PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1995 -
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1995
Banff Centre for Arts, Banff, Canada
Aesthetics and criticism
1-4 - Barry Truax - Sound In Context: Soundspace
Research and Composition at Simon Fraser University
5-8 - Alessandro Cipriani - Toward an Electroacoustic
Tradition
9-12 - Sever Tipei - For an Intelligent use of
Computer in Music Composition
13-18 - Mary Simoni - A Survey of Gender Issues
Related to Computer Music and Strategies for Change
19-22 - Kevin Jones - The Algorithmic Muse: New
Listening Paradigms and the Harmonies of Chaos
Studio reports
23-24 - Fernando Lopez-Lezcano - CCRMA Studio
Report
25-26 - Marcia L. Bauman - The International Digital
Electroacoustic Music Archive
27-28 - Tamas Ungvary and Peter Mechtler - The
Institute of Electroacoustics and Experimental Music at the Vienna University
of Music
29-30 - Ivar Frounberg - The electro-acoustic
music studio at the royal academy of music, Copenhagen
31-32 - Mark Sullivan - Computer Music Studios
at Michigan State University
33-34 - Anna I. Katrami, Pater J. Comeford and Barry
M.Eaglestone - Computer Music at the University of Bradford
All day demonstration
35-36 - Silvia Matheus and Tom Keller - Audio
Game Interactive Performance
Chaos, theory and synthesis
Chaos, theory and synthesis
37-44 - M. P. Verge, R. Causse and Hirschberg, A.
- A Physical Model of Recorder-like Instruments
45-48 - Richard Bodson and John Fitch - Experiments
with Chaotic Oscillators
49-56 - J.P. Mackenzie - Chaotic Predicive Modelling
of Sound
57-60 - Chris Chafe - Adding Vortex Noise to Wind
Instrument Physical Models
Demonstrations
61-62 - Nick Porcaro, Pat Scandalis, Julius Smith,David
Jaffe and Tim Stilson - SynthBuilder Demonstration Ð A Graphical
Real-Time Synthesis, Processing and Performance System
63-64 - Mara Helmuth and Aladin Ibrahim - The
FCurve Soudn Generator with Granular Synthesis
Architecture
65-72 - Roger B. Dannenberg and Dean Rubine -
Toward Modular, Portable, Real-Time Software
73-76 - Gérard Assayag - Visual Programming
in music
77-83 - François Déchelle - The
IRCAM Real-Time Platform and Applications
84-87 - Brett Terry - ScoreViews : An Object-Oriented
Approach to a Graphical Computer Music Synthesis Environment
Approaches to physical modelling and synthesis 1
88-95 - Ph. Depalle - State Space Soudn Synthesis
and State Space Synthesizer Building
96-103 - S. Tassart, Eric Incerti and Claude Cadoz
- Topology, Geometry, Matter of Vibrating Structures Simulated with CORDIS-ANIMA.
Sound Synthesis Methods.
Demonstrations
104-105 - Fernando Lopez-Lezcano - PadMaster
: an improvisation environment for real-time performance
106-107 - Yushi Aono, Haruhiro Katayose and Seiji
Inokuchi - An Improvisational Accompaniment System Observing Performer’s
Musical Gesture
Posters
108-109 - Perry R. Cook - A Hierarchical System
for Controlling Synthesis by Physical Modeling
110-111 - Tim Stilson - General Wierdness with
the Karplus-Strong String
112-113 - David Berners and Julius O. Smith III
- Super-Spherical WaveSimulation in Flaring Horns
114-115 - Steven D. Trautmann, - A Physical Model
with a Twist
116-117 - Juan Lle-, Antonio Lazarte, Andrés
Loiseau and Roger Gilabert - MIDIVERSO: A Virtual Reality Music Installation
118-119 - Lippold Haken and Dorothea Blostein
- A New Algorithm for Horizontal Spacing of Printed Music
120-121 - Stephan Dunkelman - Vertically read
notation
122-123 - David P. Chapman - A Computer Music
System for Hierarchical Sound Construction
124-126 - Steve Netherton and Gary S. Kendall
- A Software Compressor for Computer Music Applications
Computer music and media
127-133 - Stephan Travis Pope - Computer Music
Workstations I Have Known and Loved
134-138 - Insook Choi - On performing a listener:
what is missing, Pahanini?
139-142 - Hannah Bosma - Make and Female Voices
in Computer Music
143-143 - Charles Bestor - Music, Sculpture, Light
and Text: a Study in Installation Art
Studio reports
144-145 - Brian Evans - Computer Music Across
Disciplines in an Undergraduate Curriculum
146-147 - Joran Rudi - NoTAM studio report
148-149 - David Hirst - La Trobe University Music
Department: Studio Report
150-151 - Nicola Bernardini - The centro tempo
reale
152-153 - Nicola Bernardini, Graziano Tisato, Michele
Manfrin - The POOLman project
All day posters
154-157 - Kelly Fitz, Lippold Haken and A Lemur -
Bandwidth Enhanced Sinusoidal Modeling in Lemur
158-161 - Kelly Fitz, Lippold Haken and Bryan Holloway
- A Tool for Timbre Manipulation
162-163 - Lippold Haken, - Real-Time Timbre Modifications
Using Sinusoidal Parameter Streams
Issues in interactive performance
164-166 - Stephan Horenstein - Interactive Works:
New Problems and Potentials
167-170 - Isao Hidaka, Masataka Goto and Yoichi Muraoka
- An Automatic Jazz Accompaniment System Reacting to Solo
171-174 - Masataka Goto and Yoichi Muraoka - A
Real-time Beat Tracking System for Audio Signals
175-178 - Miller Puckette - Score following using
the sung voice
179-182 - Nicola Bernardini - Real-Time Soudn
Hybridization
Demonstrations
183-184 - Brad Cariou - Vidolin, Alvise A Demonstration
of the aXiØ Controller
185-186 - Bennett Brecht and Guy E. Garnett -
Conductor Follower
Representation, recognition and archives
187-194 - Bertrand Coüasnon and Bernard Rétif
- Using a Grammar for a Reliable Full Score Recognition System
195-198 - Bruce Pennycook - Music Library of the
Future: A Pilot Project
199-202 - Douglas Keislar, Thom Blum, James Wheaton
and Erling Wold - Audio Analysis for Content-Based Retreival
203-206 - Oliver Zahorka - PrediBase : Controlling
Semantics of Symbolic Structures in Music
Approaches to physical modelling and synthesis 2
207-214 - Xavier Rodet - One and Two Mass Model
Oscillation for Voice and Instruments
215-222 - Andrew Horner, Ngai-Man Cheung and James
Beauchamp - Genetic Algorithm Optimization of Additive Synthesis Envelope
Breakpoints and Group Synthesis Parameters
Demonstrations
223. - Harold Fortuin - The Clavette: A Generalized
Microtonal MIDI Keyboard Controller
224-225 - Russell Pinkston, Jim Kerkhoff and Mark
McQuilken - A Touch Sensitive Dance Floor/MIDI Controller
Posters
226-227 - Richard Orton, KirkRoss and Andy Hunt
- Partial-balancing Instruments with Dynamically Refreshed Wavetables
228-229 - I.S. Gibson and D. M. Howard - Intuitive
and Dynamic Control of Synthesized Sounds by Voice
230-231 - Allen S. C. Lee - CSOUND Granular Synthesis
Unit Generator
232-232 - Yann Orlarey, Dominique Fober and Stéphane
Letz - An Algebra for Time-Based Objects
235-236 - Nicholas Thompson and Roger B. Dannenberg
- Optimizing Software Synthesis Performance
237-238 - Belinda Thom and Roger Dannenberg -
Predicting Chords in Jazz
239-240 - Todd Winkler - Composing Interactive
Music: A Pedagogical Approach to Teaching Interactive Composition
241-242 - Russel Ovans, David Murphy, Timothy Bartoo
- The infinite delay line : granulation as an in-life effect
243-244 - Steven D. Trautmann - Toward a CLM Sound
Localization Instrument employing Modified Wavefront Reconstruction
Motion detection and gesture analysis
245-252 - Antonio Camurri - Interactive Dance/Music
Systems
253-256 - Roel Vertegaal and Tamas Ungvary - The
Sentograph: Input Devices and the Communication of Bodily Expression
257-260 - Hideyuki Sawada, Shin'ya Ohkura and ShujiMaking
Hashimoto - Gesture Analysis Using 3-D Acceleration Sensor for Music
Control
261-264 - Todd Winkler, - Motion Musical: Gesture
Mapping Strategies for Interactive Computer Music
265-268 - Tsutomu Kanamori, Haruhiro Katayose, Yushi
