdem, Çağrı},
  editor    = {Bin, S M Astrid and Reed, Courtney N.},
  location  = {Utrecht, Netherlands},
  url       = {http://nime.org/proceedings/2024/nime2024_20.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2024-09},
  doi       = {10.5281/zenodo.13904806},
  issn      = {2220-4806},
  pages     = {133--137},
  title     = {The Hyper-Ney: An Enhanced Traditional Flute},
}

@online{bologna_nemus_2024,
  author = {{Università di Bologna}},
  url    = {https://site.unibo.it/nemus-numerical-sound-restoration/en},
  date   = {2024},
  title  = {The Nemus Project},
}

@inproceedings{masu_o-in-nime_2023,
  abstract  = {In this paper, we reflect on the focus of ``newness'' in NIME research and practice and argue that there is a missing O (for ``Old'') in framing our academic discourse. A systematic review of the last year's conference proceedings reveals that most papers do, indeed, present new instruments, interfaces, or pieces of technology. Comparably few papers focus on the prolongation of existing NIMEs. Our meta-analysis identifies four main categories from these papers: (1) reuse, (2) update, (3) complement, and (4) long-term engagement. We discuss how focusing more on these four types of NIME development and engagement can be seen as an approach to increase sustainability.},
  author    = {Masu, Raul and Morreale, Fabio and Jensenius, Alexander Refsum},
  editor    = {Ortiz, Miguel and Marquez-Borbon, Adnan},
  location  = {Mexico City, Mexico},
  url       = {http://nime.org/proceedings/2023/nime2023_14.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2023-05},
  doi       = {10.5281/zenodo.11189120},
  issn      = {2220-4806},
  pages     = {106--115},
  title     = {The O In Nime: Reflecting On The Importance Of Reusing And Repurposing Old Musical Instruments},
}

@inproceedings{mcpherson_space_2013,
  abstract  = {This paper addresses the question of how to extend the capabilities of a well-established interface in a way that respects users' existing expertise. The piano-style keyboard is among the most widely used and versatile of digital musical interfaces. However, it lacks the ability to alter the pitch of a note after it has been played, a limitation which prevents the performer from executing common expressive techniques including vibrato and pitch bending. We present a system for controlling pitch from the keyboard surface using capacitive touch sensors to measure the locations of the player's fingers on the keys. The large community of trained pianists makes the keyboard a compelling target for augmentation, but it also poses a challenge: how can a musical interface be extended while making use of the existing techniques performers have spent thousands of hours learning? In this paper, user studies with conservatory pianists explore the constraints of traditional keyboard technique and evaluate the usability of the continuous pitch control system. The paper also discusses implications for the extension of other established interfaces in musical and non-musical contexts.},
  author    = {McPherson, Andrew P. and Gierakowski, Adrian and Stark, Adam M.},
  language  = {eng},
  location  = {New York, NY, USA},
  publisher = {ACM},
  booktitle = {Conference on Human Factors in Computing Systems - Proceedings},
  date      = {2013},
  isbn      = {9781450318990},
  pages     = {2195--2204},
  title     = {The Space Between The Notes: Adding Expressive Pitch Control To The Piano Keyboard},
}

@phdthesis{wraight_stringing_1997,
  author      = {Wraight, Denzil},
  institution = {Queen's University},
  location    = {Belfast},
  date        = {1997},
  note        = {UMI order no. 9735109},
  title       = {The Stringing Of Italian Keyboard Instruments C.1500-C.1650}
}

@phdthesis{ed_pasqua_2006,
  author      = {Pasqua, Edmonton Gregory Gordon},
  institution = {Unseen University},
  school      = {Unseen University},
  location    = {Ankh Morpork},
  date        = {2006},
  note        = {},
  title       = {\staveLXI if the oceans get rough}
}


@techreport{wraight_tuning_2017,
  author = {Wraight, Denzil},
  url    = {http://www.denzilwraight.com/Clavemusicum.pdf},
  date   = {2017},
  title  = {The Tuning Of Trasuntino's" Clavemusicum Omnitonum" And Zarlino's Enharmonic System},
}

@techreport{wraight_report_2022,
  author      = {Wraight, Denzil},
  title       = {A Report On The Original State And Alterations To The 1547 Alessandro Trasuntino ['Bortolus Fecit'] Harpsichord With Special Regard To The Parameters Required For Fem Simulations.},
  institution = {Museo San Colombano},
  year        = {2022}
}


@article{kuzminsky_three-dimensional_2012,
  author       = {Kuzminsky, Susan C. and Gardiner, Megan S.},
  date         = {2012},
  journaltitle = {Journal of Archaeological Science},
  number       = {8},
  pages        = {2744--2751},
  title        = {Three-Dimensional Laser Scanning: Potential Uses For Museum Conservation And Scientific Research},
  volume       = {39},
}

@online{paradiso_to-save_2019,
  author = {Paradiso, Max},
  url    = {https://www.nytimes.com/2019/01/17/arts/music/stradivarius-sound-bank-recording-cremona.html},
  date   = {2019},
  title  = {To Save The Sound Of A Stradivarius, A Whole City Must Keep Quiet},
}

@online{pasquale_trasuntino_2019,
  author = {Pasquale, Marco Di},
  url    = {https://www.treccani.it/enciclopedia/trasuntino_(Dizionario-Biografico)},
  date   = {2019},
  title  = {Trasuntino: Dizionario Biografico Degli Italiani - Volume 96 (2019)},
}

@inproceedings{baldwin_tromba_2016,
  abstract  = {An interactive museum exhibit of a digitally augmented medieval musical instrument, the tromba marina, is presented. The tromba marina is a curious single stringed instrument with a rattling bridge, from which a trumpet-like timbre is produced. The physical instrument was constructed as a replica of one found in Musikmuseet in Frederiksberg. The replicated instrument was augmented with a pickup, speakers and digital signal processing to create a more reliable, approachable and appropriate instrument for interactive display in the museum. We report on the evaluation of the instrument performed at the Danish museum of musical instruments.},
  author    = {Baldwin, Alex and Hammer, Troels and Pechiulis, Edvinas and Williams, Peter and Overholt, Dan and Serafin, Stefania},
  location  = {Brisbane, Australia},
  publisher = {Queensland Conservatorium Griffith University},
  url       = {http://www.nime.org/proceedings/2016/nime2016_paper0004.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2016},
  doi       = {10.5281/zenodo.3964592},
  isbn      = {978-1-925455-13-7},
  issn      = {2220-4806},
  pages     = {14--19},
  title     = {Tromba Moderna: A Digitally Augmented Medieval Instrument},
}

@inproceedings{allard_use-of-hand-held_2005,
  author    = {Allard, Travis and Sitchon, Myra and Sawatzky, Roland and Hoppa, Robert},
  location  = {Pisa, Italy},
  booktitle = {6th International Symposium on Virtual Reality, Archaelogy and Cultural Heritage},
  date      = {2005-11},
  title     = {Use Of Hand-Held Laser Scanning And 3d Printing For Creation Of A Museum Exhibit},
}

@article{trant_when_1999,
  author       = {Trant, Jennifer},
  date         = {1999},
  journaltitle = {Archives and Museum Informatics},
  number       = {2},
  pages        = {107--125},
  title        = {When All You've Got Is ``The Real Thing'': Museums And Authenticity In The Networked World},
  volume       = {12},
}

