| Style and Constraint in Electronic Musical Instruments. M Gurevich, P Stapleton, A Marquez-Borbon NIME 10, 106-111, 2010 | 66 | 2010 |
| Gtrace: General trace program compatible with emotionml R Cowie, M Sawey, C Doherty, J Jaimovich, C Fyans, P Stapleton 2013 humaine association conference on affective computing and intelligent …, 2013 | 54 | 2013 |
| Advantages of melodic over rhythmic movement sonification in bimanual motor skill learning JF Dyer, P Stapleton, MWM Rodger Experimental brain research 235, 3129-3140, 2017 | 39 | 2017 |
| What makes a good musical instrument? a matter of processes, ecologies and specificities M Rodger, P Stapleton, M Van Walstijn, M Ortiz, L Pardue Proceedings of the International Conference on New Interfaces for Musical …, 2020 | 38 | 2020 |
| Mapping sonification for perception and action in motor skill learning JF Dyer, P Stapleton, M Rodger Frontiers in neuroscience 11, 254304, 2017 | 38 | 2017 |
| Examining the Spectator Experience. AC Fyans, M Gurevich, P Stapleton NIME 10, 1-4, 2010 | 37 | 2010 |
| A NIME of the times: developing an outward-looking political agenda for this community F Morreale, A Bin, A McPherson, P Stapleton, M Wanderley New Interfaces for Musical Expression, NIME'20, 2020 | 35 | 2020 |
| Transposing musical skill: sonification of movement as concurrent augmented feedback enhances learning in a bimanual task J Dyer, P Stapleton, M Rodger Psychological research 81, 850-862, 2017 | 35 | 2017 |
| Playing with constraints: Stylistic variation with a simple electronic instrument M Gurevich, A Marquez-Borbon, P Stapleton Computer Music Journal 36 (1), 23-41, 2012 | 35 | 2012 |
| Fourteen years of NIME: the value and meaning of'community'in interactive music research. A Marquez-Borbon, P Stapleton NIME, 307-312, 2015 | 34 | 2015 |
| Sonification as concurrent augmented feedback for motor skill learning and the importance of mapping design J F Dyer, P Stapleton, M WM Rodger The Open Psychology Journal 8 (1), 2015 | 27 | 2015 |
| Designing digital musical interactions in experimental contexts A Marquez-Borbon, M Gurevich, AC Fyans, P Stapleton contexts 16 (20), 21, 2011 | 27 | 2011 |
| Designing for Style in New Musical Interactions. M Gurevich, P Stapleton, PD Bennett NIME, 213-217, 2009 | 27 | 2009 |
| Where Did It All Go Wrong? A Model of Error From the Spectator's Perspective. AC Fyans, M Gurevich, P Stapleton NIME, 171-172, 2009 | 20 | 2009 |
| Spectator understanding of error in performance AC Fyans, M Gurevich, P Stapleton CHI'09 Extended Abstracts on Human Factors in Computing Systems, 3955-3960, 2009 | 17 | 2009 |
| Autobiography and invention: Towards a critical understanding of identity, dialogue and resistance in improvised musics P Stapleton Contemporary Music Review 32 (2-3), 165-174, 2013 | 15 | 2013 |
| Documentation in performance-led research P Stapleton Media International Australia 118 (1), 77-85, 2006 | 15 | 2006 |
| Co-Tuning Virtual-Acoustic Performance Ecosystems: observations on the development of skill and style in the study of musician-instrument relationships P Stapleton, M Van Walstijn, S Mehes International Conference on New Interfaces for Musical Expression 2018, 2018 | 14 | 2018 |
| Ambiguous Devices: Improvisation, agency, touch and feedthrough in distributed music performance P Stapleton, T Davis Organised Sound 26 (1), 52-64, 2021 | 13 | 2021 |
| Ecological considerations for participatory design of DMIs. AC Fyans, A Marquez-Borbon, P Stapleton, M Gurevich NIME, 2012 | 11 | 2012 |
Matthew RodgerQueen's University BelfastVerified email at qub.ac.uk