Aono, Seiji Inokuchi and Takasi Sakaguchi - Sensor Integration for
Interactive Digital Art
Studio report
269-272 - Peter Otto and Miller Puckette - Studio
Report Department of Music University of Califormia, San Diego
273-274 - Stephen Arnold and Celia Duffy - An
integrated environment for music education
275-276 - Christopher Dobrian - iEAR Studios,
Rensselaer Polytechnic Institute
277-278 - S. Arnold, D. R. McAuley and K. C. Sharman
- Multi-Participant Interactive Music Services
All day demonstration
279. - Gary S. Kendall - 3-D Sound Demonstration:
"Sex/Window"
Pitch tracking and noise reduction
280-283 - Igor Popovic, Ronald Coifman and Jonathan
Berger - Aspects of Pitch-Tracking and Timbre Separation: Feature Detection
in Digital Audio Using Adapted Local Trigonometric Bases and Wavelet Packets
284-287 - Andrew Choi - A Least-Square Algorithm
for Fundamental Frequency Estimation
288-291 - Jonathan Berger, Ronald R. Coifman and Maxim
J.Goldberg - A Two-Stage Automatic Adaptive Process to Remove Noise
From an Audio Signal
Demonstrations
292-293 - Todor Todoroff, Eric Daubresse and Joshua
Fineberg - Iana ~ (a real-time environment for analysis and extraction
of frequency components on complex orchestral sounds and its application
within a musical realization)
294-295 - Jean-Marc Jot and Olivier Warusfel -
A real-time spatial sound processor for music and virtual reality applications
Synthesis and processing tools
296-302 - Gerhard Eckel - The development of
GiST, a Granular Synthesis Toolkit Based on an Extension of the FOF Generator
303-306 - Adrian Freed - Iturbide, Manuel Rocha
Bring Your Own Control to Additive Synthesis
307-310 - Larry Polansky and Tom Erbe - Spectral
Mutation in Soundhack: A Brief Description
311-314 - Stephen William Berkley - QuickMQ: A
Software Tool for the Modification of Time-Varying Spectrum Analysis Files
315-318 - Todor Todoroff - Real-Time Granular
Morphing and Spatialisation of Sounds With Gestual Control Within MAX/FTS
Waveguide 2 : String and piano
319-326 - Scott A. Van Duyne Julius O. Smith III
- Developments for the Commuted Piano
327-334 - Vesa Valimaki, Timo I. Laakso and Jonathan
Mackenzie - Elimination of Transients in Time-Varying Allpass Fractional
Delay Filters with Application to Digital Waveguide Modeling
335-342 - Julius O. Smith III and Scott A. Van Duyne
- Commuted Piano Synthesis
343-346 - David A. Jaffe and Julius O. Smith III
- Performance Expression in Commuted Waveguide Synthesis of Bowed Strings
Demonstrations
347-348 - John A. Biles and William G. Eign -
GenJam Populi: Training an IGA via Audience-Mediated Performance
349-350 - Michael Gogins - Gabor Synthesis of
Recurrent Iterated Function Systems
Posters
351-352 - Hans Kaper, David Ralley, Juan Restrepo
and Sever Tipei - Additive Synthesis with DIASS_M4 C on Argonne National
Laboratory's IBM POWERparallel System (SP)
353-354 - Hans Lunell - An extendible tool for
CAC
355-356 - Michael Goodwin and Alex Kogon - Overlap-Add
Synthesis of Nonstationary Sinusoids
357-358 - Anna L. Katrami and Tom Ingall - A Multimedia
Environment for Computer Music
359-360 - R. Caussé, P. Déroges and
O. Warusfel - Radiation of musical instruments and improvement of the
sound diffusion techniques for synthesized, recorded or amplified sounds
(revisited)
361-362 - Shuji Hashimoto and Dingding Chang -
Music Generation from Moving Image
363-365 - Georg Hajdu - Circularity in neural
computation and its application to musical composition
366-368 - Tim Anderson and Ross Kirk - Customisable
Frameworks for Compositional Activity
369-370 - Yoichi Nagashima, Haruhiro Katayose and
Seiji Inokuchi - A Compositional Environment with Intersection and
Interaction between Musical Model and Graphical Model Ð "Listen to
the Graphics, Watch the Music" Ð
371-372 - I.J. Taylor and B.F. Schutz - The GRID
Musical-Signal Processing System
Graphical interfaces
373-376 - Robin Bargar, Bryan Holloway, Xavier Rodet
and Chris Hartman - Defining Spectral Surfaces
377-380 - Heinrich Taube and Tobias Kunze - Capella:
A Graphical Interface for Algorithmic Composition
381-384 - Richard Polfreman and John Sapsford-Francis
- A Human Factors Approach to Computer Music Systems User-Interface Design
385-392 - Insook Choi, Robin Barar and Camille Goudeseune
- A manifold interface for a high dimensional control space
Signal processing pot-pourri
393-395 - Peter Desain and Henkjan Honing - Towards
Algorithmic Descriptions of Continuous Modulations of Musical Parameters
396-399 - Rolf Wshrmann and Ludger Solbach - Preprocessing
for the Automated Transcription of Polyphonic Music: Linking Wavelet Theory
and Auditory Filtering
400-403 - J. P. Mackenzie, I. Kale and G. D. Cain
- Applying Calanced Model Truncation to Soudn Analysis/Synthesis Models
404-407 - Yoshinari Sasahira and Shuji Hashimoto
- Voice Pitch by Linear Predictive Coding Method to Keep the Singer's Personal
Timbre
408-411 - Naotoshi Osaka - Timbre Interpolation
of Sounds Using a Sinusoidal Model
Neural networks and signal processing
412-419 - Simon C. Roberts, Michael Greenhough
- Rhythmic Pattern Processing using a Self-Organising Neural Network
420-423 - Ken'Ichi Ohya - A sound synthesis by
recurrent neural network
424-427 - Axel Rsbel - Neural networks for modeling
tim series of musical instruments
428-431 - Tim Shuttleworth and Roland Wilson -
A Neural Network for Triad Classification
432-435 - I. J Taylor and M. Greenhough - Neural
Network Pitch Tracking over the Pitch Continuum
Demonstrations
436-437 - Linda Irwin - Csound Tutorial
438-439 - Matthew Moller and David Zicarelli -
The Distributed Real-Time Groove network A System for Real-Time Musical
Collaboration on the Internet
Algebras and algorithms
440-443 - J. L. Leach and J. P. Fitch - The Application
of Differential Equations to the Modelling of Musical Change
444-447 - Dan Gang and Daniel Lehmann - An Artificial
Neural Net for Harmonizing Melodies
448-451 - Brian J. Ross - A Process Algebra for
Stochastic Music Composition
452-455 - Bruce L. Jacob - Composing with Genetic
Algorithms
456-459 - Christopher Dobrian - Algorithmic Generation
of Temporal Forms: Hierarchical Organization of Statis and Transition
Spectra and timbre
460-466 - Shlomo Dubnov and Naftali Tishby -
Clustering of Musical Sounds using Polyspectral Distance Measures
467-474 - Rajmil Fischman - A Systematic Approach
to the Analysis of Music for Tape
475-478 - Christopher James Langmead - Sound Analysis,
Comparison and Midification Based on a Perceptual Model of Timbre
Demonstrations
479-480 - Daniel V. Oppenheim - Demonstrating
MMorph: A System for Morphing Music in Real-Time
481-482 - Gary S. Kendall and Lonny Chu - The
Sound of Fruits and Vegetables: Sceintific Visualization with Auditory
Tokens
Posters
483-484 - Andrew Horner Lydia Ayers - Harmonization
of Musical Progresions with Genetic Algorithms
485-486 - Steffen Brandorff, Ole Caprani, Peter Miller-Nielsen
and Morten Lave - Felix Ð the DIEM multiple DSP box Ð still
in progress
487-488 - Toshiaki Matsushima, Rie Nagasawa -
Multimedia system for Shakuhachi tablature
489-490 - Leonard Manzara - Accurate Computer
Simulation of Acoustic Space
491-492 - Mark A. Bromwich - A Single Performer
Controlled Interface for Electronic Fance/Music Theatre
493-494 - Takebumi Itagaki, Peter D. Manning and Alan
Purvis - An Implementation of Real-Time Granular Synthesis on a Multi-processor
Network
495-496 - Malcolm Bell - A MAX Counterpoint Generator
for Simulating Stylistic Traits of Stravinsky, Bartok, and Other Composers
497-498 - Thomas Neuhaus - E. PPP Ð a Framework
for Algorithmic Composition