@inproceedings{borchers_worldbeat_1997,
  author    = {Borchers, Jan O.},
  language  = {eng},
  location  = {New York, NY, USA},
  publisher = {ACM},
  booktitle = {CHI 97: Conference on Human Factors in Computing},
  date      = {1997},
  isbn      = {0897918029},
  pages     = {131--138},
  title     = {Worldbeat: Designing A Baton-Based Interface For An Interactive Music Exhibit},
}

@inproceedings{walstijn_real-time_2016,
  author    = {van Walstijn, M. and Bridges, J. and Mehes, S.},
  booktitle = {Proceedings of the International Conference on Digital Audio Effects},
  date      = {2016},
  pages     = {175--182},
  title     = {A Real-Time Synthesis Oriented Tanpura Model},
}

@article{sherman_adjustment_1950,
  author       = {Sherman, J. and Morrison, W. J.},
  date         = {1950},
  issue        = {1},
  journaltitle = {Annals of Mathematical Statistics},
  pages        = {124--127},
  title        = {Adjustment Of An Inverse Matrix Corresponding To A Change In One Element Of A Given Matrix},
  volume       = {21},
}

@inproceedings{trolland_airsticks_2022,
  author    = {Trolland, Sam and Ilsar, Alon and Frame, Ciaran and McCormack, Jon and Wilson, Elliott},
  location  = {Auckland, New Zealand},
  url       = {https://nime.pubpub.org/pub/vwbc1tlk},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2022},
  pages     = {16--21},
  title     = {Airsticks 2.0: Instrument Design For Expressive Gestural Interaction},
}

@inproceedings{hamilton_augmentation_2025,
 abstract = {This paper describes the design and creation of an electronically augmented replica of a historical harpsichord keyboard with a typical 17th-century Italian layout to create a digital musical instrument. The keyboard was commissioned for exhibition in a musical instrument museum to enhance the visitor experience by providing an interface to digitised versions of instruments within the collection. The replica balances the competing demands of historical authenticity, public accessibility, and preservation. It replicates the original instrument’s tactile feedback and mechanical resistance using historically informed construction techniques. Optical sensors integrated within the mechanism capture the jacks’ motion data, enabling MIDI message generation. This work situates itself within broader discussions on the role of technology in museums. A keyboard interface of this type offers an opportunity to enhance visitor interaction with musical heritage while safeguarding delicate artefacts. The paper examines the keyboard’s design principles, technical implementation, and implications, emphasising its contribution to public engagement and the long-term preservation of musical heritage.},
 address   = {Canberra, Australia},
 articleno = {61},
 author    = {Matthew Hamilton and Michele Ducceschi and Roberto Livi and Catalina Vicens and Andrew McPherson},
 booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
 doi       = {10.5281/zenodo.15698916},
 editor    = {Doga Cavdir and Florent Berthaut},
 issn      = {2220-4806},
 month     = jun,
 numpages  = {8},
 pages     = {424--431},
 title     = {Augmentation of a Historical Harpsichord Keyboard Replica for Haptic-Enabled Interaction in Museum Exhibitions},
 track     = {Paper},
 url       = {http://nime.org/proceedings/2025/nime2025_61.pdf},
 year      = {2025}
}

@inproceedings{hamilton_augmentation_2025_activities,
 abstract = {This paper describes the design and creation of an electronically augmented replica of a historical harpsichord keyboard with a typical 17th-century Italian layout to create a digital musical instrument. The keyboard was commissioned for exhibition in a musical instrument museum to enhance the visitor experience by providing an interface to digitised versions of instruments within the collection. The replica balances the competing demands of historical authenticity, public accessibility, and preservation. It replicates the original instrument’s tactile feedback and mechanical resistance using historically informed construction techniques. Optical sensors integrated within the mechanism capture the jacks’ motion data, enabling MIDI message generation. This work situates itself within broader discussions on the role of technology in museums. A keyboard interface of this type offers an opportunity to enhance visitor interaction with musical heritage while safeguarding delicate artefacts. The paper examines the keyboard’s design principles, technical implementation, and implications, emphasising its contribution to public engagement and the long-term preservation of musical heritage.},
 address   = {Canberra, Australia},
 articleno = {61},
 author    = {\textbf{Matthew Hamilton} and Michele Ducceschi and Roberto Livi and Catalina Vicens and Andrew McPherson},
 booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
 doi       = {10.5281/zenodo.15698916},
 editor    = {Doga Cavdir and Florent Berthaut},
 issn      = {2220-4806},
 month     = jun,
 numpages  = {8},
 pages     = {424--431},
 title     = {Augmentation of a Historical Harpsichord Keyboard Replica for Haptic-Enabled Interaction in Museum Exhibitions},
 track     = {Paper},
 url       = {http://nime.org/proceedings/2025/nime2025_61.pdf},
 year      = {2025}
}


@book{moore_elements_1990,
  author    = {Moore, F. Richard},
  publisher = {Prentice Hall},
  date      = {1990},
  title     = {Elements Of Computer Music},
}

@article{bilbao_explicit_2023,
  author       = {Bilbao, Stefan and Ducceschi, Michele and Zama, Fabiana},
  publisher    = {Elsevier},
  date         = {2023},
  journaltitle = {Journal of Computational Physics},
  pages        = {111697},
  title        = {Explicit Exactly Energy-Conserving Methods For Hamiltonian Systems},
  volume       = {472},
}

@article{walstijn_implicit_2024,
  author       = {van Walstijn, M. and Chatziioannou, V. and Bhanuprakash, A.},
  publisher    = {Elsevier},
  date         = {2024},
  journaltitle = {Journal of Sound and Vibration},
  pages        = {117968},
  title        = {Implicit And Explicit Schemes For Energy-Stable Simulation Of String Vibrations With Collisions: Refinement, Analysis, And Comparison},
  volume       = {569},
}

@inproceedings{tanaka_multimodal_2002,
  author    = {Tanaka, Atau and Knapp, R. Benjamin},
  location  = {Dublin, Ireland},
  url       = {https://www.nime.org/proceedings/2002/nime2002_171.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2002},
  pages     = {171--176},
  title     = {Multimodal Interaction In Music Using The Electromyogram And Relative Position Sensing},
}

@misc{nemus_description_2023,
  author       = {Council, European Research},
  url          = {https://cordis.europa.eu/project/id/950084},
  note         = {Grant No. 950084, accessed 2025},
  title        = {Nemus Project Description},
  doi          = {10.3030/950084}
}

@thesis{russo_noniterative_2025,
  author      = {Russo, Riccardo},
  institution = {University of Bologna},
  location    = {Bologna, Italy},
  date        = {2025-04},
  title       = {Non-Iterative Numerical Simulation Techniques For Nonlinear String Vibration In Musical Acoustics},
  type        = {Ph.D. dissertation},
}

@article{cuesta_nonlinear_1996,
  author       = {Cuesta, H. and Vallette, C.},
  date         = {1996},
  journaltitle = {Acta Acustica united with Acustica},
  number       = {4},
  pages        = {657--664},
  title        = {Nonlinear Damping In Musical String Models},
  volume       = {82},
}

