PROCEEDINGS OF THE INTERNATIONAL COMPUTER
MUSIC CONFERENCE
1974 - 1989
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1974
Michigan State University, East Lansing, Michigan,
USA
PROCEEDINGS OF THE SECOND ANNUAL MUSIC COMPUTATION
CONFERENCE 1975
University of Illinois, Urbana-Champaign, Illinois,
USA
part 1 : Software synthesis technbiques
1-21 - Ercolino Ferretti - Sound synthesis by
rule
22-32 - James H. Justice - Recursive digital filtering
in music computation
33-41 - Tracy Lind Petersen - Vocal trac modulation
of instrumental sounds by digital filtering
42-52 - Streve Saunders - Real-time digital FM
audio synthesis
53-57 - Ted Kaehler - Some music at Xerox Parc
58-76 - Mark Zuckerman and Kenneth Steiglitz -
Using circulant markov chains to generate waveforms for music
77-79 - Robin B. Lake and Ralph Cherubimi - Orthonal
transforms for sound synthesis
part 2 : Composition with computers
1-6 - Sterling Beckwith - Towards a "computer
composing instruments" for children
7-10 - Joel Chadabe - System composing
11-30 - Joel Gressel - Some rythmic applications
of geometric series
31-36 - Hubert S. Howe Jr. - Computer music and
technology
37-67 - David Rothenburg - A nonproceducal language
for musical composition
68-82 - Sever Tipei - MP1 : A computer program
for music composition
part 3 : Hardware for computer-controlled sound synthesis
1-36 - James Beauchamp, Ken Pohlmann and Lee Chapman
- The TI 980A Computer-controlled music synthesizer
37-42 - Robert Gross - The CME synthesizer
43-48 - Stan Kriz - The specification of digital-to-analog
converters for audio
49-57 - John Roy - A digital sound synthesizer
part 4 : Information processing systems
1-12 - Larry Austin and Larry Bryant - A computer-synchronized,
multi-track recording system
13-27 - Hélène Charnassé
- La transcription automatique des tablatures : Le langage d'entrée
28-53 - Armando Dal Molin - The X-Y Typewriters
and their application as music input terminals for the computer
54-78 - David Rosenboom - A model for detection
and analysis of information processing modalities in the nervous system
through an adaptative, interactive, computerized, electronic music instrument
79-94 - G. David Peters - Audio interfacing of
the plato computer-assisted instructional system for music performance
judging
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1976
Massachussets Institute od Technology, Cambridge,
Massachussets, USA
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1977
University of California at San Diego, San Diego,
California, USA
1-4 - D. Arfib - Digital synthesis of complex
spectra by means of non-linear distortion of sin waves and amplitude modulation
5-9 - R. cann and K. Steiglitz - Towards improved
analysis-synthesis using cepstral and pole-zero techniques
10-18 - P. Dworak and A. Parker - Envelope control
with an optical keyboard
19. - E. Ferretti - Nuances in the synthesis of
"live sounds"
20-22 - J. Gardner, B. Harvey, J. Lawson and J.C.
Risset - Computer facilities for music at IRCAM
23-29 - E. Ghent - Interactive compositional algorithms
30-34 - Pisa , P.Grossi - Computer music studies
and research at CNUCE, institute of the national research council (CNR)
35-40 - J. Justice - A technique for time-variant
filter design
41-51 - A. Parker, R. Blum and P. Dworak - The
Carnegie-Mellon computer music system digital hardware
52-53 - T.L. Petersen - The composer as surgeon
: Performing phase transplants
54-135 - C. Roads - Composing Grammars
136-168 - G. Schwede - A fuzzy hierarchical systems
model for real-time visual interpretation in musical experiences
169-186 - J. C. Siddall and J. N. Siddall - New
developments in stochastic computer music
187-191 - J. Walsh - Design considerations for
computer music systems
192-194 - D. Wessel and B. Smith - Psychoacoustic
aids for the musician's exploration of new material
195-196 - M. Yantis - A microprocessor-based live
performance instrument
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1978
Northwestern University, Evanston, Illinois, USA
1. - Curtis Roads - Preface
2-4 - Iannis Xenakis - Opening adress
Synthesis Hardware
5-25 - H.G.Alles - An inexpensive digital sound
synthesizer
26-28 - J.F.Allouis - Use of high-speed microprocessors
for digital synthesis
29-33 - Martin Barlett - A microcomputer-controlled
synthesis system for live performances
34-45 - Richard Blum - A low-cost, real-time,
frequency modulation hardware module for mini and micro computers
46-56 - William Buxton, E.A.Fogels, Guy Fedorkow,
Lawrence Sasaki, and K.C.Smith - An introduction to SSSP digital synthesizer
57-69 - Dean Walraff - The DMX-1000 signal processing
computer
70-84 - Daniel Arfib - Digital synthesis of complex
spectra by means of multiplication of non-linear distorted sine waves
85-107 - James Beauchamp - Bass tone synthesis
by spectrum evolution matching with non-linear functions…
108-118 - Nelson Bridwell - Interactive synthesis
without obscure diagnostics
119-129 - William Buxton, William Reeves, Ronald Baecker
and Leslie Mezei - The use of hierarchy and instance in a data structure
for music
130-141 - Richard Cann - A musical view of analysis-synthesis
142-150 - Ercolino Ferretti - Nuance blending
for the synthesis of a brass choir
151-166 - David Murray, James Beauchamp and Gary Loitz
- Using the Plato/TI980A Music synthesis system : The PLACOMP language
167-174 - Tracy Lind Petersen - Interactive digital
composition
175-184 - Neil Rolnick - A composer’s notes on
the development and implementation of software for a digital synthesizer
Compositional Techniques
185-191 - Emmanuel Ghent - Further studies in
compositional algorithms
192-213 - Lejaren Hiller - Phrase structure in
computer music
214-224 - Hubert Howe Jr. - Timbral structures
for computer music
225-250 - Gerald Lefkoff - Tuned cyclic tone systems
251-271 - Justus Mathesws - MUSIC 3150, a Fortran
program for composing music for conventional instruments
272-317 - John Myhill - Some simplifications and
improvements in the stochastic music program
318-331 - Gary Nelson - Reflections on my use
of computers in composition 1970-1975
332-354 - John Rogers and John Rockstroh - Score-time
and real-time
355-377 - Barry Truax - Polyphonic timbral construction
in Androgeny
378-391 - Maurice Wright - Plucking - One aspect
o plucked string synthesis and its realisation by a computer and a musical
application
Computer Graphics and Music
392-409 - William Reeves, William Buxton, Robert
Pike and Ron Baeecker - Ludwig : An exemple of interactive computer
graphics in a score editor
410-449 - Dean Walraff - Nedit - A graphical editor
for musical scores
450-470 - W.Kenton Bales, Richard Hamilton and Dan
Scott - Computer-aided composition with AMUS
471-485 - W. Buxton, G. Fedorkow, R.Baecer, W. Reeves,
K.C.Smith, G.Ciamaga and L.Mezei - An overview of the structures sound
synthesis project
486-493 - James Dashow, Giovanni de Poli, Graziano
Tisato and Alvise Vidolin - Computer music at the university of Padova
494-500 - Wayne Slawson - Studio Report : Computer
music at the university of Pittsburgh
Analysis, Perception and Transcription of musical sound
501-581 - Stephen E. McAdams and Albert Bregman
- The perceptual factoring of acoustic sequences into musical streams
582-584 - Tracy Lind Petersen - Time-Frequency
analysis in the context of a perceptual model
585-618 - Martin Piszczalski and Bernard A. Galler
- The analysis and transcription of musical sound
Music Encoding and Notation
619-636 - C. Aperghis-Tramoni - Coding and drawing
music scores
637-344 - Charles G.Boody - The microcomputer
as an input device for music analysis or composition by computer
645-688 - John A. Celona - Command-string notation
- A new music notation system
Computer-Aided Analysis and Musicology
689-719 - Waren E. Hultberg - Computer-based
processes for tablature transcription : Input language application and
development ; analytical aspects
720-731 - Rosalee Nerheim - Current applications
of a music representation and processing system
732-760 - Alexander R. Brinkman - A computer-assisted
analysis of melodic borrowing from the cantus firmus in the chorale preludes
of Bach’s Orgelbüchlein
761-774 - Sh.A.Gadgiev - Statistical analysis
of Azerbaijan folk songs
775-783 - Istvan Halmos, Gyogy Koszegi and Gyorgy
Mandler - Computational Ethnomusicology in Hungary in 1978
784-789 - Vladimir Hosovsky, Igor Mkrtoumian and Edward
Hakopian - Armenian universal structural analytical catalogue of musical
texts - UNSACAT
790-852 - Larry Polansky - A hierarchical analysis
of Ruggle’s Portals
853-872 - Rosalie Sward - The computer assist
in attempting to solve a probhlem of twentieth century music
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1980
Queens College, New York City, USA
1. - Hubert S. Howe Jr. - Preface
Computer-assisted composition
2-21 - Otto Laske - Subscore manipulation as
a tool for compositional and sonic design
22-42 - Kevin Jones - A space grammar for the
stochastic generation of multi-dimentional structures
43-60 - Barry Truax - Timbral construction as
a stochastic process
Educational applications
61-73 - Howard A. Peele and Stuart Smith - Instructional
application of computer music
The structured sound synthesis projet
74-85 - W. Buxton, S. Patel, W. Reeves and R. Baecker
- “ OBJED ” and the design of timbral resources
86-95 - W. Buxton, S. Patel, W. Reeves and R. Baecker
- On the specification of scope in interactive score editors
96-99 - G. Federkow, W. Buxton, S. Patel and K. C.