499-500 - Ross Kirk, Paul Whittington, Andy Hunt and
Richard Orton - Graphical Control of Unit Generator Processes on the
MIDAS System: A Digital VCS-3 Demonstrator
501-502 - David Ralley - Genetic Algorithms as
a Tool for Melodic Development
503-504 - Kai Lassfolk - Soudn Processing Kit
505-506 - Haruhiro Katayose and Seiji Inokuchi
- A Model of Pattern Processing for Music
507-508 - Magnus Eldénius - Fractal Structures
and Formalized Composition
Waveguide synthesis 1 : winds
509-516 - Matti Karjalainen, Vesa Valimaki, Bertrand
Hermoux and Jyri Huopaniemi - Explorations of Wind Instruments Using
Digital Signal Processing and Physical Modeling Techniques
517-520 - Tim Stilson - Forward-Going Wave Extraction
in Acoustic Tubes
521-524 - Gary P. Scavone - Single-reed woodwind
instruments
525-528 - Perry R. Cook - Integration of Physical
Modeling for Synthesis and Animation
Demonstrations
529-530 - Forrest Tobey - The Ensemble Member
and the Conducted Computer
531-532 - Claude Cadoz, Jean-Loup Florens and Annie
Luciani - Musical Sounds, Animated Images with CORDIS-ANIMA and its
Multimodal Interfaces
Grammars
533-540 - Guerino Mazzola - Inverse Performance
Theory
541-548 - Paul Hudak and Jonathan Berger - A Model
of Performance, Interaction, and Improvisation
549-552 - Stéphane Letz, Yann Orlarey and Dominique
Fober - Real tim functional languages
Computer music and culture
553-560 - Andra McCartney - Whose Playground,
Which Games, and What Rules?: Women Composers in the Digital Playground
561-564 - Cleve L. Scott - Music Engineering Technology:
An Undergraduate Curriculum
565-568 - James Harley and Marc Couroux - The
Residents: Musical Deconstruction of Popular Culture
569-572 - Dominique M. Richard - Computer Music
& The Pre(Anti(Post(Non(Modern))))
Demonstrations
573-574 - Roel Vertegaaal - The Standard Instrument
Space Libraries : Demonstrating the Power of ISEE
575-577 - Gary Kendall, S. Moller and D. Mathew
- Spatial Sound Effects in a Software Effects Processor
578-580 - Mark Pearson and David M. Howard - A
musicians approach to physical modelling
Posters
581-582 - Martin Atkins and Tom Endrich - The
CDP Composing Environment
583-584 - Fernando Iazzetta - A Semiotic Approach
to Music Interaction
585-586 - Jason D. Vantomme - The Induction of
Musical Structure using Correlation
587-588 - Campbell D. Foster - A Consonance Dissonance
Algorithm for Intervals
589. - Joel Chadabe - Interactive Performance
590-591 - Crawford Tait - Audio Analysis for Rhythmic
Structure
592-594 - Robert R. Hsldrich - An Accurate Signal
Representation for Sound Resynthesis Utilizing a Time-Frequency Mapping
of the DFT-Magnitude
595-596 - Ross Kirk, Andy Hunt and Richard Orton
- Audio-Visual Instruments in Live Performance
597-598 - Thomas Noll - Fractal Depth Structure
of Tonal Harmony
599-600 - Shu Matsuda and Takayuki Rai - A visual-to-sound
interactive computer performance system ‘Edge’
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1996
Hong Kong University of Science and Technology, Hong
Kong, China
Physical modeling and synthesis 1
1-4 - Vesa Välimäki, Rami Hänninen
and Matti Karjalainen - An improved digital waveguide model of flute
- Implementation issues
5-8 - Marc-Pierre Verge - Physical modeling of
aeroacoustic sources in flute-like instruments
9-16 - Scott van Duyne and Julius Smith - The
3D tetrahedral digital waveguide mesh with musical applications
Networking and the Web
17-20 - Carola Böhm, Karst De Jong and Christoph
Hempel - MusicWeb, new communication and information technologies in
the music classroom
21-24 - Stephen Arnold - NetMuse : a very-high-performance
wide-area network for music
Demonstration
25-27 - Xavier Rodet, Dominique François and
Guillaume Levy - Xspect : A new X/motif signal visualization and editing
program
Poster session
28-31 - Tador Todoroff and Caroline Traube -
Graphical NeXTstep objects as FTS clients to control instruments in the
new FTS client/server architecture
32-35 - Solvi Ystad, Philippe Guillemain and Richard
Kromland-Martinet - Estimation of parameters corresponding to a propagative
synthesis model through the analysis of real sounds
36-39 - Bruno Degazio - Evolution of myusical
organisms
40-42 - Dominique Fober, Stéphane Letz and
Yann Orlarey - Recent developments of Midishare
43-46 - David Rossiter, Andrew Horner and George Baciu
- Visualization and manipulation of 3 D digital waveguide structures
47-48 - William Putman and Timothy Stilson - Frankenstein
: A low-cost multi-DSP computer engine for the music kit
49-51 - San-Kuen Chan, Jennifer Yuen and Andrew Horner
- Discrete summation synthesis and hybrid sampling-wavetable synthesis
of acoustic instruments with genetic algorithms
52-54 - DouglasNunn, Alan Purvis and Peter Manning
- Aoustic Quanta
55-56 - Ichiro Fujinaga - Exemplar-based learning
in adaptive optical music recognition system
57-58 - Lonny Chu - Haptic feedback in a computer
music performance interface
59-62 - Dominik Hörnel and Thomas Ragg -
Learning musical structure and style by recognition, prediction and evolution
Graphical environments
63-66 - Tobias Kunze and Heinrich Taube - SEE
- A structured event editor : visualizing compositional data in common
music
67-70 - Mark Darks - The graphics environment
for Max
71-74 - Daniel Oppenheim and James Wright - Toward
a framework for handling musical expressin
Music analysis and recognition
75-78 - Thomas Stainby - A system for the separation
of simultaneous musical audio signals
79-82 - Tim Brookes, Andy Tyrrell and David Howard
- Musical analysis using a real-time model of peripherical hearing
83-86 - Simon Dizon - A dynamic modelling aproach
to music recognition
Demonstrations
87-88 - Nick Porcaro, Pat Scandalis, David Jaffe
and Julius Smith - Using SynthBuilder for the creation of physical
models
89-92 - Stuart Favilla - Non-linear controlled
mapping for gestural control of gamaka
Poster session
93-96 - Ville Pulkki, Jyri Huopaniemi, Tommi Huotilainen
and Matti Karjalainen - DSP approach to multichannel audio mixing
97-99 - Mark Pearson and David Howard - Recent
developments with teh TAO physical modelling system
100-103 - Paul Masri and Andrew Bateman - Improved
modelling of attack transcients in music analysis-resynthesis
104-106 - Carola Böhm - Automated music,
interdiciplinary aspects of a developmental history
107-110 - Lauri Savioja, Jyri Huopaniemi, Tommi Huotilainen
and Tapio Takala - Real-time virtual audio reality
111-113 - Eric Mrozek and Gregory Wakefield -
Perceptual matching of low-order models to room transfer functions
114-115 - Kristine Burns - A new electronic genre
: the CD-rom
116-117 - Cort Lippe - A look at performer/machine
interaction using real-time systems
118-120 - Barbara Becker and Gerhard Eckel - On
the use of computer systems in contemporary music
121-123 - Shüji Hashimoto, Hai Qi and Dingding
Chang - Sound database retrieved by sound
124-125 - Yohinari Sasahira and Shüji Hashimoto
- Adaptive pitch compensation of singing and its application
Presented studio reports 1
126-128 - Takebumi Itagaki, Simon Johnson, Peter
Manning, Douglas Numm, Desmond Philips, Alan Purvis and Jonathan Spanier
- Durban music technology : Activity report
Music composition
129-132 - David Cope - Composer’s underscoring
environment (CUE)
133-140 - Clauia Goldman, Dan Gang, Jeffrey Rosenschein
and Daniel Lehmann - NetNeg : a hybrid interactive architecture for
composing polyphonic music in real time
Extended Csound
141-142 - Barry Vercoe - Extended Csound
143. - Michael Casey and Paris Smaragdis - NetSound
: Realtime audio semantic descriptions