@article{cieslinski_exact_2011,
  author       = {Cieśliński, Jan L.},
  publisher    = {Taylor \& Francis},
  date         = {2011},
  doi          = {10.1080/10236198.2010.502512},
  journaltitle = {Journal of Difference Equations and Applications},
  number       = {11},
  pages        = {1673--1694},
  title        = {On The Exact Discretization Of The Classical Harmonic Oscillator Equation},
  volume       = {17},
}

@article{smith_physical_2010,
  author       = {Smith, Julius O.},
  date         = {2010},
  journaltitle = {Computer Music Journal},
  number       = {2},
  pages        = {87--93},
  title        = {Physical Modeling Synthesis Update},
  volume       = {34},
}

@article{truax_real-time_1988,
  author       = {Truax, Barry},
  date         = {1988},
  journaltitle = {Computer Music Journal},
  number       = {2},
  pages        = {14--26},
  title        = {Real-Time Granular Synthesis With A Digital Signal Processor},
  volume       = {12},
}

@inproceedings{bilbao_real-time_2024,
  author    = {Bilbao, Stefan and Russo, Riccardo and Webb, Craig J. and Ducceschi, Michele},
  location  = {Guildford, United Kingdom},
  booktitle = {Proceedings of the 27th International Conference on Digital Audio Effects},
  date      = {2024-09},
  title     = {Real-Time Guitar Synthesis},
}

@article{russo_scalar_2024,
  author       = {Russo, Riccardo and Bilbao, Stefan and Ducceschi, Michele},
  publisher    = {Elsevier},
  date         = {2024},
  journaltitle = {IFAC-PapersOnLine},
  number       = {6},
  pages        = {160--165},
  title        = {Scalar Auxiliary Variable Techniques For Nonlinear Transverse String Vibration},
  volume       = {58},
}

@book{roads_computer_1996,
  author    = {Roads, Curtis},
  publisher = {MIT Press},
  date      = {1996},
  title     = {The Computer Music Tutorial},
}

@inproceedings{mulder_virtual_2000,
  author    = {Mulder, Axel},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2000},
  pages     = {1--5},
  title     = {Virtual Musical Instruments: Accessing The Sound Synthesis Universe As A Performer},
}

@inproceedings{liang_piano_2017,
  author    = {Liang, Beici and Fazekas, György and Mcpherson, Andrew and Sandler, Mark B.},
  url       = {https://api.semanticscholar.org/CorpusID:34690795},
  booktitle = {New Interfaces for Musical Expression},
  date      = {2017},
  title     = {Piano Pedaller: A Measurement System For Classification And Visualisation Of Piano Pedalling Techniques},
}

@article{cheveigne_yin_2002,
  abstract     = {An algorithm is presented for the estimation of the fundamental frequency (F0) of speech or musical sounds. It is based on the well-known autocorrelation method with a number of modifications that combine to prevent errors. The algorithm has several desirable features. Error rates are about three times lower than the best competing methods, as evaluated over a database of speech recorded together with a laryngograph signal. There is no upper limit on the frequency search range, so the algorithm is suited for high-pitched voices and music. The algorithm is relatively simple and may be implemented efficiently and with low latency, and it involves few parameters that must be tuned. It is based on a signal model (periodic signal) that may be extended in several ways to handle various forms of aperiodicity that occur in particular applications. Finally, interesting parallels may be drawn with models of auditory processing.},
  author       = {de Cheveign\'e, Alain and Kawahara, Hideki},
  language     = {eng},
  location     = {United States},
  date         = {2002},
  issn         = {0001-4966},
  journaltitle = {The Journal of the Acoustical Society of America},
  keywords     = {Algorithms ; Human beings ; Models,Statistical ; Music ; Pitch Discrimination ; Sensitivity and Specificity ; Speech Acoustics ; Voice Quality},
  number       = {4},
  pages        = {1917--1930},
  title        = {Yin, A Fundamental Frequency Estimator For Speech And Music},
  volume       = {111},
}

@article{viala_identification_2018,
  abstract     = {Inverse methods have been used for decades to identify material properties, in parallel, or as a substitution for direct methods. Although it has proven a useful method for many types of materials and simple geometrical shapes, it has barely been used on complex shape parts. This is the main objective of the non-destructive method proposed in this study. The proposed inverse approach, based on both vibrational experiment data and Finite Element Model Updating (FEMU), is successfully applied to a violin soundboard made of flax-epoxy composite. Results show that, by minimizing the discrepancy between the experimental and numerical data, three rigidities and three loss factors can be determined simultaneously. The identified values of the constitutive elastic moduli and longitudinal loss factor are in agreement with those determined using quasi-static tests and dynamic mechanical analysis.},
  author       = {Viala, Romain and Placet, Vincent and Cogan, Scott},
  language     = {eng},
  location     = {OXFORD},
  publisher    = {Elsevier Ltd},
  date         = {2018},
  issn         = {1359-835X},
  journaltitle = {Composites. Part A, Applied science and manufacturing},
  keywords     = {Engineering ; Finite element method ; Materials science ; Mechanical properties ; Mechanics ; Nondestructive testing ; Physics ; Technology},
  number       = {1},
  pages        = {91--103},
  title        = {Identification Of The Anisotropic Elastic And Damping Properties Of Complex Shape Composite Parts Using An Inverse Method Based On Finite Element Model Updating And 3d Velocity Fields Measurements (Femu-3dvf): Application To Bio-Based Composite Violin Soundboards},
  volume       = {106},
}

@article{viala_model-based_2021,
  abstract     = {*Evidence of the dominance of the guitar brace design over material and climatic variability.*Statistical methodology applied to musical instruments study.*Stochastic analysis based on physics-based models.*Fuzzy FRF for different cases of soundboard braces. It is generally alleged that the design choices of acoustic guitar bracing patterns lead to a specific sound of the instrument. However, in the presence of strong uncertainties due to variability of material properties and climatic conditions, the robustness of the soundboard dynamics has yet to be investigated. In this study, three types of bracing patterns are studied using physics-based models and stochastic analyses are performed to account for material and climatic uncertainties. It is shown that the choice of a brace design leads, at least in the low frequency domain, to a dynamic behaviour that is not stackable with another design, even in the presence of strong aleatory uncertainties. This assessment supports the conjecture that guitar brace design choices have a greater impact than material variability where guitar soundboard dynamics are concerned. More generally, these results illustrate the usefulness of detailed physics-based models in the understanding, design and making of guitars.},
  author       = {Viala, Romain and Placet, Vincent and Cogan, Scott},
  language     = {eng},
  location     = {OXFORD},
  publisher    = {Elsevier Ltd},
  date         = {2021},
  issn         = {0003-682X},
  journaltitle = {Applied acoustics},
  keywords     = {Acoustics ; Materials ; Technology},
  pages        = {108275--},
  title        = {Model-Based Evidence Of The Dominance Of The Guitar Brace Design Over Material And Climatic Variability For Dynamic Behaviors},
  volume       = {182},
}

