# Further Reading

<p>This page collects published research on the halldorophone, papers authored or co-authored by Halldór Úlfarsson, alongside works by other researchers who have engaged with the instrument. It is not exhaustive, but represents the academic conversation the instrument has generated since 2018.</p>

<hr>

## First-Author Papers

<div class="instrument-entry">
<h3>Ergodynamics of String Feedback</h3>
<table class="instrument-table">
<tr><td>Year</td><td>2023</td></tr>
<tr><td>Venue</td><td>NIME 2023</td></tr>
<tr><td>Authors</td><td>H. Úlfarsson, T. Magnusson, O. Moraitis</td></tr>
<tr><td>Links</td><td><a href="https://nime.pubpub.org/pub/nime2023_51">Read Online</a></td></tr>
<tr><td></td><td><a href="https://www.nime.org/proceedings/2023/nime2023_51.pdf">Download PDF</a></td></tr>
</table>
</div>

<div class="instrument-entry">
<h3>Feedback Mayhem</h3>
<table class="instrument-table">
<tr><td>Year</td><td>2019</td></tr>
<tr><td>Venue</td><td>ICMC 2019</td></tr>
<tr><td>Authors</td><td>H. Úlfarsson</td></tr>
<tr><td>Links</td><td><a href="https://www.emutelab.org/docs/FeedbackMayhem_ICMC_2019.pdf">Download PDF</a></td></tr>
</table>
</div>

<div class="instrument-entry">
<h3>The halldorophone: The ongoing innovation of a cello-like drone instrument</h3>
<table class="instrument-table">
<tr><td>Year</td><td>2018</td></tr>
<tr><td>Venue</td><td>NIME 2018</td></tr>
<tr><td>Authors</td><td>H. Úlfarsson</td></tr>
<tr><td>Links</td><td><a href="https://nime.org/proceedings/2018/nime2018_paper0058.pdf">Read Online</a></td></tr>
<tr><td></td><td><a href="../assets/papers/nime2018.pdf">Download PDF</a></td></tr>
</table>
</div>

<hr>

## Co-Author Papers

<div class="instrument-entry">
<h3>The Organium: a library of technical elements for improvisatory design thinking</h3>
<table class="instrument-table">
<tr><td>Year</td><td>2024</td></tr>
<tr><td>Venue</td><td>ACM 2024</td></tr>
<tr><td>Authors</td><td>T. Magnusson, N. Privato, M. A. Crozzoli, H. Úlfarsson et al.</td></tr>
<tr><td>Links</td><td><a href="https://dl.acm.org/doi/10.1145/3678299.3678319">Read Online</a></td></tr>
<tr><td></td><td><a href="https://iil.is/pdf/2024_audiomostly_organium.pdf">Download PDF</a></td></tr>
</table>
</div>

<div class="instrument-entry">
<h3>Reflexions upon feedback: A study of feedback musicianship terminology</h3>
<table class="instrument-table">
<tr><td>Year</td><td>2022</td></tr>
<tr><td>Venue</td><td>NIME 2022</td></tr>
<tr><td>Authors</td><td>T. Magnusson, C. Kiefer, H. Úlfarsson</td></tr>
<tr><td>Links</td><td><a href="https://nime.pubpub.org/pub/feedback">Read Online</a></td></tr>
</table>
</div>

<div class="instrument-entry">
<h3>The proto-langspil: Launching an Icelandic NIME research lab with the help of a marginalised instrument</h3>
<table class="instrument-table">
<tr><td>Year</td><td>2022</td></tr>
<tr><td>Venue</td><td>NIME 2022</td></tr>
<tr><td>Authors</td><td>J. Armitage, T. Magnusson, V. Shepardson, H. Úlfarsson</td></tr>
<tr><td>Links</td><td><a href="https://nime.pubpub.org/pub/langspil">Read Online</a></td></tr>
<tr><td></td><td><a href="http://users.sussex.ac.uk/~thm21/thor/pdfs/Armitage_NIME2022.pdf">Download PDF</a></td></tr>
</table>
</div>

<div class="instrument-entry">
<h3>Self-resonating vibrotactile feedback instruments: Making, playing, conceptualising</h3>
<table class="instrument-table">
<tr><td>Year</td><td>2021</td></tr>
<tr><td>Venue</td><td>NIME 2021</td></tr>
<tr><td>Authors</td><td>A. Eldridge, C. Kiefer, D. Overholt, H. Úlfarsson</td></tr>
<tr><td>Links</td><td><a href="https://nime.pubpub.org/pub/6mhrjiqt">Read Online</a></td></tr>
<tr><td></td><td><a href="http://sro.sussex.ac.uk/id/eprint/99238/1/selfResonating_NIME_2021.pdf">Download PDF</a></td></tr>
</table>
</div>