144. - Richard Boulanger and ScottVercoe - Csound
GM : Designing real-time instruments with Csound’s new MIDI Opcodes
Demonstration
145-148 - Mira Balaban and Stanislav Irish -
Automatic Jazz accompaniment computation : An open advice-based approach
Poster studio reports
149-150 - James wright and Daniel Oppenheim -
IBM computer music center - Studio report
151-154 - Jon appleton, Charles Dodge and Larry Polansky
- Studio report : The Bregman electronic music studio at Dartmouth college
and the MA program in electro-acoustic music
155-157 - Ewan Stefani, Kia Ng and David Cooper
- Leeds university electronic studio : studio report
158-160 - Wayne Siegel - DIEM, the Danish Institute
of Electroacoustic Music, Studio report
161. - Shlomo Dubnov - Israel computers and music
forum - acticities report
162-164 - Yu Ying - Computermusic in Shenzhen,
P. R. China
165-168 - Ricardo DalFarra - Electroacoustic and
computermusic in latin america
Interaction and sound generation
169-172 - Iain Mott and Jim Sosnin - A new method
for interactive sound spatialisation
173-176 - Haruhiro Katayose, Tsutomu Kanamori and
Seiji Inokushi - An environment for interactive art- sensor integration
and applications
177-180 - Greg Schiemer and B. Krishnakumar -
Appropriated musical instruments : A4 MIDI tool box and carnatic violin
Software environment
181-184 - Andrew Choi - A C++ library for computer
music programming on real-time mach
185-187 - Enzo Maggi and François Dechelle
- The evolution of the graphic editing environment for te ircam musical
workstation
188-189 - François Dechelle, Maurizio De Cecco,
Enzo Maggi and Norbert Schnell - New DSP applications on FTS
Demonstrations
190-193 - Elisabeth Hinke-Tuner - Digital notation
representation and online retrieval of musical information : A discussion
of current options and practices
194-197 - Arun Chandra - Composing the means with
wich I compose waveforms with multiple paths and cycle-lengths
Poster sessions
198-201 - Damián Keller - Anitoo : Some
analysis tools
202-203 - James Oliverio and Jarrell Pair - Design
and implementation of a multimedia opera
204-205 - Gregory Wakefield - The mathematical
implications of a pulse-ribbon perceptual orgabisation of pitch
206-209 - Roy Hung, N.H.C. Yung and P. Y. S. Chang
- The analysis and resynthesis of sustained musical signals in the time
domain
210-211 - Paul Runke and Gregory Wakefield - On
the perceptual optimisation of synthetic acoustical systems
212-213 - David Chagman, Michael Clarke, Martin Smith
and Paul Archbold - Self-similar grain distribution : A fractal approach
to granular synthesis
214-215 - Mathew Padden, Michael Clarke, Alan Diz
and Mark Kirby - Towards Synthia II : An assessment of design strategies
for computer assisted learning of sound synthesis
216-218 - Michelle Evans and David Howard - Th
synthesis of sung vowels in female opera and belt qualities
219-221 - Andrew Sterian and Gregory Wakefield
- Robust automated music transcription systems
222-223 - Kay Lassfolk - Simulation of electron
tube audio circuits
Physical modeling and synthesis 2
224-227 - Gary Scavone - Modeling and control
of performance expression in digital waveguide models of woodwind instruments
228-231 - Perry Cook - Physically informed sonic
modeling (PhISM) : Percussive synthesis
232-239 - Matti Karjalainen and Julius Smith -
Body modeling techniques for string instrument synthesis
Music representation and analysis
240-243 - Pierre-Yves Rolland and Jean-Gabriel Ganascia
- Automated motive-oriented analysis of musical corpuses : A jazz case
study
244-247 - Keiji Hirata - Representation of jazz
piano knowledge using a deductive object-orieted approach
248-250 - Yuzuru Hiraga - A cognitive model of
pattern matching in music
Demonstrations
251-252 - Mara Helmuth - Collage : sound colors
installation software
253-256 - Gerhard Behles and Peter Lundén
- A distributed object-oriented framework for sound synthesis
Poster session
257-258 - James McCartney - SuperCollider a new
real-time synthesis language
259-262 - Anna Sofie Christinsen - A cognitive
model in design of musical interfaces
263-265 - Alistair Riddell and Rose Bencina -
Cmix on non-UNIX world
266-269 - Martin Alejandro Fumarola - An approach
to a latinAmerican computer music
270-273 - Roger Dannenberg and Eli Brandt - A
flexible real-time software synthesis system
274-277 - Kurt Thywissen - GeNotator : An environment
for investigating the application of genetic algorithms in computer assisted
composition
278-281 - Erez Webman, Uri Shimony, Zohar Poupko,
Dalit Caspi and Moty Gerner - Musical effects of cross-vocoding, software
implemented
282-284 - David Rossiter and Wai-Yin Ng - A system
for the musical investigation and expression of levels of self-similarity
in an arbitrry data stream
285-286 - Eric Lyon - POWERpv : A suite of sound
processors
287-288 - Takebumi Itagaki, Peter Manning and Alan
Purvis - Real-time granular synthesis on a distributed multi-processor
platform
289-292 - Takebumi Itagaki, Takako Tanaka, Kunihau
Tsuboi - Musical instrument database with multmedia
Sound analysis and processing 1
293-296 - Remi Gribonval, Philippe Depalle, Xavier
Rodet, Emmanuel Bacry and Stéphane Mallat - Sound signals decomposition
using a high resolution matching pursuit
297-300 - Philippe Depalle and Laurent Tromp -
An improved additive analysis method using parametric modelling of the
short-time fourier transform
301-304 - Scott Levine - Critically sampled third
octave filted banks
Human-computer interface issues
305-307 - Forrest Tobey and Ichiro Fujinaga -
Extraction of conducting gesture in 3D space
308-311 - Roel Vertegaal, Tamas Ungary and Michael
Kieslinger - Towards a musician’s cockpit : Transducers, feedback and
musical function
Demonstration
312-315 - Peter McIlwain and Anthony Pietsh -
Spacio-temporal patterning in computer-generated music : A nodal network
approach
Music and graphics
316-319 - Robert Pringle and Brian Ross - A symbiosis
of animation and music
320-323 - Jeremy Leach - Towards a universal algorithmic
system for composition of music and audio-visual works
Sound analysis and procesing 2
324-327 - Ludger Solbach and Rolf Wöhrmann
- Sound onset localization and partial tracking in Gaussian white noise
328-331 - Scott Levine - Effects processing on
audio subband data
Demonstrations
332-335 - Timothy Stilson and Julius Smith -
Alias-free digital synthesis of classic analog waveforms
336-338 - Xavier Rodet and Adrien Lefevre - Macintosh
graphical interface and improvements to generalized diphone control and
synthesis
Poster session
339-340 - Gérard Assayag and Carlos Agon
- OpenMusic architecture
341-343 - Philippe Depalle and Stephan Tassart
- Fractional delay lines using language interpolators
344-345 - Kenzi Noike, Nobuo Inui, TakashiNose and
Yohiyuki Kotani - Generating musical symbols to perform expressively
by approximate functions
346-349 - Masataka Goto, Isao Hidaka, Hideaki Matsumoto,
Yosuke Kuroda and Yoichi Muraoka - A jazz session system for interplay
among all players - VirJa session (Virtual Jazz Session System)
350-351 - Rowena Guevara and Gregory Wakefield
- A modal distribution approach to piano analysis and synthesis
352-353 - Eric Incerti - Synthesis and analysis
tools with physical modeling : an environment for musical sounds production
354-357 - Kia Ng, David Cooper and Roger Boyle
- Handwritten music manuscript recognition
358-360 - Gerhard Eckel - Camera musica : Virtual
architecture as medium for the exploration of music
361-364 - Michael Kurz and Bernhard Feiten - Physical
modelling of a stiff string by numerical integration