@article{viala_effect_2024,
  abstract     = {In this study, the influence of ``bear claw'' or indented growth ring anatomical patterns on the vibro-mechanical behavior of spruce wood have been investigated, particularly in the context of utilizing these singularities/specific features for the construction of violins. By employing vibrometry and modal analysis followed by finite element model updating, the vibro-mechanical properties (specific stiffness in longitudinal (L) and radial (R) directions and shear LR plane, and associated damping) of the indented growth rings spruce were identified and implemented in a numerical model of a violin. Results have revealed a significant increase in specific moduli in R direction and LR plane and decrease in L direction of spruce wood in the presence of indented growth rings, therefore accompanied by a reduction in anisotropic elastic properties, in comparison to spruce without these patterns. These properties led to changes in violin dynamics, globally increasing resonance frequencies and changing the shape of the vibration modes. The simulated frequency response function of the violin at the bridge suggested a global shift of the admittance of the bridge toward higher frequencies. These results suggest a potential impact of indented growth rings of spruce on the acoustic properties of instruments.},
  author       = {Viala, Romain and Cabaret, Jérémy and Sedighi-Gilani, Marjan and Placet, Vincent and Cogan, Scott},
  language     = {eng},
  location     = {BERLIN},
  publisher    = {De Gruyter},
  date         = {2024},
  issn         = {0018-3830},
  journaltitle = {Holzforschung},
  keywords     = {Materials science ; Mechanics ; Technology},
  number       = {3},
  pages        = {189--201},
  title        = {Effect Of Indented Growth Rings On Spruce Wood Mechanical Properties And Subsequent Violin Dynamics},
  volume       = {78},
}

@article{jack_action-sound_2018,
  abstract     = {Asynchrony between tactile and auditory feedback (action-sound latency) when playing a musical instrument is widely recognized as disruptive to musical performance. In this paper we present a study that assesses the effects of delayed auditory feedback on the timing accuracy and judgments of instrument quality for two groups of participants: professional percussionists and non-percussionist amateur musicians. The amounts of delay tested in this study are relatively small in comparison to similar studies of auditory delays in a musical context (0 ms, 10 ms, 10 ms \$\pm\$ 3 ms, 20 ms). We found that both groups rated the zero latency condition as higher quality for a series of quality measures in comparison to 10 ms \$\pm\$ 3 ms and 20 ms latency, but did not show a significant difference in rating between 10 ms latency and zero latency. Professional percussionists were more aware of the latency conditions and showed less variation of timing under the latency conditions, although this ability decreased as the temporal demands of the task increased. We compare our findings from each group and discuss them in relation to latency in interactive digital systems more generally and experimentally similar work on sensorimotor control and rhythmic performance.},
  author       = {Jack, Robert H. and Mehrabi, Adib and Stockman, Tony and McPherson, Andrew},
  language     = {eng},
  location     = {OAKLAND},
  publisher    = {UNIVERSITY OF CALIFORNIA PRESS},
  date         = {2018},
  issn         = {0730-7829},
  journaltitle = {Music perception},
  keywords     = {Acoustics ; Feedback ; MP3 (Audio coding standard) ; Music ; Musical instruments ; Percussion music ; Percussionists ; Psychology ; Psychology,Experimental ; Reaction time ; Social sciences ; Sound ; Statistics},
  number       = {1},
  pages        = {109--128},
  title        = {Action-Sound Latency And The Perceived Quality Of Digital Musical Instruments: Comparing Professional Percussionists And Amateur Musicians},
  volume       = {36},
}

@online{foundation_timeit_2024,
  author = {Foundation, Python},
  url    = {https://docs.python.org/3/library/timeit.html},
  date   = {2024-04},
  title  = {Timeit --- Measure Execution Time Of Small Code Snippets¶},
}

@online{mathworks_measure_2024,
  author = {MathWorks},
  url    = {https://uk.mathworks.com/help/matlab/matlab_prog/measure-performance-of-your-program.html},
  date   = {2024-04},
  title  = {Measure The Performance Of Your Code},
}

@inproceedings{buchanan-dunlop_perspectives_2024,
  abstract  = {Recording sounds from novel perspectives is of particular interest in the creation of immersive sound design. Sound design that provides an immersive experience for the listener is increasingly relevant, with widespread use across music, film, computer games and other media modalities. Laser doppler vibrometry (LDV) is a non-contact technique for the measurement of mechanical vibration. LDV is used in a wide range of research and engineering applications, including biophysics, microelectronics, and the automotive industries. In audio and acoustics research, LDV can be used instead of piezoelectric transducers where high sensitivity, non-contact measurements are important to ensure the accurate capture of vibrations over a wide frequency range. However, while its use for data gathering and analysis is very well established, its potential as a creative tool in immersive sound design has seen very little research. In this paper we show that LDV can provide a unique and creatively valuable sonic perspective on sound making objects. We demonstrate how an LDV system can be optimised for such use, and allow high quality vibration recordings to be made and used in the creation of immersive sound and music experiences. The results build on what is possible with commonly used piezoelectric transducers by harnessing the non-invasive nature of LDV. The ability to measure vibration at a single point with very wide spectral resolution, and to focus on the vibration of both large and tiny objects, reveals a new sonic world with significant potential in the development of immersive sound design.},
  author    = {Buchanan-Dunlop, Roderick and Newton, {Michael J.} and Parker, Martin},
  language  = {English},
  publisher = {Sound and Music Computing Network},
  booktitle = {Proceedings of the Sound and Music Computing Conference 2024},
  date      = {2024-05-30},
  note      = {Sound and Music Computing Conference 2024 ; Conference date: 04-07-2024 Through 06-07-2024},
  pages     = {1--8},
  series    = {Proceedings of the Sound and Music Computing Conference},
  title     = {Perspectives On Immersion Through Laser Doppler Vibrometry},
}

@article{almanza_physics-based_2023,
  abstract     = {Curators of heritage musical instruments are faced with a number of recurring questions concerning the objects in their collection. Can the instrument be played without damaging it? How might it best be restored? Can we understand how and why the instrument evolved in the way it did and the impact of the different steps in its construction? Indeed, the impact of the different steps in the assembly of a musical instrument must be anticipated in order to assess its playability. Curators may question whether the state of internal stress, deliberately introduced by the instrument maker during the assembly process, should be restored after it has relaxed over time. These questions are typically answered through expert judgment. Meanwhile, it may be possible to leverage detailed physics-based models to enrich the decision support in the museum environment. This novel strategy is illustrated in the present study to investigate the importance of the different steps in the assembly process in order to guide the restoration process. In particular, numerical and experimental studies that have been carried out on a facsimile of the soundboard of the Christoph Koch's archlute of 1654 (E.546) with the objective of quantifying the impact of its assembly and gluing processes on the low frequency vibratory behavior. It is shown that a nominal non validated numerical model is able to predict trends, validated via experimental studies, that can be useful in understanding the impact of the assembly process in order to guide future restorative measures. *Recurring questions facing curators of heritage musical instruments concerning their state of playability.*Museum decisions about instrument restoration and playability can be informed by leveraging detailed physics-based models.*Internal mechanical stresses can be purposely introduced by the luthier during the musical instrument assembly process.*Non-validated physics-based models can be leveraged to predict useful trends.*Uncertainty in gluing process has a higher impact on the soundboard's low frequency behaviour than its assembly process.},
  author       = {Almanza, Victor and Le Conte, Sandie and Vaiedelich, Stéphane and Foltête, Emmanuel and Viala, Romain and Arciniegas Mosquera, Andrés Felipe and Martinez, Loı̈c and Wilkie-Chancellier, Nicolas and Serfaty, Stéphane and Placet, Vincent and Cogan, Scott},
  language     = {eng},
  location     = {OXFORD},
  publisher    = {Elsevier Ltd},
  date         = {2023},
  issn         = {0003-682X},
  journaltitle = {Applied acoustics},
  keywords     = {Acoustics ; Mechanics ; Physics ; Technology},
  pages        = {109672--},
  title        = {Physics-Based Simulations For Assessing The Playability Of Heritage Musical Instruments: Impact Of The Soundboard Assembly Process On Its Low Frequency Behavior},
  volume       = {214},
}

