Integrated Composition, Improvisation and Technology (ICIT)
Parent: UC Irvine
eScholarship stats: History by Item for December, 2024 through March, 2025
| Item | Title | Total requests | 2025-03 | 2025-02 | 2025-01 | 2024-12 |
|---|---|---|---|---|---|---|
| 7hf4q6w5 | Asian Americans and Creative Music Legacies | 90 | 18 | 27 | 24 | 21 |
| 3n70x2dv | Time, Virtuosity, and Ethics Otherwise: Queer Resonances for Diasporic Play | 74 | 22 | 20 | 10 | 22 |
| 8v0022bd | The ‘E’ in NIME: Musical Expression with New Computer Interfaces | 70 | 10 | 21 | 15 | 24 |
| 4hw036ws | The Rumpus | 69 | 14 | 18 | 21 | 16 |
| 3p4375n5 | Gestural Control of Music Using the Vicon 8 Motion Capture System | 63 | 13 | 19 | 16 | 15 |
| 9n2184ws | Improvising in a different clave: Steve Coleman and AfroCuba de Matanzas | 39 | 20 | 10 | 6 | 3 |
| 6qd4d7nv | Aesthetic Considerations in the Use of “Virtual” Music Instruments | 36 | 8 | 14 | 4 | 10 |
| 9dm8t6vh | Thinking Telematically: Improvising Music Worlds Under COVID and Beyond | 28 | 2 | 9 | 11 | 6 |
| 4zt310cz | Entropy | 25 | 5 | 6 | 6 | 8 |
| 2wp6n3tm | I, Alone | 24 | 9 | 4 | 7 | 4 |
| 3w9072ps | Relational Music: A Participatory Approach Towards Live Experimental Electronic Music | 24 | 5 | 10 | 5 | 4 |
| 6r01k343 | Networked music performance: An introduction for musicians and educators | 24 | 7 | 4 | 11 | 2 |
| 0x85j9td | EXPRESSIVE GESTURE : A TECHNIQUE FOR THE USE OF GESTURE DESCRIPTORS IN ALGORITHMIC IMPROVISATION | 21 | 4 | 9 | 3 | 5 |
| 4970q025 | Haibun | 20 | 5 | 5 | 3 | 7 |
| 50j6x5cr | all nearness pauses, while a star can grow | 20 | 5 | 6 | 2 | 7 |
| 7ww3h3xx | Realtime Stochastic Decision Making for Music Composition and Improvisation | 20 | 6 | 4 | 2 | 8 |
| 993192mk | Upon Reflection | 20 | 3 | 9 | 5 | 3 |
| 7ck721n4 | STRATEGIES FOR CONTINUOUS PITCH AND AMPLITUDE TRACKING IN REALTIME INTERACTIVE IMPROVISATION SOFTWARE | 19 | 3 | 3 | 4 | 9 |
| 8gn0194r | Shadow Play | 19 | 6 | 5 | 3 | 5 |
| 2mr1f1t8 | In the In-Between | 18 | 2 | 5 | 5 | 6 |
| 5qb21800 | This and That | 18 | 7 | 4 | 4 | 3 |
| 70p7v3z0 | Play for Me (Interproviplaytion III) | 18 | 4 | 5 | 4 | 5 |
| 8gk671qq | 18 Points of Coincidence | 18 | 5 | 5 | 3 | 5 |
| 19c8535r | Riley's Revenge | 17 | 5 | 3 | 1 | 8 |
| 2cd323dr | For Zero | 17 | 5 | 4 | 3 | 5 |
| 5xj593zk | Line/Phase Minutiae | 17 | 8 | 3 | 2 | 4 |
| 0p09t56h | Face to Face, Byte to Byte: Approaches to Human Interaction in a Digital Music Ensemble | 16 | 5 | 4 | 2 | 5 |
| 33d9d1cm | Indignant Minority Scheme | 16 | 4 | 5 | 5 | 2 |
| 8d57f43p | Ritualized Performance in the Networked Era | 16 | 4 | 4 | 5 | 3 |
| 8pw4s0gb | Somewhere In The Upstream, in memory of Yusef Lateef (1920-2013) | 16 | 8 | 3 | 5 | |
| 13t7r5w0 | Ritualized Performance in the Networked Era: Alternative Models for New Artistic Media | 15 | 3 | 6 | 4 | 2 |
| 5bn4m9fj | Trans (Interproviplaytion V) | 15 | 3 | 4 | 2 | 6 |
| 5t46v6kh | Determining the Feasibility of Networked Musical Performances over WANs, LANs, and WLANs (Part 1: MIDI) | 15 | 3 | 6 | 2 | 4 |
| 71j6w686 | A METHOD FOR COMPUTER CHARACTERIZATION OF "GESTURE" IN MUSICAL IMPROVISATION | 15 | 4 | 7 | 3 | 1 |
| 9tt9s9k0 | Intentional Inclusion :Promoting Diversity in Graduate Study of Music Technology | 15 | 4 | 6 | 5 | |
| 7ws9x4dh | Cultural ‘Content’ in Korean Music Made with Computers | 14 | 3 | 6 | 1 | 4 |
| 625285wz | New Polyphonies: Score Streams, Improvisation and Telepresence | 13 | 3 | 5 | 4 | 1 |
| 6h74r7r6 | There's Just One Thing You Need To Know | 13 | 3 | 2 | 4 | 4 |
| 0sf178kc | Now & Tomorrow | 11 | 4 | 2 | 1 | 4 |
| 6fv361x5 | for instance, today | 11 | 3 | 4 | 3 | 1 |
| 31t392zj | Far Cries: Part 1, Ansan | 10 | 6 | 2 | 1 | 1 |
| 7pn8c747 | Resonating Abstractions | 10 | 2 | 6 | 1 | 1 |
| 8766r1b7 | Programming New Realtime DSP Possibilities with MSP | 10 | 3 | 2 | 2 | 3 |
| 24b296c3 | Forget the Pixel | 9 | 2 | 2 | 2 | 3 |
| 3z79z8hf | (Cycles) America | 8 | 4 | 2 | 2 | |
| 9fx7g1qh | Cycles Interrupted | 8 | 2 | 2 | 2 | 2 |
| 3309r97m | Falsetas Móviles | 6 | 2 | 2 | 2 | |
| 8798j4z1 | Mannam (Interproviplaytion VI) | 6 | 1 | 2 | 3 | |
| 8844q6kp | Point of No Arrival | 6 | 1 | 1 | 4 | |
| 8gv067ff | In Tongues (Interproviplaytion IV) | 6 | 3 | 1 | 2 |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.