Spatialized sound and soundfields
365-367 - Matija Marolt - A new approach to HRTF
audio spatialization
368-371 - Steven Trautmann - Applying psychoacoustic
principles to soundfield reconstitution
Spectra and timbre
372-374 - David Creasey, David Howard and Andy Tyrrell
- The timbral object - An alternative route to the control of timbre space
375-377 - Michael Clarke - TIM(br)E : compositional
approaches to FOG synthesis
378-385 - Shlomo Dubnov, Naftali Tishby and Dalia
Cohen - Influence of frequency modulating Jitter on higher order moments
of sound residual with applications to synthesis and classification
Demonstrations
386-389 - William Walker and Brian Belet - Applying
improvisationBuilder to interactive composition with MIDI piano
390-391 - Andrew Horner and Lydia Ayers - Cooking
with Csound : Wavetable synthesis recipes for woodwind and brass instruments
Poster session
392-395 - Leigh Smith - Modelling rythm perception
by continuous time-frequency analysis
396-397 - Bruno Degazio - A computer-based editor
for Lerdahl and Jackendoff’s rhythmic structures
398-401 - Timothy Stilson and Julius Smith - Analysing
the moog VCF for digital implementation
402-404 - Rami Hänninen, Lauri Savioja and Tapio
Takala - Virtual concert performance - Synthetic animated musicians
playing in an acoustically simulated room
405-408 - Richard Dobson and John Ffitch - Experiments
with non-linear filters
409-412 - Hannah Bosma - Authorship and female
voices in electrovocal music
413-414 - Naoyuki Onoe, Shuji Hashimoto and Dingding
Chang - Background music generation based on scene analysis
415-418 - Detlev Zimmùermann - Creativity
versus determinism : cognitive science and music theory as touchstones
of automatic music composition
419-420 - Barry Eaglestoneand Peter Lundén
- TEMA : An “ open ” support environment for music composition
New performance tools
421-424 - Hideyuki Sawada, Naoyuki Onoe and Shuji
Hashimoto - Acceleration sensor as an input device for musical environment
425-427 - Fernando Lopez-Lezcano - PadMaster :
Banging on algorithms with alternative controllers
428-431 - Chris Chafe and Sile O’Modhrain - Musical
muscle memory and the Harpic display of performance nuance
Synthesis issues
432-435 - Todor Todoroff - Areal-time analysis
and resynthesis instrument for transformation of sounds in the frequency
domain
436-439 - Gregory Wakefield and Mary Simoni -
Exploring instrument constancy throught a new method for the design of
synthetic instruments
440-443 - Ami Radunskaya - Chaos and non-linear
models
Physical modeling and synthesis 3
444-447 - Hideyuki Sawada and Shuji Hashimoto
- Adaptive control of a vocal chord and vocal tract for computerized mechanical
singing instruments
448-453 - Xavier Rodet and Christophe Vergez -
Physical models of trumpet-like instruments, detailed behavior and model
improvements
Music analysis and modeling issues
454-457 - Dan Gang and Jonathan Berger - Modeling
the degree of realized expectation in functional tonal music : A study
of perceptual and cognitive modeling using neural networks
458-460 - Peter Desain and Henkjan Honing - Physical
motion as a metaphor for timing in music : The final ritard
461-464 - Mathew Bellgard and Chi-Ping Tsang -
Onthe use of an effective Boltzmann machine for musical style recognition
and harmonisation
Demonstration
465-468 - Isidoro Pérez, Javier Arias, Pablo
Fernández and Luciano Pérez - Quad Pan, spatialization
system of music in live
Poster session
469-470 - Tony Myatt - An object-oriented approach
to the combination of rule-besed and generativze algorithmic composition
methods for real-time interactive applications
471-472 - Barry Eaglestone and Peter Lundén
- A ‘pick and mix’ approach to the integration of composition tools
473-476 - Mladen Milicevic - The impact of fractals,
chaos, and complexity theory on computer usic composition
477-478 - Anna Katrami and Peter Comerford - Musical
instrument transient analysis and re-synthesis
479-482 - Edvardo Reck Miranda - Machine learning
of sound attributes : Computer-assistance in concept formation and musical
invention
483-486 - Rumi Hiraga, Shigeru and Yohei Matsuura
- Visualized music expression in an object-oriented environment
487-490 - Frank Pecquet - Music and technology
491-492 - Barry Truax - Time-stretching of hyper-resonated
sound using a real-time granulation technique
Music and signal processing pot-pourri
493-495 - Jonathan Robzert Spanier, Simon Johnson
and Alan Purvis - Optimisation of the FOF algorithm for VLSI implementation
496-499 - Desmond Phillips, Alan Purvis and Simon
Jonson - Multirate additive synthesis
500-503 - Crawford Tait and William Findlay -
Wavelet analysis for onset detection
Presented studio report 2
504-505 - Alex Igourin, Fernando Lopez-Lezcano
- Center for computer research in music and acoustics (CCRMA) studio report
506-507 - JoAnn Kuchera-Morin, Stephen Pope and Kenneth
Fields - The center for research in electronic art technology (CREATE)
508-511 - Dan Gang - Studio report : The institute
of computer science, Hebrew university
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1997
Aristote University of Thessaloniki, Thessaloniki,
Greece
PAPER, STUDIO REPORT SESSIONS
Music and the brain
1-2 - Isabelle Peretz, Lise Gagnon, Bernard Bouchard
- Music and emotion : the brain neglected side
3-6 - Carol Krumhansl - Psychophysiology of musical
emotions
7-10 - Jean-Claude Risset - Rhythmic paradoxes
and illusions : a musical illustration
11-14 - Thomas Stainsby, Hugh J. McDermott, Colette
M. McKay, Graeme M. Clark - Preliminary results on epctral shape perception
and discrimination of musical sounds by normal hearing subjects and cochlear
implantees
15-18 - Richard Parncutt - Modeling piano performances
: physics and cognition of a virtual pianist
19-22 - Eric Clarke - Perception and critique
: ecological acoustics, critical theory and music
23-26 - Jonathan Berger, Dan Gang - A neural network
model of metric perception and cognition in the audition of functional
tonal music
27-30 - Dan Gang, Daniel Lehmann, Naftali Wagner
- Harmonizing melodies in real-time : the connectionist approach
31-34 - Daniel Pressnitzer, Stephen McAdams -
Influence of phase effects on roughness modeling
Analysis/Synthesis 1
35-42 - Yinong Ding, Xiaoshu Qian - Sinusoidal
and residual decomposition and residual modeling of musical tones using
the QUASAR signal model
43-50 - Shilomo Dubnov, Xavier Rodet - Statistical
modeling of sound aperiodicities
51-54 - Gianpaolo Evangelista, Sergio Cavaliere
- Analysis and regularization of inharmonic sounds via pitch-synchronous
frequency warped wavelets
55-58 - Jean Laroche, Mark Dolson - About this
phasiness business
Aesthetics and social issues
59-61 - Thomas Gerwin - On acoustic ecology and
"integral art"
62-65 - Agostino Di Scipio - Towards a critical
theory of (music) technology. Computer music and subversive rationalization
66-69 - Alex Lane Igoudin - Impact of MIDI on
Electroacoustic art music
70-73 - Karen Eliot-Kahn - Computer music compositional
style variation betxeen genders
74-77 - Stephen Pope - http://Web.La.Radia : comments
on the social, economic, and political aspects of media art and art technology
Studio report 1
78-81 - Bruce Pennycook - Music, media and technology
at McGill university : studio reprot
82. - Thomas Gerwin - The current state of the
international digital electroacoustic music archive (IDEAMA)
83-85 - Wayne Siegel - DIEM - The danish institute
of electroacoustic music : studio report
86-88 - Leonello Tarabella - Studio report of
the computer music lab of CNUCE/C.N.R.