Smith - A microprocessor controlled clavier
100. - W. Reeves, W. Buxton, G. Federkow, K. C. Smith
and R. Baecker - A microprocessor-based conducting system
101-110 - M. Green - PROD : A grammar based computer
composition system
111-115 - Ames Montgomery - Using the SSSP sstem
: Reflections on one composer’s experience
Sound analysis and signal processing
116-137 - John Strawn - Approximation and syntactic
analysis of amplitude and frequency functions for digital sound synthesis
138-144 - Charles E. Potter and Dale Teaney -
Sonic transliteration applied to descriptive music notation
Studio reports
145-158 - Brad Albers - SYCOM’s studio A, an
integrated environment for electronic and computer music
159-177 - F. Richard Moore - Computer audio research
laboratory report
178-201 - Goffredo Haus - Computer music at the
institute of cybernetics of the university of Milan
202-210 - Wayne Slawson - Composer-centered development
- A studio report from Pittsburgh
211-225 - Wesley Fuler - Omputer studio report
: Tri-college group for electronic music and related research
Musical Data Structures and Input Languages
226-230 - Leland Smith - The “ SCORE ” program
for musical input to computers
231-244 - Peter J. Clements - Musical data structures
in a multi-use environment
245-245 - Alexander R. Brinkman - A binomal representation
of the pitch parameter for computer proessing of musical data
246-264 - Bruce McLean - The design of a portable
translator for DARMS
Software for interactive synthesis
265-277 - Andrew S. Glassner - Musicbox in C
: An interactive, graphic digital sound editor
278-304 - Curtis Abbott - The 4CED proram
Music printing
305. - Leland Smith - Printing music by computer
: A 16 millimeter sound film
306-323 - Donald Byrd - Human engineering in a
portable music notation system
Microcomputers
324-336 - Blair D. McKay and Barry L. Wills -
Microprocessor-supervised digital synthetizers
337-354 - Raymond F. Jurgens - Algorithmic music
language
355-361 - Scott Vance - Optrix : A new method
of human coupling with electronic media in live performance
Synthesis hardware
362-378 - Mark Kahrs - VLSI and the design of
real-time digital sound processors
Compositional approaches
379-381 - Paul Lansky - Imagination and linear
prediction
382-403 - Gary S. Kendall - Composing from a geometric
model : Five-leaf rose
404-442 - John Rogers, John Rockstroh, and Philip
Norman Bastone - Music-Time and Clock-Time similarities under Tempo
Change
Generative modeling of music
443-456 - Paul E. Dworak and Philip C. Baczewski
- Vectorfield model of compositional creativity
457-475 - Christopher Fry - Computer improvisation
476-483 - Rosalee Nerheim and Wilber T. England
- A rythm composing program for percussion ensemble
Sound synthesis
484-497 - Tamas Ungvary - Sound image synthesis
498-511 - Daniel Arfib - The musical uses of non
linear distortion
Theory and philosophy of music
512-524 - David Keane - Computer music : Some
problems and objectives in applied aesthetics
525-533 - Dorothy Gross - A computer projectin
harmonic analysis
534-543 - Kemal Ebcioglu - Computer counterpoint
544-564 - C.G.Marillier - Computer assisted analysis
of tonal structure in the classical symphony
Digital synthetizers
565-573 - Steve Levine and J. William Mauchly
- THE Fairlight computer musical instrument
574-576 - Michael Yantis - SBASS-1 features
577-582 - Don Lieberman - The ADS 200 advanced
digital synthesizer
Addendum
583-594 - Blair D. McKay, Barry L. Wills and David
W. Carr - Polyphonic velocity-sensitive keyboard interface
595-606 - Douglas J. Steele and Barry L. Wills
- A microcomputer-based keyboard music system
607-611 - Kimball P. Stickney - Music-11 and ST-10
: Classic stochastic concepts revisited
612-613 - Kimball P. Stickney - Inexpensive computer
music scoring : newly available hardare
614-643 - Charles Ames - Crystals : recursive
structures in computer music composition
644-652 - Helene Charnasse - Towarda data base
in musicology : The computer processing of the Brigman file
653-783 - Deta S. Davis - Computer application
in music : A bibliography
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1981
North Texas State Unversity, Denton, Texas, USA
Tutorials
1. - Lejahren Hiller - Development of computer
music
1. - James Beauchamp - Review of acoustics research
and sound analysis/synthesis technique
1. - Charles Dodge - Theory and technique of computer
sound synthesis
Compositional approaches
3-18 - David Keane - The quest of "musically
intersting" structures in computer music
19-28 - Joel Chadabe - Paths to a point in a musical
landscape
29. - Tod Machover - A survey of recent compositional
and musical research at IRCAM
Compositional philosophy
31-56 - Otto Laske - Toward a definition of computer
music
57-71 - Malgorzata Mikulska - Some remarks on
computer-assisted composition
Studio reports
73. - Brad Alberts - Designing an integrated
environment for the composer and teacher
74. - Alan Schindler, Robert Gross and Alexander Brinkman
- The eastman school of music computer music studio
75-93 - Bruce W. Pennycook - Department of computing
& information science and department of music
94-100 - Wayne Slawson - Sound color and filters
: the hybrid studio revisited
Computer-assisted composition
101-109 - Sever Tipei - Solving specific compositional
problems with MP1
110-117 - Michael Matthews - Algorithms for harmonic
pitch structure generation
118-132 - Jon Meinecke - Stochastic melody writing
procedure : an analysis based approach
133-157 - Charles Ames - Protocol : motivation,
desgn, and implementation of a computer-assisted composition for solo piano
158-170 - John Abel and Paul Barth - Computer
composition of melodic deep structures
Musical data structures
171. - Bruce McLean - Current problems in score
input methods
172-177 - Philip Baczewski and Dan W. Scott -
An intuitive control structure for the generation of computer-synhtesized
musical sound
178-195 - Alexander Brinkman - Data structures
for a music-11 preprocessor
196-212 - Colin Banger and Bruce Pennycook - GCOMP
: graphic control of mixing and processing
Computer-assisted instruction
213. - Paul E. Dworak - Using hierarchical thinking
strategies in creative behavior
214. - Ikuo Kitagaki and Kunihiro Suetake - Piano
training system on the use of a micro-computer of the caracteristic extraction
of the learners’ playing a fundamental etude
Added session
215-224 - DanSenn - The white side program :
the application of microcomputers to music composition both as a clerical
tool and as a generative device
225-243 - Gary S. Kendall and C. A. Puddie Rodgers
- The simulation of three-dimentional localization cues for headphone listening
Synthesis hardware and signal processing
245. - James A. Moorer - The lucasfilm audio
signal processing station
246-263 - John Snell - Real-time console for live
performance of computer music and for recording studios
264. - Curtis Abott - Microprogramming a generalized
signal processor architecture
265-279 - John Stautner, Barry Vercoe and Miller Puckette
- A four-channel reverberation network
280. - Alexandre Parodi - Low cost sound analysis/synthesis
technique
281. - G. DiGIugno, Jean Kott and Andrew Gerzso
- Progress report on the 4X machine and its use
282. - J. B. Barrière, J. Holleville, Y. Potard
and X. Rodet - Musical synthesis : evolution of the "Chant" project
Real-time synthesis
283. - Barton McLean - The Fairlight CMI and
its uses in advanced laser graphics
284. - Neil B. Rolnick - Idiomatic instruments
285. - Jeffrey S. Risberg - Evolution of interactive
control and rel-time synthesis in a digital music system
286. - M. V. Mathews and J. Pasquale - RTSKEO
: a scheduled performance language for the Crumar general development system
287-291 - Stanley Haynes - 15 months of musical
productionusing a real-time digital sound synthesis system
292. - Miller Puckette, Barry Vercoe and John Stautner
- A real-time music 11 emulator
293-297 - L. Sasaki, G. Fedorkow, W. Buxton, C. Retterath
and K. C. Smith - A touch-sensitive input device
Psychoacoustics and sound analysis
299-307 - Martin Piszczalsk and B. A. Galler
- Perceptual organization in music listening
308. - Stephen McAdams and David Wessel - A general
synthesis package based on principles of auditory perception
309-314 - David N. Stewart - Innovative programming
method for sound waveform production : a plucked string sound
315. - Dexter Morill - The dynamic aspects of
trumpet phrases
316-323 - James W. Beauchamp - Data reduction
and resynthesis of connected solo passages using frequency, amplitude,
and "brightness" detection and the nonlinear synthesis technique
Computer-assisted analysis
325-331 - J. Timothy Kolosick - Microcomputers
and future work in computer-assisted music analysis
332-347 - William F. Blair - A selection method
for organization of proportions and musical intervals for composition and
analytic purpose
348-362 - John H. Chalmers - Combination product
sets and other harmonic and melodic structures
363-394 - Denise A. Lagasse - A model computer
program for the parametral analysis of atonal music
Added session
395-395 - Caesar Castro -
396. - William Buxton -
397-413 - Martin Lamb -
414-416 - W. Buxton, S. Hull and A. Fournier -
Music notation and printing
417-421 - David Crawford -
422. - John Maxwell -
Concert programs
423- - -
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1982
Bienalle Venice, Venedig, Italy
Studio reports
1-15 - B. Truax - The new electronic and computer
music studio at Simon Fraser university
16-19 - F. R. Moore and D. G. Loy - Computer audio
research laboratory studio report
20-25 - B. Maillard, J. F. Allouis and Y. Geslin
- The GRM digital studio for treating natural sounds : Its aims and methods
26-32 - J. Celona and M. Longton - Real-time synthesis
at the university of Victoria
33-39 - S. Petrarca and N. Sani - Studio report
S.I.M./Rome (Use of advanced digital technology for musical purpose
40-53 - C. Turco - Studio report IASM Napoli
Computer music systems
54-65 - T. Blum - Phthong - An interactive system
for music composition
66-72 - S. Sapir and R. Kronland-Martinet - Use
of microprocessor in real-time synthesis of sounds
73-91 - C. Cadoz, A.L Luciani, J. L. Florens and T.