<div class="instrument-entry">
<h3>The Feedback-Actuated Augmented Bass (FAAB)</h3>
<table class="instrument-table">
<tr><td>Year</td><td>2020</td></tr>
<tr><td>Venue</td><td>NIME 2020</td></tr>
<tr><td>Authors</td><td>A. P. Melbye, H. Úlfarsson</td></tr>
<tr><td>Links</td><td><a href="../assets/papers/FAAB2020.pdf">Download PDF</a></td></tr>
</table>
</div>

<hr>

## Citing Works

<div class="citing-works">
<p class="citing-intro">Third-party citations. Works in which the halldorophone is referenced, discussed, or built upon.</p>
<h3>2025</h3>
<ul>
<li>The EV: An Iterative Journey in Digital-Acoustic String Instrument Augmentation — B. Lindgren. NIME 2025.</li>
<li>Composing for acoustic robots — A. Drymonitis, M. Koutsomichalis. Open Research Europe 2025.</li>
<li>Acoustic-digital hybrid synthesizer — L. Schnabel, D. Overholt. NIME 2025.</li>
</ul>
<h3>2024</h3>
<ul>
<li>Sustainable digital fabrication in NIME: Nine sustainability strategies for DMI production — N. Merendino et al. NIME 2024.</li>
<li>The Sophtar: a networkable feedback string instrument with embedded machine learning — F. Visi. NIME 2024.</li>
<li>Ways of knowing, ways of writing: technical practice research in new musical instrument design — Pelinski, McPherson, Fiebrink. Journal of New Music Research 2024.</li>
<li>The Nalima: A multistable membrane instrument with integrated excitation — C. Kiefer. NIME 2024.</li>
<li>The Lorentz Lap Brass — A. G. Schmidt, M. Gurevich. NIME 2024.</li>
<li>Sounds of Menace: Geo-Immersive Music in Nordic Noirs — M. Baumgartner. Palgrave Handbook 2024.</li>
</ul>
<h3>2023</h3>
<ul>
<li>WYPYM: A Study for Feedback-Augmented Bass Clarinet — C. Panariello, C. Percivati. NIME 2023.</li>
<li>The Feedback Mop Cello — H. A. von Arnim, S. Fasciani, C. Erdem. NIME 2023.</li>
<li>The A in AIMC — T. Magnusson. 2023.</li>
<li>A Continually Receding Horizon — A. P. Melbye, S. Waters. 2023.</li>
</ul>
<h3>2022</h3>
<ul>
<li>S.L.A.T.U.R. — The Obtrusive Composers' Collective — M. E. Ólafsdóttir. A Cultural History of the Avant-Garde in the Nordic Countries 2022.</li>
<li>Post-digital sax — K. Cybulski. NIME 2022.</li>
</ul>
<h3>2021</h3>
<ul>
<li>Resistance, Mastery, Agency: Improvising with the feedback-actuated augmented bass — A. P. Melbye. Organised Sound 2021.</li>
<li>Composing with flexible phrases: the impact of a newly designed DMI — D. H. Braunsdorf. 2021.</li>
<li>Designing and performing with Pandora's Box — W. J. Slager. NIME 2021.</li>
<li>Ascendancy: The Rise and Recognition of Hildur Guðnadóttir as a Screen Composer — P. Hayward, M. Hill. 2021.</li>
</ul>
<h3>2020</h3>
<ul>
<li>Dual/Duel/Duet/for/with/halldorophone — N. Robson. NIME 2020.</li>
<li>Instrumental investigations at emute lab — T. Magnusson. NIME 2020.</li>
</ul>
<h3>2019</h3>
<ul>
<li>Sonic writing — T. Magnusson. 2019.</li>
<li>Taming and tickling the beast — P. Dahlstedt. 2019.</li>
</ul>
<h3>2018</h3>
<ul>
<li>Luuma, between code and controllerism — C. Kiefer. Dancecult 2018.</li>
</ul>
<h3>2017</h3>
<ul>
<li>The self-resonating feedback cello: interfacing gestural and generative processes in improvised performance — A. Eldridge, C. Kiefer. 2017.</li>
</ul>
</div>