89-92 - Gong Zhenxiong, Zou Qingyi, Xu Wenxue
- Computer music in China : history, current situation and projects
Music data representation
93-96 - James wright, Thomas White, Todor Fay, Daniel
Petkevich - The downloadable sounds level 1 specification
97-100 - Vijay Iyer, Jeff Bilmes, Matthew Wright,
David Wessel - A novel representation for rhythmic structure
101-104 - Matthew Wright, Adrian Freed - OpenSound
control : a new protocol for communicating with sound synthesizers
105-108 - Hai Qi, Taichi Muramatsu, Shuji Hashimoto
- Multimedia environment for sound database system
109-112 - Michael Hamman - Composition of data
and process models : a paralogical approach to human/computer interaction
Music analysis
113-120 - Sergio Canazza, Giovanni De Poli, Antonio
Roda, Alvise Vidolin - Analysis-by-synthesis of the expressive intentions
of music performance
121-124 - Yuichi Uwabu, Haruhiro Katayose, Seiji Inokuchi
- A structural analysis tools for expressive performance
125-128 - Hristina Anagnostopoulou, Gert Westermann
- Classification in music : a computational model for paradigmatic analysis
129-132 - Yayoi Uno, Michael C. Mozer - Neural
net architectures in modeling compositional syntax : prediction and perception
of continuity in minimalist work by Phillip Glass & Louis Andriessen
Performance systems and interfaces 1
133-140 - Robert Rowe, Eric L. Singer - Two highly
integrated real-time music graphics performance systems
141-144 - Nicola Orio - A gesture interface controlled
by the oral cavity
145-148 - Chris Chafe - Statistical pattern recognition
for prediction of solo piano performance
149-151 - Dominique Richard - The beast's glove
: the tactile and the digital in computer music
Analysis/Synthesis 2
152-159 - Xavier Serra, Jordi Bonada, Perfecto Herrera,
Ramon Loureiro - Integrating complementary spectral models in the design
of a musical synthesizer
160-163 - Eric Incerti - Modeling methods for
sound synthesi. Network combinations and complex models for physical modeling
: applications to modes clustering
164-167 - Tony S. Verma, Scott N. Levine, Teresa H.
Y. Meng - Transient modeling synthesis : a flexible analysis/synthesis
tools for transient signals
168-171 - Piero Pierucci, Andrea Paladin - Singing
voice analysis and synthesis system through glottal excited formant resonators
Physical modeling 1
172-179 - Guiseppe Cuzzucoli, Vincenzo Lombardo
- Physical model of the plucking process in the classical guitar
180-187 - Christophe Vergez, Xavier Rodet - Comparison
of real trumpet playing, latex model of lips and computer model
188-191 - Cem I. Duruoz - Synthesis of transients
in guitar sounds
192-195 - Alvin W. Y. Su - On searching the model
parameters of digital waveguide filters by using error backpropagation
methods
196-199 - Maarten Van Walstijn, Vesa Valimaki
- Digital waveguide modeling of flared acoustic tubes
200-203 - Riitta Vaananen, Vesa Valimaki, Jyri Huopaniemi,
Matti Karjalainen - Efficient and parametric reverberator for room
acoustics modeling
Compositional systems and workstations
204-207 - Heinrich Taube, Tobias Kunze - An HTTP
interface to common music
208-210 - Stephen Pope - Siren : Software for
music composition and performance in squeak
211-214 - Bernhard Wagner - A visual programming
environmment for composing interactive performance systems
215-219 - Paolo Andrenacci, Fabio Armani, renato Bessegato,
Andrea Paladin, Patrizio Pisani, Angelo Prestigiacomo, Claudio Rosati,
Sylviane Sapir, Mauro Vetuschi - The new MARS workstation
220-223 - Mark Danks - Real-time image and video
processing in GEM
224-227 - Miller S. Puckette - Pure data
Studio report 2
228-229 - Takayuki Rai, Yoshiko Ando - Introduction
of computer music studio of sonology department Kunitachi college of music
230-232 - Richard Andrews - Center for new music
and audio technologies (CNMAT) : studio report
233-235 - Libor Zajicek - Studio F at the Czech
radio in Prague : studio report
Physical modeling 2
236-243 - Jean-Marc Jot - Efficient models for
reverberation and distance rendering in computer music and virtual audio
reality
244-247 - Vesa Valimaki, Tero Tolonen - Multirate
extensions for model-based synthesis of plucked string instruments
248-251 - Scott A. Van Duyne - Coupled mode synthesis
252-255 - Scott A. Van Duyne, David A. Jaffe, Gregory
Pat Scandalis, Timothy S. Stilson - A lossless, click-free, pitchbend-able
delay line loop interpolation scheme
256-259 - Stephan Tassart, R. Msallam, Ph. Depalle,
S. Dequidt - A fractional delay application : time-varying progamation
speed in waveguides
260-263 - Gary P. Scavone, Julius O. Smith - Digital
waveguide modeling of woodwind toneholes
264-267 - Julius O. Smith - Nonlinear commuted
synthesis of bowed strings
Networks and education
268-270 - Joran Rudi - DSP - for children
271-274 - George M. Robertson, Derek McAuley -
Sample rate synchronization across an ATM network
275-278 - Stephen Malloch, Stephen Arnold, Torsten
Pflicke - Using Java to stream audio over ATM
279-282 - Dimitri Konstantas, Yann Orlarey, Simon
Gibbs, Olivier Carbonel - Distributed music rehearsal
283-286 - Dan Gang, Gregory V. Chockler, Tal Anker,
Alex Kremer, Tomas Winkler - TransMIDI : a system for MIDI sessionS
over the network using transis
Studio report 3
287-289 - Fernando Lopez Lezcano - CCRMA studio
report
290-292 - Mara Helmuth, Michael Barnhart, Carlos Fernandes,
Cheekong Ho, Bonnie Miksch - CCM2 - college-conservatory of music center
for computer music, university of Cincinati
293-296 - Naotoshi Osaka, Keiji Hirata, Takafumi Hikichi
- Studio report of computer music research group
297-300 - Rumi Hiraga, Shigeru Igarashi - Psyche
: university of Tsukuba, computer music project
Performance systems and interfaces 2
301-308 - Lorin Grubb, Roger B. Dannenberg -
A stockastic method of tracking a vocal preformer
309-312 - Hideyuki Sawada, Naoyuki Onoe, Shuji Hashimoto
- Sounds in hands - a sound modifier using datagloves and twiddle interface
-
313-316 - Teresa Marrin, Joseph Paradiso - The
digital baton : a versatile performance instrument
317-320 - Osamu Takashiro, Takayuki Rai - The
interactive multi-media computer system using SGI and NeXT/ISPW computers
321-324 - Maura Sile O'Modhrain - Feel the music
: narration in touch and sound
325-328 - Todor Todoroff, Caroline Traube, Jean-Marc
Ledent - NeXTSTEP graphical interface to control sound processing and
spacialization instruments
Artificail intelligence and machine recognition of music
329-336 - Josep Lluis Arcos, Ramon Lopez De Mantaras,
Xavier Serra - SaxEx : a case-based reasoning system for generating
expressive performances
337-340 - Peter Desain, Henkjan Honing, Hank Heijink
- Robust score-performance matching : Taking advantage of structural information