Berberyan - The control channels of instrumental playing in computer
music - real time in computer music incidence on the choice of the basic
models
92-99 - L. Kleen - A generalized orchestra compiler
for Z80 micorprocessor
100-115 - A. Marr and B. Pennicook - Alternative
software for DMX-1000
116-132 - G. Haus and M. Malcangi - A portable
‘Walsh’ synthesizer
133-153 - S. Cavaliere, I. Ortosecco, P. Parascandolo
and A Piccialli - An efficient method to implement amplitude modulmation
in hardware
Computer music systems with emphasis on UNIX
154-161 - L.Tarabelle - A microprocessor-based
system for music production
162-171 - D. G. Loy - Asound file system for UNIX
172-187 - V. Asta and A. Freed - The AXIS digital
polyphonic digital music synthesizer
188-193 - C. Abbott - Remembering performance
gestures
194-201 - S. T. Pope - Introduction to the Mshell
202-216 - B. W. Pennicook - The audio composition
system of the defense and civil institute for environmental medicine, Downsview
Canada
Synthesis hardware
217-224 - A. Noetzel - A multi-microprocessor
system for real-time music synthesis : design and implementation
225-231 - G. B. Debiasi and M. Rubazzer - Architercture
for a digital sound synthesis processor
232-240 - J. F. Allouis and J. Y. Bernier - The
SYTER project : sound processor design and software overview
241-244 - M. De Loye - Real-time control system
for digital synthesizer
Languages and input data structures
245-278 - A. Andronico and A. Campia - On automatic
pattern recognition and acquisition of printed music
279-296 - G . Degli Antoni and G. Haus - Music
and causality
297-07 - M. Santojemma - Formal representation
of basic blocks for sound synthesis
Analysis and synthesis techniques 1
308-340 - J. O. Smith - Synthesis of bowed strings
341-349 - D. Arfid - Is MUSIC V a real-time program
? (Oldies but Goodies)
350-353 - J.-C. Risset - Computer synthesis of
sound applied to composition with sonic processes
354-357 - J. Beauchamp - A computer orchestra
Analysis and synthesis techniques 2
358-366 - J. Rogers - Digital simulation of the
piano
367-374 - A. De Santis - A microprocessor oriented
toward the frequency synthesis
375-385 - M. Battier and T. Lancino - The simulation
and extrapolation of instrumental ounds using direct synthesis at IRCAM
386-397 - J. P. Stautner and R. L. Hale - A flexible
acoustic ambience simulator
398-408 - X. Rodet, J. B. Barriere, P. Cointe and
Y. Potard - The CHANT project : Modelization and production, an environment
for composers including the FORMES language for describing and controlling
sound and musical processes
409-425 - P. Grossi, G. Bertini and R. Andreoni
- Computer music as a permanent service - Toward musical telematics
Psychoacoustics
426-436 - L. Friden, J. Sunberg and A. Askenfeld
- A rule system for converting melodies from musical notation into sound
437-465 - J. Strawn - Research on timbre and musical
context at CCRMA
466-478 - J. P. Stautner - Analysis and synthesis
of music using a model of the auditory transform
Computer-assisted instruction
479-510 - R. Upitis - A computer assisted instruction
approach to music for junior-age children : Using ALF for teaching music
composition
511-533 - P. J. Clements - Design considerations
for computer-assisted music intruction
Computer-assisted research in theory and musicology
534-555 - J. H. Chalmers - Construction and harmonization
of microtonal scales in non-twelve-tone equal temperaments
556-562 - E. Gagliardo and M. Ghislandi - Did
Beethoven use the enneadecaphonic algorithm ?
563-576 - P. Grossi and G. Bertini - A program
of tomographic analysis of musical texts
577-587 - H. Charnassé - The automatic transcription
of german lute tablature : Researches concerning algorithms polyphonic
structures
Tools for live performance
588-600 - G. W. Swift and M. Yunik - A microprocessor
based keyboard instrument for microtonal music
601-605 - R. Moog - A multiply touch-sensitive
clavier for computer music
Composition and live performance
606-609 - J. Marc - Computer music language Aids
interaction between composer and choreographer
610-612 - L. Austin - PHANTASMAGORIA : A chronicle
of computer-assisted composition/performance
Computer composition 1
613-622 - G. M. Koenig - Esthetic integration
of computer-composed scores
623-652 - L. Hiller - Stochastic generation of
note parameters for music composition
653-681 - W. Branchi - To compose within sound
(an introduction)
Computer composition 2
682-692 - J. S. Dydo - Surface control of computer
music
693-702 - A. Belfiore - ALGOMUSIC : An algorithm
for the genesis of musical structures
703-718 - C. Roads - Interactive orchestration
based on score analysis
719-721 - G. Malzi and V. Ozzola - A neural theory
of music and derived composition techniques
722-748 - C. Ames - About GRADIENT
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1983
Eastman School of Music, Rochester, New York, USA
Music language and language structures
1-6 - Gareth Loy - An experimental music composition
language with real-time capabilities
7-30 - Alexander Brinkman - A design for a single
pass scanner for the DARMS music coding language
31-54 - Christopher Fry - Flavor band : Beyond
computer improvisation. A Meta-composition language
55-56 - John Strawn - eMerge : Toward a knowledge-based
improvisation.