@book{mathews_technology_1969,
  author    = {Mathews, M. V},
  location  = {Cambridge, MA},
  publisher = {MIT Press},
  date      = {1969},
  title     = {The Technology Of Computer Music},
}

@article{carcagno_effect_2018,
  abstract     = {Some of the most prized woods used for the backs and sides of acoustic guitars are expensive, rare, and from unsustainable sources. It is unclear to what extent back woods contribute to the sound and playability qualities of acoustic guitars. Six steel-string acoustic guitars were built for this study to the same design and material specifications except for the back/side plates which were made of woods varying widely in availability and price (Brazilian rosewood, Indian rosewood, mahogany, maple, sapele, and walnut). Bridge-admittance measurements revealed small differences between the modal properties of the guitars which could be largely attributed to residual manufacturing variability rather than to the back/side plates. Overall sound quality ratings, given by 52 guitarists in a dimly lit room while wearing welder's goggles to prevent visual identification, were very similar between the six guitars. The results of a blinded ABX discrimination test, performed by another subset of 31 guitarists, indicate that guitarists could not easily distinguish the guitars by their sound or feel. Overall, the results suggest that the species of wood used for the back and sides of a steel-string acoustic guitar has only a marginal impact on its body mode properties and perceived sound.},
  author       = {Carcagno, Samuele and Bucknall, Roger and Woodhouse, Jim and Fritz, Claudia and Plack, Christopher J.},
  language     = {eng},
  location     = {MELVILLE},
  publisher    = {Acoustical Soc Amer Amer Inst Physics},
  date         = {2018},
  issn         = {0001-4966},
  journaltitle = {The Journal of the Acoustical Society of America},
  keywords     = {Acoustics ; Technology},
  number       = {6},
  pages        = {3533--3547},
  title        = {Effect Of Back Wood Choice On The Perceived Quality Of Steel-String Acoustic Guitars},
  volume       = {144},
}

@article{gilbert_sparse_1992,
  abstract     = {The matrix computation language and environment MATLAB is extended to include sparse matrix storage and operations. The only change to the outward appearance of the MATLAB language is a pair of commands to create full or sparse matrices. Nearly all the operations of MATLAB now apply equally to full or sparse matrices, without any explicit action by the user. The sparse data structure represents a matrix in space proportional to the number of nonzero entries, and most of the operations compute sparse results in time proportional to the number of arithmetic operations on nonzeros.},
  author       = {John R. Gilbert and Cleve Moler and Robert Schreiber},
  language     = {eng},
  location     = {PHILADELPHIA},
  publisher    = {Siam Publications},
  date         = {1992},
  issn         = {0895-4798},
  journaltitle = {SIAM journal on matrix analysis and applications},
  keywords     = {Algebras,Linear ; Differential equations,Partial ; Eigenvalues ; Mathematics ; Numerical analysis ; Physical sciences},
  number       = {1},
  pages        = {333--356},
  title        = {Sparse Matrices In Matlab - Design And Implementation},
  volume       = {13},
}

@article{hong_how_2019,
  author = {Hong, Neil Chue},
  url    = {https://figshare.com/articles/presentation/How_to_cite_software_current_best_practice/8124284},
  date   = {2019-05},
  doi    = {10.6084/m9.figshare.8124284.v1},
  title  = {{How To Cite Software: Current Best Practice}},
}


@article{hamilton_magpie_2024,
  author       = {Hamilton, Matthew and Ducceschi, Michele and Mousseau, Alexis and Duran, Sebastian},
  date         = {2024-10},
  journaltitle = {INTER-NOISE and NOISE-CON Congress and Conference Proceedings},
  pages        = {5918--5929},
  title        = {Magpie: A Web-Based, Open-Source Framework For Plate Vibration Analysis},
  volume       = {270},
  doi          = {10.3397/IN_2024_3662},
  url          = {https://doi.org/10.3397/IN_2024_3662}
}

@article{hamilton_magpie_2024_activities,
  author       = {\textbf{Matthew Hamilton} and Ducceschi, Michele and Mousseau, Alexis and Duran, Sebastian},
  date         = {2024-10},
  journaltitle = {INTER-NOISE and NOISE-CON Congress and Conference Proceedings},
  pages        = {5918--5929},
  title        = {Magpie: A Web-Based, Open-Source Framework For Plate Vibration Analysis},
  volume       = {270},
  doi          = {10.3397/IN_2024_3662},
  url          = {https://doi.org/10.3397/IN_2024_3662}
}


@article{wilkinson_fair_2016,
  abstract     = {There is an urgent need to improve the infrastructure supporting the reuse of scholarly data. A diverse set of stakeholders---representing academia, industry, funding agencies, and scholarly publishers---have come together to design and jointly endorse a concise and measureable set of principles that we refer to as the FAIR Data Principles. The intent is that these may act as a guideline for those wishing to enhance the reusability of their data holdings. Distinct from peer initiatives that focus on the human scholar, the FAIR Principles put specific emphasis on enhancing the ability of machines to automatically find and use the data, in addition to supporting its reuse by individuals. This Comment is the first formal publication of the FAIR Principles, and includes the rationale behind them, and some exemplar implementations in the community.},
  author       = {Wilkinson, Mark D. and Dumontier, Michel and Aalbersberg, IJsbrand Jan and Appleton, Gabrielle and Axton, Myles and Baak, Arie and Blomberg, Niklas and Boiten, Jan-Willem and da Silva Santos, Luiz Bonino and Bourne, Philip E. and Bouwman, Jildau and Brookes, Anthony J. and Clark, Tim and Crosas, Mercè and Dillo, Ingrid and Dumon, Olivier and Edmunds, Scott and Evelo, Chris T. and Finkers, Richard and Gonzalez-Beltran, Alejandra and Gray, Alasdair J.G. and Groth, Paul and Goble, Carole and Grethe, Jeffrey S. and Heringa, Jaap and 't Hoen, Peter A.C and Hooft, Rob and Kuhn, Tobias and Kok, Ruben and Kok, Joost and Lusher, Scott J. and Martone, Maryann E. and Mons, Albert and Packer, Abel L. and Persson, Bengt and Rocca-Serra, Philippe and Roos, Marco and van Schaik, Rene and Sansone, Susanna-Assunta and Schultes, Erik and Sengstag, Thierry and Slater, Ted and Strawn, George and Swertz, Morris A. and Thompson, Mark and van der Lei, Johan and van Mulligen, Erik and Velterop, Jan and Waagmeester, Andra and Wittenburg, Peter and Wolstencroft, Katherine and Zhao, Jun and Mons, Barend},
  url          = {https://doi.org/10.1038/sdata.2016.18},
  date         = {2016-03-15},
  doi          = {10.1038/sdata.2016.18},
  issn         = {2052-4463},
  journaltitle = {Scientific Data},
  number       = {1},
  pages        = {160018},
  title        = {The Fair Guiding Principles For Scientific Data Management And Stewardship},
  volume       = {3},
}