341-343 - Aggelos Pikrakis, Sergios Theodoridis, Dimitris
Kamarotos - Recognition of isolated musical patterns in the context
of greek traditional music using dynamic time warping techniques
344-347 - Roger B. Dannenberg, Belinda Thom, David
Watson - A machine learning approach to musical style recognition
DEMO SESSIONS
Synthesis 1
348-349 - Andrew Horner, Lydia Ayers - Modeling
Chinese musical instruments in Csound
350-353 - Gianpaolo Borin, Davide Rocchesso, Francesco
Scalcon - A physical piano model for music performance
354-355 - Lonce Wyse - Flexible sound effects
Synthesis 2
356-359 - Francisco Iovino, René Causse, Richard
Dupas - Recent work around Modalys and modal synthesis
360-363 - Ramon Loureiro, Xavier Serra - A web
interface for a sound database and processing system
Composition systems
364-367 - Gerard Assayag, Carlos Agon, Joshua Fineberg,
Peter Hanappe - An object oriented environment for musical composition
368-371 - Kurt Thywissen - Evolutionary based
algorithmic composition : a demonstration of recent developments in GeNotator
372-374 - Jon Drummond - Integrated development
environment for computer music composition
Real-time synthesis and control 1
375-378 - Lippold Haken, Kelly Fitz, Ed Tellman,
Patrick Wolfe, Paul Christensen - A continous music keyboard controlling
polyphonic morphing using bandwidth-enhanced oscillators
379-382 - Peter Beyls - A survey of agents based
real-time interactive systems
383-386 - James Wright, Daniel V. Oppenheim, David
Jameson, Don Pazel, Robert M. Fuhrer - "CyberBand" : a "Hands-on" music
composition program
Real-time synthesis and control 2
387-390 - Matthew Wright, David Wessel, Audrain Freed
- New musical control structures from standard gestual controllers
391-394 - Yann Orlarey, Dominique Fober, Stephane
Letz - Elody : a Java++ Midishare based music composition environment
395-398 - Richard Boulanger, Max Mathews - The
1997 Mathews' radio baton and improvisation modes
Real-time synthesis and control 3
399-402 - Brad Garton, Dave Topper - RTcmix -
using CMIX in real time
403-407 - Dionysios V. Politis, Ioannis A. Tsoukalas,
Panagiotis Linardis, Alexandros Bakalakos - VIDI - a voice instrument
digital interface of Byzantine music
POSTER SESSIONS
Analysis/synthesis 1
408-409 - Steven D. Trautmann - Wavetable acceleration
using intermediate buffering and loop trimming
410-413 - Riccardo Di Federico, Gianpaolo Borin
- Synthesis of the trumpet tone based on physical models
414-417 - Crysanthy Nathanael, Catherine Lavandier,
Jean-Dominique Polack, Olivier Warusfel - Influence of sensory interactions
between vision and audition on the perceptual characterization of room
acoustics
418-421 - Xavier Rodet, Adrian Lefevre - The Diphone
program : new features, new synthesis methods and experience of musical
use
Music and the brain, artificial intelligence, machine
recognition of music
422-425 - Pauli Laine - Generating musical patterns
using mutually inhibited artificial neurons
426-429 - Yuzuru Hiraga - Structural recognition
of music by pattern matching
430-433 - Dominik Hornel, Peter Degenhardt - A
neural organist improvising baroque-style melodic variations
434-437 - Seong-Won Yeo, Min-Uk Han, Chong-Ho Lee
- A new connectionist model for associative retrieval of harmonic tunes
438-441 - Stella Paraskeva, Stephen McAdams -
Influence of timbre, presence/absence of tonal hierarchy and musical training
on the perception of musical tension and relaxation shemas
Education and network issues
442-445 - Yuri Bekhtin - Musical informatics
: curriculum or a new area of musicology ?
446-449 - Masataka Goto, Ryo Neyama, Yoichi Muraoka
- RMCP : Remote Music Control Protocol - design and applications -
450-453 - Lauri Vakeva, Juha Ojala - Networking
music education. WWW applications in music teacher training : a praxial
perspective
Analysis/Synthesis 2
454-457 - Kostas Tsaxalinas, Katerina Tzedaki, Perry
R. Cook, Stelios Psaroudakes, Dimitris Kamarotos, Thanassis Rikakis
- Physical modeling simulation of the ancient greek Elgin Avloi
458-461 - Corey I. Cheng - High-frequency compensation
of low sample-rate audio files : a wavelet-based spectral excitation algorithm
462-464 - Timothy S. Stilson - Applying root-locus
techniques to the analysis of coupled-modes in piano strings
Analysis/Synthesis 3
465-468 - M aureen Mellody, Gregory H. Wakefield
- A modal distribution study of violin vibrato
469-472 - Alex Bakalakos - Towards the identification
of the noise source in the vocal tract - obtaining data from the electropalatograph
473-475 - Marc Alexander Bromwich - The metabone
: an interactive sensory control mechanism for virtuoso trombone
Real time systems
476-478 - Haruhiro Katayose, Hirotsugu Shirakabe,
Tsutomu Kanamori, Seiji Inokuchi - A toolkit for interactive digital
art
479-481 - Adrian Freed, Amar Chauddhary, Brian Davila
- Operating systems latency mesurement and analysis for sound synthesis
and processing applications
482-484 - Colby N. Leider - A realtime MIDI library
for an inexpensive general-purpose microcontroller-based interactive performance
system
485-486 - Eric Lyon - Rhythmic rendering
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1998
University of Michigan, Ann Arbor, USA
Interactive systems : accompaniment systems 1
1-8 - Jonathan Berger, Dan Gang - A computational
model of meter cognitiopn during the audition of functional tonal music
: modeling a-priori Bbias in meter cognition
9-16 - Dan Gang, Daniel Lehmann, Naftali Wagner
- Tuning a neural network for harmonizing melodies in real-time
17-20 - Masataka Goto, Yoichi Muraoka - An audio-based
real-time beat tracking system and its applications
21-24 - Barry Moon - Score following in open form
compositions
25-32 - Satoshi Usa, Yasunori Mochida - A multi-modal
conducting simulator
Interactive systems : accompaniment systems 2
33-36 - Giovanni Costantini, Nottoli Giorgio
- A new interactive performance system for real-time sound synthesis
37-44 - Lorin Grubb, Roger Dannenberg - Enhanced
vocal performance tracking using multiple information sources
45-48 - Karen Eliot-Kahn - Voice and speech in
computer music composition
Sound analysis and synthesis 1 : acoustical instruments
49-52 - Rafael Irizarry - Tha additive sinusoidal
plus residual mosel : a statictical analysis
53-56 - Davide Rocchesso, Francesco scalcon, Gianpaolo
Borin - Subjective evaluation of the inharmocity of synthetic piano
tones
57-61 - Roger Dannenberg, Istvan Derenyi, Hank Pellerin
- A study of trumpet envelopes
62-65 - David Wessel, Cyril Drame, Matthew Wright
- Removing the time axis from spectral model analysis-based additive synthesis
: neural networks versus memory-based machine learning
66-73 - Bernd Schoner, Charles Cooper, Christopher
Douglas - Data-driven modeling and synthesis of acoustical instruments