Acoustics and psychoacoustics
57. - John Strawn - Spectre and timbre
58-80 - Julius Smith - Principals of audio digital
filter design
81-90 - Roger Dannenberg and Arthur Benade - An
automated approach to tuning
91-99 - Manfred Clynes - The code of musicality
- incorporated into real computer performance
Analysis and synthesis procedures
100-103 - Mark Dolson - Musical applications
of the phase vocoder
Real-time performance systems
104-110 - Gary Nelson and John Talbert - The
alles machine revisited
111-113 - David Jaffe - A syntheziser debugger
114-127 - John Snell - Sensor for playing compute
music with expression
128-137 - M. Yunik, M. Borys and G. W. SWift -
A microprocessor based digital flute
Computer assisted instruction and research
138-160 - Mira Balaban - Towards a computer research
of tonal music
161-173 - Richard Ashley - Production systems
: Three applications in music
174-193 - Paul Dworak - Computer pitch recognition
: A new approach
Synthesis techniques
194-235 - Daniel Freed - Waveshaping analysis
and implementation
236-252 - Charles Dierbach - Some initial ideas
on thecontrol of digital sound synthesis through AI techniques
253-261 - Werner Kaegi - The MIDIM system
Compositional strategies
262-269 - Bary Truax - The compositional organization
of timbre in a binaural space
270-274 - Kaija Saariaho - Using the computer
in a search for new aspects of timbre organization and composition
Appendix
275-298 - Bruce Pennycook - Music languages and
preprocessors : A tutorial
299-306 - Joel Chadabe - Interactive composing
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1984
IRCAM : Institut de recherche et Coordination Acoustique/Musique,
Paris, France
Software
1-4 - P. Berg - A procedural control language
for a digital signal processor
5-16 - R. B. Dannenberg and P. Avinney - A functional
approach to real-time control
17-20 - M. Puckette - The “ M ” orchestra language
21-24 - R. Rowe - Recur : Composition and synthesis
25-34 - F. Azzolini and S. Sapir - Score and/or
gesture : The system RTI4I for real-time contyrol of the processor 4I
Signal processing
35-42 - A. Borgonovo and G. Haus - Musical sound
synthesis by means of two-variable functions
43-52 - A. Riotte - Un modèle informatique
pour la trransformation continue de sons harmoniques
53-64 - I.Wawrynek, C. Mead, L. Tzu-Mu, L. Hsui-Lin
and L. Dyer - A VLSI approach to sound synthesis
65-66 - M. Dolson - Refinements in phase-vocoder-based
modification of music
67-82 - G. A. Mian and G. Tisato - Sound structuring
techniques utilizing parameters derived from a voice analysis/synthesis
system
83-86 - J. Zera, J. Gauffin and J. Sundberg -
Synthesis of selected VCV-sllables in singing
87-90 - Angeloni, Gabrielli, Giordani and Danti
- Research on morphological similarities in sound signals originating from
instrumental sounds
91-102 - G. de Poli - Frequency dependent waveshaping
103-110 - J. Smith - An allpass approach to digital
phasing and flanging
111-126 - G. S. Kendall and W. L. Martens - Simulating
the cues of spacial hearing in natural environments
127-130 - E. Favreau, A. Gerzso and P. Potacsek
- Programmation du processeur numérique temps réel, 4X
131-134 - J. P. Stautner - Musical recording,
editing and producton using the compusonics DSP-2000
Composition and research
135-142 - K. Ebcioglu - An expert system for
Schenkerian synthesis in the style of J. S. Bach
143-162 - S. McAdams, S. Gladkoff and J. P. Keller
- AISE : Aprototype laboratory for musical research and the development
of conceptual tools
163-166 - K. Saariaho - Shaping a compàositional
network with computer
167-172 - W. Slawson - Operations on timbre :
Perceptives and problems
173-178 - Barry Truax - Models of interactive
composition with the DMX-1000 digital signal processor
179-184 - D. Cross - An intelligent-ear training
lesson
Control in live performance
185-192 - D. A. Jaffe - Ensemble timing in computer
music
193-198 - R. B. Dannenberg - An on-line algorithm
for real-time accompaniment
199-200 - B. Vercoe - The synthetic performer
in the context o live performance
201-202 - P. Jaffrennou, P. Jaubert and L. Champenois
- SINFONIE : numerical process command with gestural input control
Expressive control
203-212 - G. Young - Hugh Le Caine’s 1948 sackbut
syntheziser : performance mode of electronic instruments
213-216 - R. Teitelbaum - The digital piano and
the patch control language system
217-220 - D. J. Collinge - Moxie : A language
for computer music performance
221-224 - L. Friden and J. Sundberg - Performance
rules for melodies. Origin, functions, purposes
225-232 - M. Clynes - Secrets of live in music
Music printing and data structures
233-242 - A. Brinkman - A data structure for
computer analysis of musical scores
243-250 - D. Decker and G. Kendall - A modular
approach to sound synthesis software
251-256 - L. Dyer - Toward a device independent
representation of music
257-272 - M Minciacchi and D. Minciacchi - Music
editing and graphics (MEG 1.00) : a personal computer based operative system
for editing and printing musical scores
273-274 - Yann Orlarey - MILOGO : Un langage de
programmation orienté composition musicale
275-280 - P. Pruzinkiewicz - Time management in
interactive score editing
Studio reports
281-286 - R. B. Dannenberg, P. Mc Avinney and M.
T. Thomas - Carnegie-Melln university studio report
287-298 - G. B. Debiasi, G. de Poli, G. Tisato and
A. Vidolin - Centro di sonologia computazionale C. S. C. university
of Padua
299-302 - L. Del Luca, F. Galante, M. Lupone, G. Nottoli
and N. Sani - Societa’ di informatica musicale
303-310 - J. Gerbrich, R. Ruzicka and J. Stehlik
- The computer musical composition in Czechoslovakia
311-315 - T. Cary - Quarts in pint pots
265-276 - Jean Marie Adrien, René Causse, Eric
Ducasse - Audio Analysis and Synthesis Techniques Digital Signal Processing
Dynamic Modeling of Stringed and Wind Instruments, Sound Synthesis by Physical
Models
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1985
British Columbia Simon Fraser University, Burnaby,
Canada
Keynote paper
1-4 - Herbert Brün - The Premise Is That There
Be Music
Synthesis and signal processing
5-8 - F. Richard Moore - The CARL Computer Music
Workstations : An Overview
9-13 - Gareth D. Loy - Designing an Operating
Environment for a Realtime Performance Processing System
15-17 - Andrew Voelkel - A Cost Effective Input
Processor-pitch Detector for Electronic Violin
19-23 - Xavier Chabot - User Software for Realtime
Input by a Musical Instrument
25-31 - Timothy A. Wilson - Data Reduction of
Musical Signals
33-38 - Gary Schwartz - Sound Synthesis by Hierarchic
Sampling
39-46 - Erling Henry Wold, Mark A. Z. Dippé
- Alias-Free Sound Synthesis by Stochastic Sampling
47-53 - Julius O. Smith - A New Approach to Digital
Reverberation using Closed Waveguide Networks
55-60 - Mark Dolson - Recent Adventures in Musique
Concrete at CARL
61-67 - James M. Roth, Gary S. Kendall and Shawn L.