@misc{unesco_open_2021,
  author    = {UNESCO},
  publisher = {Zenodo},
  url       = {https://doi.org/10.54677/MNMH8546},
  date      = {2021-11},
  doi       = {10.54677/MNMH8546},
  title     = {Unesco Recommendation On Open Science, Graphic Version},
  version   = {Updated 15 November 2022 (typesetting revision)},
}

@article{alain_cancellation_2023,
  abstract     = {A model of early auditory processing is proposed in which each peripheral channel is processed by a delay-and-subtract cancellation filter, tuned independently for each channel with a criterion of minimum power. For a channel dominated by a pure tone or a resolved partial of a complex tone, the optimal delay is its period. For a channel responding to harmonically-related partials, the optimal delay is their common fundamental period. Each peripheral channel is thus split into two subchannels, one that is cancellation-filtered and the other not. Perception can involve either or both, depending on the task. The model is illustrated by applying it to the masking asymmetry between pure tones and narrowband noise: a noise target masked by a tone is more easily detectable than a tone target masked by noise. The model is one of a wider class of models, monaural or binaural, that cancel irrelevant stimulus dimensions so as to attain invariance to competing sources. Similar to occlusion in the visual domain, cancellation yields sensory evidence that is incomplete, thus requiring Bayesian inference of an internal model of the world along the lines of Helmholtz{'}s doctrine of unconscious inference.Competing Interest StatementThe authors have declared no competing interest.},
  author       = {Alain de, Cheveigné},
  publisher    = {Cold Spring Harbor Laboratory},
  url          = {https://www.biorxiv.org/content/early/2023/05/02/2022.11.27.518095},
  date         = {2023},
  doi          = {10.1101/2022.11.27.518095},
  eprint       = {https://www.biorxiv.org/content/early/2023/05/02/2022.11.27.518095.full.pdf},
  journaltitle = {bioRxiv},
  title        = {In-Channel Cancellation: A Model Of Early Auditory Processing},
}

@article{saidana_mcgurk_1990,
  abstract     = {A replication of the McGurk effect was conducted using nonspeech stimuli. The McGurk effect is a well‐known phenomenon in speech perception that demonstrates how visual information for articulation can change an auditory speech percept [H. McGurk and J. McDonald, Nature 264, 746--748 (1976)]. The McGurk effect is often used to support the notion that a specialized speech module exists in the nervous system, which processes all information related to speech regardless of modality. In the current study subjects were presented with both consistent and discrepant audio‐visual tokens of plucks and bows on a cello. Audio stimuli consisted of a continuum of tokens that ranged from plucks to bows. The tokens were dubbed synchronously on to a video image of a musician either plucking or bowing a cello. It was observed that subjects' auditory judgments could be affected by the visual stimuli suggesting that the McGurk effect might not be special to speech. These results will be discussed in terms of auditory, fuzzy logical model, motor, and ecological theories of speech perception.},
  author       = {Saidaña, Helena M. and Rosenblum, Lawrence D.},
  url          = {https://doi.org/10.1121/1.2028778},
  date         = {2005-08},
  doi          = {10.1121/1.2028778},
  eprint       = {https://pubs.aip.org/asa/jasa/article-pdf/88/S1/S176/12200944/s176\_3\_online.pdf},
  issn         = {0001-4966},
  journaltitle = {The Journal of the Acoustical Society of America},
  number       = {S1},
  pages        = {S176--S176},
  title        = {A Nonspeech Replication Of The Mcgurk Effect Using Pluck And Bow Stimuli},
  volume       = {88},
}

@article{politzer_mcgurk_2019,
  abstract     = {The McGurk effect is an illusion whereby speech sounds are often mis-categorized when the auditory cues in the stimulus conflict with the visual cues from the speaker's face. A recent study claims that `skilled musicians are not subject to' this effect. It is not clear, however, if this is intended to mean that skilled musicians do not experience the McGurk effect at all, or if they just experience it to a lesser magnitude than non-musicians. The study also does not statistically demonstrate either of these conclusions, as it does report a numerical (albeit non-significant) McGurk effect for musicians and does not report a significant difference between musicians' and non-musicians' McGurk effect sizes. This article reports a pre-registered, higher-power replication of that study (using twice the sample size and changing from a between- to a within-participants manipulation). Contrary to the original study's conclusion, we find that musicians do show a large and statistically significant McGurk effect and that their effect is no smaller than that of non-musicians.},
  author       = {Politzer-Ahles, Stephen and Pan, Lei},
  url          = {https://royalsocietypublishing.org/doi/abs/10.1098/rsos.181868},
  date         = {2019},
  doi          = {10.1098/rsos.181868},
  eprint       = {https://royalsocietypublishing.org/doi/pdf/10.1098/rsos.181868},
  journaltitle = {Royal Society Open Science},
  number       = {4},
  pages        = {181868},
  title        = {Skilled Musicians Are Indeed Subject To The Mcgurk Effect},
  volume       = {6},
}

@article{poulios_moving_2010,
  author       = {Poulios, Ioannis},
  publisher    = {Routledge},
  url          = {https://doi.org/10.1179/175355210X12792909186539},
  date         = {2010},
  doi          = {10.1179/175355210X12792909186539},
  eprint       = {https://doi.org/10.1179/175355210X12792909186539},
  journaltitle = {Conservation and Management of Archaeological Sites},
  number       = {2},
  pages        = {170--185},
  title        = {Moving Beyond A Values-Based Approach To Heritage Conservation},
  volume       = {12},
}

@online{gnu_philosophy_2025,
  author = {Project, GNU},
  url    = {https://www.gnu.org/philosophy/philosophy.en.html},
  date   = {2025},
  title  = {Philosophy Of The Gnu Project},
}

@article{toledo_operation_2022,
  author       = {Toledo, Luiz Fernando},
  url          = {https://www.occrp.org/en/investigation/operation-do-re-mi-the-brazilian-bow-makers-under-investigation-for-dealing-in-endangered-wood},
  date         = {2025},
  journaltitle = {Organized Crime and Corruption Reporting Project},
  title        = {Operation Dó-Ré-Mi: The Brazilian Bow Makers Under Investigation For Dealing In Endangered Wood},
  crossref     = {toledo_como_2022}
}

@article{toledo_como_2022,
  author       = {Toledo, Luiz Fernando},
  url          = {https://piaui.folha.uol.com.br/como-o-pau-brasil-arvore-ameacada-de-extincao-e-simbolo-nacional-acaba-em-arcos-de-violino-na-europa/},
  date         = {2025},
  journaltitle = {piauí},
  title        = {Como O Pau-Brasil, Ameaçado De Extinção E Símbolo Nacional, Acaba Em Arcos De Violino Na Europa},
}

@article{justice_gibson_2012,
  author       = {of Public Affairs, Office},
  url          = {https://www.justice.gov/archives/opa/pr/gibson-guitar-corp-agrees-resolve-investigation-lacey-act-violations},
  date         = {2012},
  journaltitle = {U.S. Justice Department Archives},
  title        = {Press Release: Gibson Guitar Corp. Agrees To Resolve Investigation Into Lacey Act Violations},
}

