J. Barbosa, F. Calegario, V. Teichrieb, G. Ramalho, and G. Cabral, Illusio: A drawing-based digital music instrument, Proceedings of NIME, 2013.

J. Barbosa, F. Calegario, V. Teichrieb, G. Ramalho, and P. Mcglynn, Considering audience's view towards an evaluation methodology for digital musical instruments, NIME, 2012.

B. B. Bederson and J. D. Hollan, Pad++: a zooming graphical interface for exploring alternate interface physics, Proceedings ACM UIST, 1994.

V. Bellotti, M. Back, W. K. Edwards, R. E. Grinter, A. Henderson et al., Making sense of sensing systems: five questions for designers and researchers, Proceedings of ACM CHI, 2002.

S. Benford, C. Greenhalgh, A. Hazzard, A. Chamberlain, M. Kallionpää et al., Designing the audience journey through repeated experiences, Proceedings of ACM CHI, 2018.

F. Berthaut, D. Coyle, J. W. Moore, and H. Limerick, Liveness through the lens of agency and causality, Proceedings of NIME, 2015.
URL : https://hal.archives-ouvertes.fr/hal-01170032

F. Berthaut, M. Marshall, S. Subramanian, and M. Hachet, Rouages: Revealing the mechanisms of digital musical instruments to the audience, Proceedings of NIME, 2013.
URL : https://hal.archives-ouvertes.fr/hal-00807049

S. Bin, A. Mcpherson, and N. Bryan-kinns, Skip the pre-concert demo: How technical familiarity and musical style affect audience response, Proceedings of NIME, 2016.

O. Capra, F. Berthaut, and L. Grisoni, Toward augmented familiarity of the audience with digital musical instruments, Proceedings of CMMR, 2017.
URL : https://hal.archives-ouvertes.fr/hal-01577953

O. Capra, F. Berthaut, and L. Grisoni, Have a seat on stage : Restoring trust with spectator experience augmentation techniques, Proceedings of ACM DIS, 2020.
URL : https://hal.archives-ouvertes.fr/hal-02560916

N. N. Correia, D. Castro, and A. Tanaka, The role of live visuals in audience understanding of electronic music performances, Proceedings of Audio Mostly, 2017.

S. Fels, A. Gadd, and A. Mulder, Mapping transparency through metaphor: towards more expressive musical instruments, Organised Sound, vol.7, issue.2, pp.109-126, 2002.

M. Gurevich and A. C. Fyans, Digital musical interactions: Performer-system relationships and their perception by spectators, Organised Sound, vol.16, issue.2, pp.166-175, 2011.

, JASP Team. JASP, 2019.

M. Kay, G. L. Nelson, and E. B. Hekler, Researcher-centered design of statistics: Why bayesian statistics better fit the culture and incentives of hci, Proceedings of ACM CHI, 2016.

M. Leman, Embodied music cognition and mediation technology, 2008.

O. Perrotin and C. , Visualizing gestures in the control of a digital musical instrument, Proceedings of NIME, 2014.
URL : https://hal.archives-ouvertes.fr/hal-01712570

W. A. Schloss, Using contemporary technology in live performance: The dilemma of the performer, Journal of New Music Research, vol.32, issue.3, 2003.

L. Turchet and M. Barthet, Haptification of performer's control gestures in live electronic music performance, Proceedings of Audio Mostly, 2019.

Y. Wu, L. Zhang, N. Bryan-kinns, and M. Barthet, Open symphony: Creative participation for audiences of live music performances, 2017.