Decker - A Network Sound System for UNIX
69-77 - Shawn L. Decker, Gary S. Kendall - A Unified
Approach to the Editing of Time-Oriented Events
79-84 - Ian Bowler, - The Synthesis of Complex
Audio Spectra by Cheating Quite a Lot
85-89 - Jean-Marie Adrien, Xavier Rodet - Physical
Models of Instruments : A Modular Approach Application to Strings
91-96 - Xavier Rodet, Philippe Depalle - High
Quality Synthesis-by-rule of Consonants
97-102 - Jan Vandenheede, Jonathan Harvey - Identity
and Ambiguity : The Construction and Use of Timbral Transitions and Hybrids
Hardware
103-110 - Stephen, F. Hoge, Anthony Agnello -
A Low-Cost Development System for Digital Audio Signal Processing
111-118 - Dana C. Massie - The Emulator II Computer
Music Environment
119-124 - Dave Rossum - Some Aspects of Sample
Rate Conversion
125-127 - Kurt J. Hebel - A Machine-Independent
Sound Conversion/Storage System
129-134 - Andrew Noetzel - The Use of Interpolating
Memories for Music Processing by Microcomputer
135-139 - L. Chouinard, L. N. Belanger - A Computer-Based
Harmonic Analysis/Additive Synthesis System
141-144 - Mark Lentczner - Sound Kit : A Sound
Manipulator
145-151 - Bruce Pennycook, Jeffrey Kulick, Dave Dove
- The Image and Audio Systems Audio Workstation
153-153 - M. Rubbazzer, M. Sanoiemma, G. A. Patella
- A New Architecture for a Digital Sound Synthesizer
155-158 - John Kitamura, William Buxton, Martin Snelgrove,
Kenneth C. Smith - Music Synthesis by Simulation using a General-Purpose
Signal Processing System
159-163 - John W. Gordon - Music Applications
for the MSSP System
165-168 - John W. Gordon, Julius O. Smith III
- A Sine Generation Algorithm for VLSI Applications
Compositional processes and software
169-184 - Nicola Bernardini, - Semiotics and
Computer Music Composition
185-192 - Claudy Malherbe, Gerard Assayag, Michele
Castellengo - Functional Integration of Complex Instrumental Sounds
in Musical Writing
193-198 - J. B. Barriere, Y. Potard, P. F. Baisnee
- Models of Continuity Between Synthesis and Processing for the Elaboration
and Control of Timbre Structures
199-206 - David Keane, - Architecture and Aesthetics
: The Construction and the Objectives of “ Elektronikus Mozaik ”
207-212 - alcides lanza - Exploring Language
213-215 - Denis Smalley - Digital Transformations
in ‘Tides’
217-224 - G. Grisey, J. B. Barriere, P. F. Baisnee
- Les Chants de l’Amour, A Piece for Computer Generated Tape and Mixed
Choir
225-232 - Frederick L. Malouf - A System for Interactive
Music Composition Through Computer Graphics
233-236 - Theo Goldberg - The Prefiguration of
a Musical Composition : Model of a Computer Graphics Program
237-242 - Morris, Stephen - A Personal Computer,
Musical Knowledge-Based System Using Active Objects
243-250 - Larry Polansky, David Rosenboom - HMSL
(Hierarchical Music Specification Language) A Real-Time Environment for
Formal, Perceptual and Compositional Experimentation
251-258 - Charles Ames - Applications of Linked
Data Structures to Automated Composition
259-265 - Sever Tepei - "Maiden Voyages" - A Score
Produced with MP
267-274 - Marilyn Taft Thomas - Vivace : A Rule
Based AI System for Composition
Real-time applications and personal systems
275-278 - Barry Vercoe, Miller Puckette - Synthetic
Rehearsal : Training the Synthetic Performer
279-289 - Joshua J. Bloch, Roger B. Dannenberg
- Real-Time Computer Accompaniment of Keyboard Performances
291-295 - Eric Johnstone - The ROLKY : A Poly-Touch
Controller For Electronic Music
297-302 - Martin Bartlett - The Development of
a Practical Live-Performance Music Language
303-306 - John Lifton - Some Technical and Aesthetic
Considerations in Software for Live Interactive Performance
307-312 - Scot Gresham-Lancaster - Macintosh as
a Live Performance Tool
313-318 - Michel Waisvisz - The HANDS, a Set of
Remote MIDI-Controllers
319-324 - Przemyslaw Prusinkiewicz - Graphics
Interfaces for MIDI-Equipped Synthesizers
325-328 - Daniel Arfib - Man-Machine Dialog Using
MIDI Files
329-330 - Ross Gillett, Kenneth C. Smith, Bob Pritchard
- MADDM - Dance-Directed Music
331-335 - Giovanni B. Debiasi - M.I.N.I. (Musical
Instruments Numerical Interface)
337-339 - Ron Kuivila - Untitled : An Interactive
Installation
341-345 - Brian L. Schmidt, James M. Roth - The
Synchronization of Audio Production in Computer Music
Psychoacoutics and sound analysis
347-353 - John Strawn - Orchestral Instruments
: Analysis of Performed Transitions
355-365 - William L. Martens - Palette : An Environment
for Developing an Individualized Set of Psychophysically Scaled Timbres
367-374 - Stephen McAdams, Kaija Saariaho - Qualities
and Functions of Musical Timbre
Music theory and analysis
375-382 - Mira Balaban - Foundations for Artificial
Intelligence Research of Western Tonal Music
383-390 - Richard D. Ashley - KSM : An Essay in
Knowledge Representation in Music
391-397 - Bernard Mont-Reynaud, Mark Goldstein
- On Finding Rhythmic Patterns in Musical Lines
399-405 - Chris Chafe, David Jaffe, Kyle Kashima,
Bernard Mont-Reynaud, Julius Smith - Techniques for Note Identification
in Polyphonic Music
Studio report
407-414 - James Beauchamp, Scot Aurenz - New
Computer Music Facilities at the University of Illinois at Urbana-Champaign
415-418 - M. Greenhough, I. Bowler, S. Morris
- The Electronic Music Studio at University College, Cardiff
419-424 - David Rosenboom, Larry Polansky - Recent
Developments at the Center for Contemporary Music (1981-Mills College )
425-428 - Geoffrey Wright - Electronic and Computer
Music at the Peabody Conservatory
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1986
Royal Conservatory, Den Haag, Netherlands
General presentation : Composition and research
1-3 - Anders Friberg and Johan Sundberg - A LISP
Environment for Creating and Applying Rules for Musical Performance
5-10 - Jan Vandenheede - Musical Experiments with
Prolog II
11-16 - Richard D. Ashley - A Knowledge-Based
Approach to Assistance in Timbral Design
General presentation : Real-time applications and small
systems
17-20 - John Free, Paul Vytas and William Buxton
- What Ever Happened to SSSP?
21-27 - Christopher Yavelow - The Impact of MIDI
upon Compositional Methodology
29-34 - Neil B. Rolnick - A Performance Literature
for Computer Music: Some Problems form Personal Experience
35-41 - David P. Anderson and Ron Kuivila - A
Model of Real-Time Computation for Computer Music
43-46 - Miller Puckette - Interprocess Communication
and Timing in Real-time Computer Music Performance
Lecture/Demontrations
47-50 - Leo Kupper - Space Perception in the
Computer Age: Music and Psycho-Acoustic Experiences in Space Diffusion
51-52 - Patrizio Barbieri and Lindoro Del Duca
- Renaissance and Baroque Microtonal Music Research in Computer Real Time
Performance
53-56 - Roger B. Dannenberg - The CMU MIDI Toolkit
57-58 - Xavier Chabot, Roger Dannenberg and Georges
Bloch - A Workstation in Live Performance : Composed Improvisation
61-62 - P. Barbaud, F. Brown and R. Lengagne -
The Biniou Machine
Special presentations
63-64 - Rainer Boesch and Daniel Weiss - An Inexpensive
Composer Work Station Featuring High Quality Real-Time Sound Synthesis
65-70 - Jean-Loup Florens, Aime Razafindrakoto, Annie
Luciani and Claude Cadoz - Optimized Real Time Simulation of Objects
for Musical Synthesis and Animated Image Synthesis
71-72 - Giorgio Nottoli and Lindoro Del Duca -
MSYS-7 MIDI Control System
73-74 - Giorgio Nottoli and Francesco Galante
- SOFT MACHINE: A Real Time Fully Programmable Computer Music System
75-81 - E. Amiot, G. Assayag, C. Malherbe and A. Riotte
- Duration Structure Generation and Recognition in Musical Writing
83-85 - Douglas Keislar - Software for Real-Time
Microtonal Control
87-89 - Aluizio Jr.Arcela - Time-Trees: The Inner
Organization of Intervals
91-93 - Michael Greenhough - A Microcomputer System
for The Real-Time Exploration of Musical Structures
95-97 - Philippe Prevot - Tele-detection and Large
Dimension Gestual Control
99-100 - J. C. Radier, Ch. Deforeit and D. Provost
- A User Friendly Synthesizer by Means of a Touch Input Wide LCD Graphic
Display
101-103 - Itai Shelef, Uri Shimony and Itai Nehoran
- A Modular Real-Time Digital Processor of Audio Signals
General presentation : Approaches to input languages
105-108 - Lee Boynton, Jacques Duthen, Yves Potard
and X. Rodet - Adding a Graphical User Interface to FORMES
109-118 - Peter Desain and Henkjan Honing - LOCO:
Composition Microworlds in LOGO
119-125 - Brian L. Schmidt - A Natural Language
System for Music
127-129 - Adrian Freed - MacMix: Mixing Music
with a Mouse
131-144 - Stephen T. Pope - The Development of
an Intelligent Composer's Assistant: Interactive Graphics Tools and Knowledge
Representation for Music
General presentation : Input languages and notation
145-151 - Donald Byrd - User Interfaces in Music-Notation
Systems
153-160 - Roger B. Dannenberg - A Structure for
Representing, Displaying, and Editing Music
161-166 - Peter Desain - Graphical Programming
in Computer Music : A Proposal
167-172 - Lounette M. Dyer - MUSE : An Integrated
Software Environment for Computer Music Applications
173-178 - Gerard Assayag and Dan Timis - A Toolbox
for Music Notation
Lecture/Demontrations
179-182 - Aad te Bokkel - De Erratiese Synkretiseur
183-186 - Lee Boynton, Pierre Lavoie, Yann Orlarey,
Camilo Rueda and David Wessel - MIDI-LISP : A LISP-Based Music Programming
Environment for the Macintosh
187-191 - Birute Sinkeviciute, Saulius Sondeckis and
Arturas Medonis - On the Identification of Violin Strokes in a Real-Time
Performance System
193-195 - Floris van Manen and Stichting Klankschap
- Ringo : A Percussive Installation
Studio reports
197-198 - Gerald Bennett, Rainer Boesch, Antonio
Greco and Bruno Spoerri - Studio Report : The Swiss Center for Computer
Music
199-201 - Mark Kahrs, Thomas J. Killian and Max V.