@article{saldana_visual_1993,
  abstract     = {In the McGurk effect, visual information specifying a speaker's articulatory movements can influence auditory judgments of speech. In the present study, we attempted to find an analogue of the McGurk effect by using nonspeech stimuli--the discrepant audiovisual tokens of plucks and bows on a cello. The results of an initial experiment revealed that subjects' auditory judgments were influenced significantly by the visual pluck and bow stimuli. However, a second experiment in which speech syllables were used demonstrated that the visual influence on consonants was significantly greater than the visual influence observed for pluck-bow stimuli. This result could be interpreted to suggest that the nonspeech visual influence was not a true McGurk effect. In a third experiment, visual stimuli consisting of the words pluck and bow were found to have no influence over auditory pluck and bow judgments. This result could suggest that the nonspeech effects found in Experiment 1 were based on the audio and visual information's having an ostensive lawful relation to the specified event. These results are discussed in terms of motor-theory, ecological, and FLMP approaches to speech perception.},
  author       = {Saldaña, H M and Rosenblum, L D},
  language     = {en},
  location     = {United States},
  date         = {1993-09},
  journaltitle = {Percept Psychophys},
  number       = {3},
  pages        = {406--416},
  title        = {Visual Influences On Auditory Pluck And Bow Judgments},
  volume       = {54},
}

@misc{hamilton_pffdtd_2021,
  author = {Hamilton, Brian},
  date   = {2021},
  note   = {https://github.com/bsxfun/pffdtd},
  title  = {PFFDTD Software},
}

@book{desilvey_curated_2017,
  author    = {DeSilvey, Caitlin},
  language  = {eng},
  location  = {Minneapolis},
  publisher = {University of Minnesota Press},
  booktitle = {Curated decay : heritage beyond saving},
  date      = {2017},
  isbn      = {0816694362},
  keywords  = {Historic preservation -- Philosophy ; Cultural property -- Protection ; Historic sites -- Conservation and restoration},
  title     = {Curated Decay : Heritage Beyond Saving},
}

@article{chabassier_energy_2010,
  author       = {Chabassier, Juliette and Joly, Patrick},
  publisher    = {Elsevier},
  date         = {2010},
  journaltitle = {Computer Methods in Applied Mechanics and Engineering},
  number       = {45-48},
  pages        = {2779--2795},
  title        = {Energy Preserving Schemes For Nonlinear Hamiltonian Systems Of Wave Equations: Application To The Vibrating Piano String},
  volume       = {199},
}

@article{cieslinski_on-exact_2011,
  author       = {Cieśliński, J. L.},
  publisher    = {Taylor \& Francis},
  date         = {2011},
  doi          = {10.1080/10236198.2010.502512},
  journaltitle = {Journal of Difference Equations and Applications},
  number       = {11},
  pages        = {1673--1694},
  title        = {On The Exact Discretization Of The Classical Harmonic Oscillator Equation},
  volume       = {17},
}

@article{kottick_acoustics_1991,
  author       = {Kottick, Edward L. and Marshall, Kenneth D. and Hendrickson, Thomas J.},
  publisher    = {JSTOR},
  date         = {1991},
  journaltitle = {Scientific American},
  number       = {2},
  pages        = {110--115},
  title        = {The Acoustics Of The Harpsichord},
  volume       = {264},
}

@inproceedings{caren_keywi_2020,
  author    = {Caren, Matthew and Michon, Romain and Wright, Matthew},
  location  = {Birmingham, United Kingdom},
  url       = {https://www.mit.edu/~mcaren/papers/KeyWI__An_Expressive_and_Accessible_Electronic_Wind_Instrument.pdf},
  booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
  date      = {2020},
  pages     = {604--609},
  title     = {The Keywi: An Expressive And Accessible Electronic Wind Instrument},
}

@inproceedings{van-walstijn_real-time_2016,
  author    = {{Van Walstijn}, Maarten and Bridges, Jamie and Mehes, Sandor},
  location  = {Brno, Czech Republic},
  booktitle = {Proceedings of the International Conference on Digital Audio Effects (DAFx)},
  date      = {2016},
  pages     = {175--182},
  title     = {A Real-Time Synthesis Oriented Tanpura Model},
}

@article{stanbridge_modal_1999,
  abstract     = {A number of vibration mode-shape measurement techniques are described in which the measurement point of a laser Doppler vibrometer (LDV) is continuously scanned over the surface of a sinusoidally excited structure. The LDV vibration output is an amplitude-modulated sine wave and mode shapes, defined along the scan line, may therefore be established by demodulation. Alternatively, in the frequency domain, the LDV output is a line spectrum, with sidebands centred on the excitation frequency and spaced at the scan frequency. The sideband amplitudes give series coefficients for the mode shape defined along the scan line---Fourier coefficients for a circular scan or, via a simple transform, polynomial coefficients for a sinusoidal straight line or area scan. Useful measurements can also be made, directed at a single point on a structure: a small-diameter circular scan will give the angular vibration of the structure at the centre of the circle; a conical scan, produced with a short-focus lens, will measure the translational vibration at the point of focus, in magnitude and direction.},
  author       = {STANBRIDGE, A.B. and EWINS, D.J.},
  url          = {https://www.sciencedirect.com/science/article/pii/S0888327098912092},
  date         = {1999},
  doi          = {https://doi.org/10.1006/mssp.1998.1209},
  issn         = {0888-3270},
  journaltitle = {Mechanical Systems and Signal Processing},
  number       = {2},
  pages        = {255--270},
  title        = {Modal Testing Using A Scanning Laser Doppler Vibrometer},
  volume       = {13},
}

@article{elejabarrieta_evolution_2000,
  author       = {Elejabarrieta, María and Ezcurra, A. and Santamaria, Carlos},
  date         = {2000-08},
  doi          = {10.1121/1.429470},
  journaltitle = {The Journal of the Acoustical Society of America},
  pages        = {369--78},
  title        = {Evolution Of The Vibrational Behavior Of A Guitar Soundboard Along Successive Construction Phases By Means Of The Modal Analysis Technique},
  volume       = {108},
}

@article{le-moyne_restoration_2012,
  author       = {Le Moyne, Sylvie and le conte, Sandie and Ollivier, Francois and Frelat, Joël and Jean-Claude, Battault and Vaiedelich, Stéphane},
  date         = {2012-01},
  doi          = {10.1121/1.3651092},
  journaltitle = {The Journal of the Acoustical Society of America},
  pages        = {888--96},
  title        = {Restoration Of A 17th-Century Harpsichord To Playable Condition: A Numerical And Experimental Study},
  volume       = {131},
}

@article{sririam_mode_1992,
  author       = {Sririam, P. and Hanagud, Sathya and Craig, J.},
  date         = {1992-06},
  journaltitle = {International Journal of Analytical and Experimental Modal Analysis},
  pages        = {169--178},
  title        = {Mode Shape Measurement Using A Scanning Laser Doppler Vibrometer},
  volume       = {7},
}

@article{krueger_acoustic_2009,
  author       = {Krueger, David and Gee, Kent and Grimshaw, Jeremy and Manuel, Dorothy and Jones, Molly},
  date         = {2009-05},
  doi          = {10.1121/1.4783453},
  journaltitle = {The Journal of the Acoustical Society of America},
  pages        = {2516},
  title        = {Acoustic And Vibrometry Analysis Of Beating In A Large Balinese Gamelan Gong.},
  volume       = {125},
}