Mathews - Computer Music Research at Bell Labs : 1986-
203-205 - Louise Gariepy - The Electro-Acoustic
Unit of the Faculty of Music of the University of Montreal
207-209 - Noel Zahler - Studio Report : The Impact
of Computer Music on the Small Liberal Arts College in the United States
Special presentations
211-213 - Yann Orlarey - MLOGO : A MIDI Composing
Environment for the Apple Iie
215-217 - Mohan K. Harihara and Radhakrishna Rao
- MRIDANGAM Simulation
219-225 - Martin D. Wilde, William L. Martens, James
M. Hillenbrand and Douglas R. Jones - Externalization Mediates Changes
in the Perceived Roughness of Sound Signals with Jittered Fundamental Frequency
227-229 - Christoph Lischka and Hans-Werner Gusgen
- MvS/C - A Constraint-Based Approach to Musical Knowledge Representation
231-235 - Barry Truax - Real-Time Granular Synthesis
with the DMX-1000
237 239 - P.-F. Baisnee, J.B. Barriere, O. Koechlin
and R. Rowe - Real-Time Interaction between Musicians and Computer
: Live Performance Utilisations of the 4X Musical Workstation
General presentation : Synthesis models
241-247 - Yee-On Lo - Techniques of Timbral Interpolation
249-255 - H.Kaegi, J. Janssen and P. Goodman -
MIDIM Sound-Duplications and Their Applications
257-262 - Xavier Serra - A Computer Model for
Bar Percussion Instruments
263-267 - Joseph Marks and John Polito - Modeling
Piano Tones
269-274 - Y. P.Potard, F. Baisnee and J. B. Barriere
- Experimenting with Models of Resonance Produced by a New Technique for
the Analysis of Impulsive Sounds
275-280 - Julius O. Smith - Efficient Simulation
of the Reed-Bore and Bow-String Mechanisms
General presentation : Digital signal processing
281-284 - Francesco Galante - A.A.S. : Acoustic
Ambience Simulator System
285-292 - Gary S. Kendall, William L. Martens, Daniel
J. Freed, M. Derek Ludwig and Richard W. Karstens - Spatial Processing
Software at Northwestern Computer Music
293-297 - S. A. Piccialli Cavaliere - Phase Modulation
with Interpolated Time Functions : Synthesis by Formants
Lecture/Demontrations
299 300 - Anthony Holland - Sampling and Composition
with the Kurzweil 250 Today’s Aesthetic Choices
301-303 - P. J. Comerford - The Bradford Musical
Instrument Simulator
305 307 - Alain Martel - The SS-1 Sound Spatializer
: A Real-Time MIDI Spatialization Processor
309-312 - Kevin Jones - Real-Time Stochastic Composition
and Performance with AMPLE
Studio reports
313-316 - Johan C. M. den Biggelaar - Hogeschool
voor de Kunsten Utrecht Studio Report : Center for Music and Information
Technology
317-319 - Cornelia Colyer - Studio Report : Centre
D’Etudes de Mathematique et Automatique Musicales
Special presentations
321-326 - Jon Appleton - The Computer and Live
Performance
327-329 - Ron Kuivila and David Anderson - Timing
Accuracy and Response Time in Interactive Systems
331-336 - Craig Harris and Alexander Brinkman
- A Unified Set of Software Tools for Computer-Assisted Set-Theoretic and
Serial Analysis of Contemporary Music
337-339 - John Morehen - Computer-Assisted Musical
Analysis: A Question Of Validity
341-343 - G. Codeluppi and E. Iannuccelli - Computer
and Music Software in an Educative-Formative Role in Italy
345-348 - Marco Ligabue - A System of Rules for
Computer Improvisation
349-351 - Gary Greenberg - Computers and Music
Education: A Compositional Approach
General presentation : Hardware
353-358 - M. Rubbazzer, M. Santoiemma and G.A. Patella
- Some Advances in the Development of a New Architecture for a Digital
Sound Synthesizer
359-363 - David Blythe, John Kitamura, David Galloway
and Martin Snelgrove - Virtual Patch-Cords for the Katosizer
365 368 - Bennett K. Smith and Paul Chervin -
Boris: An Application of the Fujitsu MB8764 Chip
General presentation : Workstations and music
369 373 - E.Favreau, M. Fingerhut, O. Koechlin, R.
Potascek, M. Puckette and R. Rowe - Software Developments for the 4X
Real-Time System
375-380 - Gareth D. Loy - Designing a Computer
Music Workstation from Musical Imperatives
381-386 - F. Richard Moore - Applications for
an Integrated Computer Music Workstation
387-391 - Roger Reynolds - Musical Production
and Related Issues at CARL
General presentation : Psychoacoustics and sound analysis
393-405 - Daniel Freed, J. William and L. Martens
- Deriving Psychophysical Relations for Timbre
407-412 - Robert Cogan - Imaging Sonic Structure
Discussion : Networks
413-421 - Kristi Allik, Shane Dunne and Robert Mulder
- ArcoNet : A Proposal for a Standard Network for Communication and Control
in Real-Time Performance
Lecture/Demontrations
423-426 - Michel Starkier and Philippe Prevot
- Real-Time Gestural Control
427 429 - Helmut Zander - The APS1000 Series of
Digital Audio Processing
Studio report
431-434 - Chris Chafe, Julius Smith and Patte Wood
- Current Work at CCRMA : An Overview
Special presentations
435-442 - Bruno Degazio - Musical Aspects of
Fractal Geometry
443-445 - Daniel V. Oppenheim - The Need for Essential
Improvements in the Machine-Composer Interface used for the Composition
of Electroacoustic Computer Music.
447-449 - Kemal Ebcioglu - An Expert System for
Harmonizing Four-Part Chorales
451-453 - G. Nancini, P. Grossi, G. Bertini, C. Camilleri
and L. Tarabella - TELETAU : A Computer Music Permanent Service
455-457 - Przemyslaw Prusinkiewicz - Score Generation
with L-Systems
459-461 - Peter J. Clements - A System for the
Complete Enharmonic Encoding of Musical Pitches and Intervals
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1987
University of Illinois, Champaign/Urbana, Illinois,
USA
Tutorial talks
1-8 - Charles Ames - Tutorial on automated composition
9-16 - Julius O. Smith - Waveguide Filter Tutorial
Computer assisted composition
17-24 - Brian Evans - Integration of Music and
Graphics through Algorithmic Congruence
25-32 - Gary Greenberg - Procedural Composition
33-39 - Keith Hamel, Bruce Pennycook, Bill Ripley
and Eli Blevis - Composition Design System: A Functional Approach to
Composition
40-48 - Daniel V. Oppenheim - The P-G-G Environment
for Music Composition: A Proposal
49-56 - Carla Scaletti - Kyma: An Object-oriented
Language for Music Composition
Studio report
57 64 - Jean-Baptiste Barriere - Musical Production
at IRCAM in 1986-87 A Studio Report
65-72 - Harnden Eric, Ron Massaro and Gary Gibian
- The Development of a Computer Music Facility at the American University
73-79 - Craig R. Harris - The Missing Link: A
Studio Report
80-83 - JoAnn Kuchera-Morin and Dan Timis - The
Computer Music Studio at the University of California, Santa Barbara: A
Studio Report
Sound synthesis and processing techniques
84-88 - Judith C. Brown and Miller S. Puckettte
- Musical Information from a Narrowed Autocorrelation Function
89-95 - Guy E. Garnett - Modeling piano sound
using Waveguide Digital Filtering Techniques
96-103 - Brad Garton - Elthar: A Signal Processing
Expert that Learns
104-107 - Kurt J. Hebel - Javelina: An Environment
for the Development of Software for Digital Signal Processing
104-105 - Fernando Lopez-Lezcano - PadMaster:
an improvisation environment for real time performance
108-116 - David Wessel, David Bristow and Zack Settel
- Control of Phrasing and Articulation in Synthesis
Real-time systems : new techniques
117-124 - D. Gareth Loy - On the scheduling of
multiple parallel processors executing synchronously
125-129 - Charlie Q. Robinson - Real Time Synthesis
of Bowed String Timbres
130-137 - John M. Snell - General-purpose Hi-fidelity
Affordable Real-time Computer Music System
138-145 - Barry Truax - Real-time Granulation
of Sampled Sound with the DMX-1000
Music workstations : software and hardware
146-150 - Martin Atkins, Andrew Bentley, Thomas Endrich
and Rajmil Fischman - The Composers' Desktop Project
151-158 - Jacques Duthen and Yves Potard - Le_Loup,
an Object-Oriented Extension of Le_Lisp for an Integrated Computer Music
Environment
159-165 - Gerhard Eckel, Xavier Rodet and Yves Potard
- A Sun-Mercury music workstation
166-173 - Stephen Travis Pope - A Smalltalk-80
based Music Toolkit
Understanding and assisting musical thinking
174-181 - David Cope - Experiments in Music Intelligence
(EMI)
182-189 - Simon Holland - New Cognitive Theories
of Harmony Applied to Direct Manipulation Tools for Novices
190-196 - Christoph Lischka - Connectionist Models
of Musical Thinking
197-205 - Larry Polansky - Morphological Metrics:
An Introduction to a Theory of Formal Distances
Cybernetics in composition
206-211 - Larry Austin and Eugene DeLisa - Modeling
Processes of Musical Invention
212-219 - Gary Grossman - Instruments, Cybernetics,
and Computer Music
220 227 - Larry Polansky, David Rosenboom and Phil
Burk - HMSL: Overview (Version 3.1) and Notes on Intelligent Instrument
Design
228-229 - Noel Zahler - Isomorphism, Computers,
and the Multi-media Work
MIDI performance system : novel approaches
230-237 - David P. Anderson - Synthesizer Management
Based on Note Priorities
238-240 - Jean-Charles Francois, Xavier Chabot and
John Silber - MIDI Synthesizers in Performance: Realtime Dynamic Timbre
Production
241-248 - Roger Dannenberg and Bernard Mont-Reynaud
- Following an Improvisation in Real Time
249-255 - Marc LoCascio - Audio Time Compansion
for Studio and Performance Synchronization
256-263 - F. Richard Moore - The Dysfunctions
of MIDI
Sound analysis, synthesis and perception
264-269 - Jean Marie Adrien, René Caussé,
Xavier Rodet - Sound synthesis by physical models : application to
strings
270-274 - L. K. Kitching - From Small Beginnings
274-281 - William L. Martens - Principal Components
Analysis and Resynthesis of Spectral Cues to Perceived Direction
282-289 - Russell G. Payne - A Microcomputer Based
Analysis/Resynthesis Scheme for Processing Sampled Sounds Using FM.
290-297 - Julius O. Smith and Xavier Serra - PARSHL:
An Analysis/Synthesis Program for Non-Harmonic Sounds Based on a Sinusoidal
Representation
Music notation encoding and printing
298-301 - Gerard Assayag and Dan Timis - Computer
Printing, Storage, and Transfer of Musical Scores
302-310 - Diane Joyce Cook - Orpheus: A Music
Notation Program
311-316 - J. Stephen Dydo - Data Structures in
the Note Processor
317-324 - John Free - Towards an Extensible Data
Structure for the Representation of Music on Computers
325-332 - Keith A. Hamel - Issues in the Design
of Music Notation Systems
333-340 - Giovanni Muller and Raffaello Giulietti
- High Quality Music Notation: Interactive Editing and Input by Piano Keyboard
Computers and learning
341-348 - Mark Dolson, Abe Singer and David Rivas
- Personal-Computer Microworlds for Learning About Signals and Sound
349-355 - Richard Kufrin - PRECOMP/GT - A Graphic
Tool for Learning Topics in Computer-Assisted Composition
356-363 - Linda Sorisio - Design of an Intelligent
Tutoring System in Harmony
Special session : composers’ talk
364-371 - David Keane - Computer Music and Human
Engineering: The Making of "Labyrinth"
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1988
GIMIK, Köln, Germany
Musician-Machine interaction
1-12 - Claude Cadoz - Instrumental gesture and
musical composition
15-19 - D. J. Collinge and S. M. Parkinson - The
Oculus Ranae
20-27 - Barry M. Eagelstone - A Database Environment
for Musician-Machine Interaction Experiment
28-40 - Sylvie Gibet and Jean-Loup Florens - Machine
Recognition of Music Information Composition Systems and Techniques Instrumental
Gesture Modeling by Identification with Time-Varying Mechanical Models
41-48 - Johannes Goebel - Man-Machine Interaction
49-55 - Rubine Dean and Paul McAvinney - The VideoHarp
Music Workstations
56-65 - Mira Balaban - A Music Workstation Based
on Multiple Hierarchical Views of Music
66-81 - Michael Czeiszperger - A Multiple Workstation
Environment for Joint Computer Music/Computer Graphics Production
82-89 - Xavier Rodet and Gerhard Eckel - Dynamic
Patches: Implementation and Control in the Sun-Mercury Workstation
90-99 - Jean-Michel Raczinski and Gerard Marino
- A Real-Time Synthesis Unit
Computers and composition
101-107 - Reginald Bain - Linguistic and musical
composition : logical structures
108-118 - Pierre-Francois Baisnée, Jean-Baptiste
Barriere, Marc-André Dalbavie, Jacques Duthen, Magnus Lindberg,
Yves Potard and Kaija Saariaho - ESQUISSE: A Compositional Environment
119-126 - A. Camurri, M. Giacomini, A.Ponassi and
R.Zaccaria - Key-Music: Expert System Environment for Music Composition
127-141 - John Free and Paul Vytas - The CAMP
Music Configuration Database: Approaching The Vanilla Synthesizer
142-149 - Gary Greenberg - Composing With Performer
Objects
150-157 - Gary Greenberg - Music Learning - Compositional
Thinking
158-165 - Bernd Streitberg and Klaus Balzer -
The Sound of Mathematics
Music Representation
166-174 - Heinz-Dieter Bocker and Andreas Mahling
- What's in a Note ?
175-183 - Marc Chemillier and Dan Timis - Toward
a theory of formal musical languages
184-188 - Glendon Diener - TTrees - An Active
Data Structure for Computer Music
Machine perception
189-198 - David Rosenthal - A Model of the Process
of Listening to Simple Rhythms
199-210 - Andranick S. Tanguiane - An Algorithm
For Recognition of Chords
211-217 - Barry Vercoe and David Cumming - Connection
Machine Tracking of Polyphonic Audio
Real-time performance
219-230 - Peter Beyls - Introducing Oscar
231-238 - D. J. Collinge and D. J. Scheidt - Moxie
for the Atari ST
239-242 - Roger B. Dannenberg - A Real Time Scheduler/Dispatcher
243-249 - Roger Dannenberg and B. Hirofumi Mukaino
- New Techniques for Enhanced Quality of Computer Accompaniment
250-257 - Rupert Nieberle, C. Frank, H. Rothkamm,
Marcus Verwiebe, Paul Modler, Stefan Koschorreck and Lutz Kosensky
- The CAMP System: an approach for integration of realtime, distributed
and interactive features in a multiparadigm environment
258-264 - Rupert C. Nieberle and Paul Modler -
An Open Multiprocessing Architecture for Realtime Music Performance
Digital audio (theory)
265-276 - Jean-Marie Adrien, René Causse and
Eric Ducasse - Dynamic Modeling of stringed and wind instruments, sound
synthesis by physical models
277-296 - Peter Castine - A Survey of Users' Experience
with Digital Audio Synthesis
297-312 - Guy Garnett, E. Bernard and M. Mont-Reynaud
- Hierarchical Waveguide Networks
313-321 - Xavier Rodet, P. Depalle and G. Poirot
- Diphone Sound Synthesis Based on Spectral Envolopes and Harmonic/Noise
Excitation Functions
322-332 - Marie-Hélène Serra, Dean Rubine
and Roger B. Dannenberg - The Analysis and Resynthesis of Tones via
Spectral Interpolation
Digital audio (applications)
333-348 - R. W. Berry - Experiments in Computer
Controlled Acoustic Modelling (A Step Backwards ??)