@article{jossic_modal_2017,
  author       = {Jossic, Marguerite and Mamou-Mani, Adrien and Chomette, Baptiste and Roze, David and Ollivier, Francois and Josserand, Christophe},
  date         = {2017-06},
  doi          = {10.1121/1.4985108},
  journaltitle = {The Journal of the Acoustical Society of America},
  pages        = {4567--4578},
  title        = {Modal Active Control Of Chinese Gongs},
  volume       = {141},
}

@inproceedings{velsen_plate_2015,
  title={Plate Mode Identification Using Modal Analysis Based On Microphone Array Measurements},
  author={van Velsen, AL and Moers, EMT and Arteaga, I Lopez and Nijmeijer, H},
  booktitle={10th European Congress and Exposition on Noise Control Engineering (Euronoise 2015)},
  pages={913--918},
  year={2015}
}

@article{li_modal_2018,
  author       = {Li, Hui and Chang, Yongle and Xu, Zhonghao and Zhu, Qingyu and Wen, Bangchun},
  url          = {https://www.researchgate.net/publication/328243245_Modal_shape_measurement_of_fiber-reinforced_composite_plate_with_high_efficiency_and_precision_based_on_laser_linear_scanning_method#fullTextFileContent},
  date         = {2018-11},
  doi          = {10.1177/0020294018802720},
  journaltitle = {Measurement and Control},
  pages        = {002029401880272},
  title        = {Modal Shape Measurement Of Fiber-Reinforced Composite Plate With High Efficiency And Precision Based On Laser Linear Scanning Method},
  volume       = {51},
}

@article{fu_perceptual_2018,
  author       = {Fu, Lei and Fritz, Claudia and Scavone, Gary},
  date         = {2018-09},
  doi          = {10.1121/1.5068288},
  journaltitle = {The Journal of the Acoustical Society of America},
  pages        = {1890--1890},
  title        = {Perceptual Thresholds Of Violin Soundpost Length Variation},
  volume       = {144},
}

@article{jin_new-method_2021,
  author       = {Jin, Yang and Li, Zili},
  date         = {2021-10},
  doi          = {10.1088/1742-6596/2041/1/012007},
  journaltitle = {Journal of Physics: Conference Series},
  pages        = {012007},
  title        = {A New Method For Eliminating Speckle Noise From Laser Doppler Vibrometer Signals},
  volume       = {2041},
}

@article{skrodzka_modal_2011,
  author       = {Skrodzka, Ewa and {{Ł}}apa, Andrzej and Linde, Bogumi{{ł}} and Rosenfeld, Eike},
  date         = {2011-10},
  doi          = {10.1121/1.3626194},
  journaltitle = {The Journal of the Acoustical Society of America},
  pages        = {2186--94},
  title        = {Modal Parameters Of Two Incomplete And Complete Guitars Differing In The Bracing Pattern Of The Soundboard},
  volume       = {130},
}

@inproceedings{malahs_design_2015,
  author = {Malahs, Matiss},
  url    = {https://api.semanticscholar.org/CorpusID:55785368},
  date   = {2015},
  title  = {Design Of A Low Cost Laser Vibrometer System},
}

@inproceedings{polytec_psv-400-3d_2009,
  author = {PolyTec},
  url    = {https://users.ox.ac.uk/~abrg/spider_site/pdfs/SpecsPSV-400-3D.pdf},
  date   = {2009},
  title  = {Psv-400-3d Scanning Vibrometer Datasheet},
}

@inproceedings{rau_comparison_2023,
  author = {Rau, Mark and Smith, Julius and Abel, Jonathan},
  date   = {2023-09},
  doi    = {10.61782/fa.2023.0418},
  title  = {A Comparison Of Modal Parameter Extraction Methods When Applied To Measurements Of Stringed Instruments},
}

@phdthesis{rau_vibration_2023,
  author = {Rau, Mark},
  title  = {Vibration And Acoustic Measurements Of Guitars With Applications To Luthiery, Synthesis, And Audio Effects},        
  school = {Stanford University},
  year = 2023,  
  url    = {https://stacks.stanford.edu/file/druid:kx813bh3027/Mark_Rau_PhD_Thesis-augmented.pdf},
}

@book{henderson_laser_2003,
  author       = {Henderson, Roy and Schulmeister, Karl},
  date         = {2003-12},
  doi          = {10.1201/9781420034042},
  isbn         = {9780429140136},
  journaltitle = {Laser Safety},
  pages        = {1--460},
  title        = {Laser Safety},
}

@article{mansour_comparison_2012,
  author = {Mansour, Hossein and Scavone, Gary and Fréour, Vincent},
  date   = {2012-04},
  title  = {A Comparison Of Vibration Analysis Techniques Applied To The Persian Setar},
}

@article{hung_optoelectronic_2022,
  abstract     = {The mirror galvanometer is a crucial component of laser cutters/engravers. Novel two-dimensional mirror galvanometers demonstrate less trajectory distortion than traditional one-dimensional ones. This article proposes an optoelectronic sensor that measures a mirror's inclinations in two dimensions simultaneously. The measuring range, resolution, and sampling rate are \$\pm\$10\$\,^{\circ}\$, 0.0265\$\,^{\circ}\$, and 2 kHz, respectively. With the proposed sensor, a closed-loop control can be further implemented to achieve precision laser machining. Its compact size and low cost meet the requirements of miniature laser engravers, which have become popular in recent years.},
  author       = {Hung, Shao-Kang and Chung, Yu-Hsin and Chen, Cheng-Lung and Chang, Kai-Hung},
  url          = {https://www.mdpi.com/1424-8220/22/3/872},
  date         = {2022},
  doi          = {10.3390/s22030872},
  issn         = {1424-8220},
  journaltitle = {Sensors},
  number       = {3},
  title        = {Optoelectronic Angular Displacement Measurement Technology For 2-Dimensional Mirror Galvanometer},
  volume       = {22},
}

@inproceedings{tahvanainen_numerical_2019,
  title={Numerical Simulation Of The Acoustic Guitar For Virtual Prototyping},
  author={Tahvanainen, Henna and Matsuda, Hideto and Shinoda, Ryo},
  booktitle={Proceedings of ISMA},
  volume={2019},
  pages={13--17},
  year={2019}
}

@inproceedings{alexander-brauchler_numerical_2020,
  date   = {2020-12},
  doi    = {10.48465/fa.2020.0072},
  title={Numerical Models For Classical Guitars With Updated Parameters From Experimental Data},
  author={Brauchler, Alexander and Ziegler, Pascal and Eberhard, Peter},
  booktitle={Forum Acusticum},
  pages={2155--2161},
  year={2020}
}

@article{viala_identification_2017,
  author       = {Viala, Romain and Placet, Vincent and Cogan, Scott},
  date         = {2017-12},
  doi          = {10.1016/j.compositesa.2017.12.018},
  journaltitle = {Composites Part A Applied Science and Manufacturing},
  title        = {Identification Of The Anisotropic Elastic And Damping Properties Of Complex Shape Composite Parts Using An Inverse Method Based On Finite Element Model Updating And 3d Velocity Fields Measurements (Femu-3dvf): Application To Bio-Based Composite Violin Soundboards},
  volume       = {106},
}