349-356 - Lee Boynton and Dave Cumming - A Real-Time
Acoustic Processing Card for the Mac II
357-371 - John Michael Clarke, Peter Manning, Ron
Berry and Alan Purvis - VOCEL: New implementations of the FOF synthesis
method
372-377 - Mark Lentczner and John Worthington
- The Sound Manager: A Software Architecture for Device Independent Sound
378-382 - Miles A. Marks - Resource Allocation
In An Additive Synthesis System For Audio Waveform Generation
Ciomposition and research
383-391 - Bruce Pennycook - PRAESCIO-II: "Amnesia":
Toward Dynamic Tapeless Performance
392-397 - Curtis Roads - Sound Structure in Message
398. - Rodney Washka and Tózé Ferreira
- Rapid Event Deployment in a MIDI Environment
Miscellaneous
399-402 - A. Chaigne and F. Troxler - SONATE:
An analysis/synthesis system of musical sounds based on perceptual data
403-411 - Bruno Degazio - The Development of Context
Sensitivity in the Midiforth Computer Music System
412-419 - Francesco Giomi and Marco Ligabue -
An Interactive System for Musical Improvisation
420-429 - Miller Puckette - The Patcher
430-436 - Uri Shimony, Shlomo Markel and Josef Tal
- Icon Notation for Electroacoustic and Computer Music
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1989
Ohio State University, Colombus, Ohio, USA
1-4 - Kristi Allik - The Interactive Arts System:
Introduction to a Real-Time Performance Tool
5-8 - Richard Ashley - A Computer System for Learning
Analytic Listening
9-12 - Richard Ashley - Computer Based Learning:
Models and Lessons for Computer Music Systems
13-16 - Bridet Baird, Donald Blevins and Noel Zahler
- The Artificially Intelligent Computer Performer on The Macintosh II and
a Pattern Matching Algorithm for Real-Time Interactive Peformance
17-20 - Jean-Baptise Barrière, Adrian Freed
and Pierre-François Baisnée - A Digital Signal Multiprocessor
and its Musical Applications
21-24 - James Beauchamp - The Computer Music Project
at the University of Illinois at Urbana-Champaign, 1989
25-28 - Nicola Bernardini and Peter Otto - Studio
Report: Tempo Reale
29-33 - Nicola Bernardini and Peter Otto - TRAILS:
An Interactive System for Sound Location
34-50 - Peter Beyls - The Musical Universe Of
Cellular Automata
51-54 - Frederic Boyer and Richard Kronland-Martinet
- Granular Resynthesis and Transformation of Sounds Through Wavelet Transform
Analysis
55-57 - Peter Bowcott - Cellular Automation as
a Means of High Level Compositional Control of Granular Synthesis
58-61 - Ian Bowler, Peter Manning, Alan Purvis and
Nick Bailey - A Transputer-Based Additive Synthesis Implementation
62-64 - Century Michael - The Banff Centre Media
Arts Program: Studio Report and Artistic Retrospective
65-68 - Xavier Chabot - Performance with Electronics:
Gesture Interfaces and Software Toolkit
69-72 - Perry R. Cook - Synthesis of the Singing
Voice Using a Physically Parameterized Model of the Human Vocal Tract
73-75 - Roger B. Dannenberg - Music Representation
Issues: A Position Paper
76-79 - Roger B. Dannenberg and Christopher Lee Farley
- Fugue: Composition and Sound Synthesis With Lazy Evaluation and Behavioral
Abstraction
80-85 - Peter Desain, Henkjan Honing and Klaus de
Rijk - A Connectionist Quantizer
86-89 - Glendon R. Diener - Nutation: Structural
Organization Versus Graphical Generality in a Common Music Notation Program
90-93 - Charles Dodge and Curtis Bahn - Studio
Report for the Centre for Computer Music at Brooklyn College
94-97 - Pierre Dutilleux - Spinnin' the sounds
in real-time
98-100 - Lounette M. Dyer - Position Paper for
Music Representation Panel
101-104 - Arnie Eigenfeldt - Contour: A Real-Time
MIDI System Based on Gestural Input
105-108 - Brian Evans - Ehancing Scientific Animations
with Sonic Maps
109-112 - Adrian Freed - New Media for Musicological
Research and Education -The Country Blues in HyperMedia
113-116 - Ichiro Fujinaga, Bo Alphonce and Bruce Pennycook
- Issues in the Design of an Optical Music Recognition System
119-122 - Harrison, Malcom C. Suzanne Haig Gershon
Horowitz - A Shortest-Path Algorithm for Musical Harmony
123-126 - Keiji Hirata and Tatsuya Aoyagi - Music
Server
127-130 - Fred Holm - Frequency Scheduling: Real-time
Scheduling in Multiprocessing Systems
131-133 - David Huron - Characterizing Musical
Textures
135-138 - David A. Jaffe - An Overview of the
NeXT Music Kit
139-146 - H. Katayose, H. Kato, M. Imai and S.Inokuchi
- An Approach to an Artificial Music Expert
147-150 - H. Katayose, K. Takami, T. Fukuoka and S.
Inokuchi - Music Interpreter in the Kansei Music System
151-154 - David Keane and Peter Gross - The Midi
Baton
155-159 - Gregory Kramer, Robert Moog and Alan Peevers
- The Hybrid: A Music Performance System
160-163 - JoAnn Kuchera-Morin and Dan Timis -
Recent Developments at The Center for Computer Music Composition
164-167 - Peter Langston - Six Techniques for
Algorithmic Composition (Extended Abstract)
168-171 - Jean Laroche and Xavier Rodet - The
Use of Prony's Method for the Analysis of Musical Sounds Applicative to
Percussive Sounds
172-175 - Mikael Laurson and Jacques Duthen -
PATCHWORK: a Graphic Language in PREFORM
176-179 - Keith Lent - A Real-Time Computer Music
Synthesis System Based on the Motorola 56001
180-183 - J.P. Lewis - Algorithms for Music Composition
by Neural Nets: Improved CBR Paradigms
184-185 - George W. Logemman - Experiments with
a Gestural Controller
186-190 - Tod Machover - Hyperinstruments: Musically
Intelligent and Interactive Performance and Creativity Systems
191-198 - Toshiaki Matsushima, Sadamu Ohteru andShuji
Hashimoto - An Integrated Music Information Processing System: PSB-er
199-202 - William F. McGee - Real-Time Acoustic
Analysis of Polyphonic Music
203-206 - Mark Medovich - Demodulated Vector Quantization
(DVQ), and Real Time Music Synthesis via DVQ Code Books
207-210 - H. Morita, S. Ohteru and S. Hashimoto
- Computer Music System which Follows a Human Conductor
211-214 - Dexter Morrill and Perry R. Cook - Hardware,
Software, and Compositional Tools for Real Time Improvised Solo Trumpet
Work
215-218 - Michel Naranjo and Irene Duc - Musical
Paste and Geometric Image Modeling
219-222 - Gary Lee Nelson - Algorithmic Approaches
to Interactive Composition
223-225 - Adolfo Nœ-ez - The Computer and Electronic
Music Studio at the CDCM, Madrid
226-233 - Daniel V. Oppenheim - DMIX: An Environment
for Composition
234-237 - Yann Orlarey - MIDI SHARE: A real time
multi-tasks software module for MIDI applications
238-241 - Bruce Pennycook - Computer Applications
In Music at McGill University
242-245 - Russell F. Pinkston - The Accelerando
Project
246-248 - Stephen Travis Pope - Considerations
in the Design of a Music Representation Language
249-252 - Stephen Travis Pope - Modeling Musical
Structures as Event Generators
253-256 - David Rivas, Steve Watkins and Paul M. Chau
- VLSI for a Physical Model of Musical Instrument Oscillations.
257-259 - Curtis Roads - Active Music Representations
260-263 - John Roeder and Keith Hamel - A General-Purpose
Object Oriented System for Musical Graphics
264-267 - Mark Rudolph - On the Use of Cepstral
Representation in Synthesis from Reduced Performance Information
268-272 - Gregory J. Sandell - Perception of Concurrent
Timbres and Implications for Orchestration
273-276 - Brian Schmidt - Designing Sound Tracks
for Coin-Op Games or Computer Music for Under $65.00
277-280 - Douglas Scott - A Processor for Locating
Stationary and Moving Sound Sources in a Simulated Acoustical Environment
281-284 - Xavier Serra and Julius O. Smith - Spectral
Modeling Synthesis
285-288 - Uri Shimony, Noam Elroy and Ehud Hamami
- LZW Compression of Musical Files
289-292 - Justin Shuttleworth and Mike Greenhough
- Music Processing by Transputer Networks at the Electronic Music Studio
in Cardiff
293-295 - Wayne Siegel - DIEM Studio Report
296-302 - Donald Sloan - Precis of the Standard
Music Description Language
303-306 - Julius O. Smith - Unit-Generator Implementation
On The NeXT DSP Chip
307-311 - Steinberg Daniel and Tim Learmont -
The Multimedia File System
312-315 - Tarabella Leonello and Graziano Bertini
- A Digital Signal Processing System and a Graphic Editor for Synthesis
Algorithms
316-319 - Taube Heinrich - Common Music: A Compositional
Language in Common Lisp and CLOS
320-323 - Siddhartha Chatterjee and Mark W. Maimone
- Cantabile: A Rule-Based System for Composing Melodies
324-327 - Sever Tipei - Manifold Compositions:
A (Super)Computer-Assisted Composition Experiment in Progress
328-331 - William Franklin Walker - KIWI: A Parallel
System for Software Sound Synthesis
333-335 - Rodney Waschka and Alexandra Kurepa
- Using Fractals in Timbre Composition: An Exploratory Study
336-339 - David Wessel, Richard Felciano, Adrian Freed
and John Wawrzynek - The Center for New Music and Audio Technologies