Poster session 1
74-79 - Martin Alejandro Fumarola - Report of
the COMDASUAR : a significant and unknown chilean contribution in the history
of computer music
80-83 - Martin Alejandro Fumarola - Change and
permanence in latinamerican electroacoustic and computer music, a compositional
approach
84-87 - Dale Millen - The first Buchla 300 series
electric music box
88-91 - Nicola Orio, Carlo De Pirro - Controlled
refractions : a two-level coding of musical gestures for interactive live
performance
92-95 - Tang-chun Li - Substructure discovery
of symbolic musical information using minimum description length principe
96-97 - Elizabeth Hoffman - Animated scores for
electro-acoustic tape/live performer composition
98-101 - Wolfgang Chico-Toepfer - AVA : an experimental,
grammar/case-based composition system to variable music automatically through
the generation of scheme series
Sound analysis and synthesis 2 : timbre
102-108 - Shlomo Dubnov, Xavier Rodet - Timbre
recognition with combined stationary and temporal features
109-112 - Miller Puckette, Ted Appel, David Zicarelli
- Real-time audio analysis tools for Pd and MSP
113-116 - Amar Chaudhary, Adrian Freed - OpenSoundEdit
: an interactive visualisation and editing framework for timbral ressources
117-120 - Damian Keller, Barry Truax - Ecologically-based
granular synthesis
121-124 - Richard Boulanger, John Ffitch - Teaching
software synthesis through Csound's new modelling Opcodes
Demonstration 1
125-128 - Matthew Wright, David Wessel - An improvisation
environment for generating rhythmic structures based on north indian "Tal"
patterns
129-132 - Yoichi Nagashima - BioSensorFusion :
new interfaces for interactive multimedia art
133-136 - James McCartney - Continued evolution
of the SuperCollider real time synthesis environment
Real-time systems 1 : contemporary implementation issues
137-141 - Eli Brant, Roger Dannenberg - Low-latency
music software using off-the-shelf operating systems
142-149 - Zack Settel, Cort Lippe - Real-time
frequency-domain digital signal processing on the desktop
150-157 - Robert Hoeldrich - Real-time broadband
noise reduction
158-162 - Camille Goudeseune, Michael Hamman -
A real-time audio scheduler for Pentium PCs
Performance rendering 1 : expressiveness
163-170 - S. Canazza, G. De Poli, G. Di Sanzo
- A model to add expressiveness to automatic musical performance
171-174 - Satoshi Nishimura - PMML : a music description
language supporting algorithmic representation of musical expression
175-178 - Riccardo Di Federico, Carlo Drioli, Gianpaolo
Borin - Toward an integrated sound analysis and processing framework
for expressiveness rendering
179-186 - Joachim Stange-Elbe - "Cooking a canon
with RUBATO" performance aspects of J.S.Bach's "Kunst des fuge"
Poster session 2
187-190 - Timothy Stilson, Scott A. Van Duyne
- Implementing efficient frequency variation in coupled-mode synthesis
and other cosine-frequency systems
191-194 - Timothy Stilson, Harvey Thornburg -
Examples of using amplitude control systems in music synthesis
195-198 - Erik M. Gottesman - The psycho-adaptive
listening machine : an application of perceptuaal control theory
199-202 - Stéphane Rossignol, Philippe Depalle,
Xavier Rodet - Feature extraction and temporal segmentation of acoustic
signals
203-206 - Stéphan Tassart - Infinite length
windows for short-time Fourrier transform
207-210 - Ichiro Fujinaga - Machine recognition
of timbre using steady-state tone of acoustic musical instruments
Performance rendering 2 : control signals
211-214 - Haruhiro Katayose, Shigeyuki Hirai, Tsutomu
Kanamoni - Physiological measurement of performer's tension and its
utilization for media control
215-219 - Teresa Marrin, Rosalind Picard - The
"conductor's Jacket" : a device for recording expressive musical gestures
220-223 - Adrian Freed, David Wessel - Communication
of musical gesture using the AES/EBU digital audio standard
224-227 - Matthew Wright - Implementation and
performance issues with OpenSound control
Demonstration 2
228-231 - Angelo Bello - An application of interactive
computation and the concrete situated approach to real-time composition
and performance
232-235 - John A. Biles - Interactive GenJam :
Integrating real-time preformance with a genetic algorithm
236-239 - Yushi Aono, Haruhiro Katayose, Seiji Inokuchi
- A real-time session composer with acoustic polyphonic instruments
Sound analysis and synthesis 3 : fast implementation and
programming languages
240-243 - Roger Dannenberg - Interpolation error
in waveform table lookup
244-247 - Adrian Freed - Music programming with
the new features of standard C++
248-251 - Francois Dechelle, Riccardo Borghesi, Maurizio
De Cecco - Latest evolution of the jMax real-time engine : typing,
scoping, threading, compiling
252-255 - Phil Burk - Jsyn : real-time synthesis
API for Java
256-259 - Francois Dechelle, Riccardo Borghesi, Maurizio
DeCecco - Jmax : a new JAVA-based editing and control system for real-time
musical application
Signal analysis and synthesis 4 : physical modeling
260-263 - Federico Fontana, Davide Rochesso -
Signal-theoretic characterisation of waveguide mesh geometries for membrane
simulation
264-267 - Vesa Valimaki, Matti Karjalainen, Tero Tolonen
- Signal-dependent nonlineatities for physical models using time-varying
fractional delay filters
268-271 - Richard Dudas - NVM - a modular real-time
physical modelling synthesis system for MPS
Poster session 3
272-275 - Kai Renz, Holger H. Hoos - An HTTP
interface to SALIERI
276-279 - Matthew Wright, Adrian Freed, Xavier Rodet
- New applications of the sound description interchange format
280-283 - Ken'ichi Ohya - Sound variations by
recurrent neural network synthesis
284-287 - Elizabeth Hinke-turner - Full circle
: composing the cathartic experience with digital technology
288-291 - Leonello Tarabella, Massimo Magrini
- A system for recognizing shape, position and rotation of the hands
292-295 - Mark Bromwich, Julie Wilson-Bokowiec
- Bodycoder's : a sensor suit and vocal performance mechanism for real-time
performance
Studio reports
296-299 - Neil B. Rolnick, Curtis Bahn - Teaching
more students : rethinking studios & classrooms at Rensselaer's iEAR
studios
300-303 - Richard S. Andrew - Center for new music
and audio technologies (CNMAT) : studio report
304-307 - David Cooper, Kia Ng - Studio report
of the university of Leeds department of music
308-311 - Fernando Lopez-Lezcano - Center for
computer research in music and acoustics (CCRMA) : studio report
312-314 - Wayne Siegel - DIEM - the Danish institute
of electroacoustic music : studio report
315-319 - McGregor Boyle, Ichiro Fujinaga, Geoffrey
Wright - The computer music department of the Peabody conservatory
of music : studio report
Signal analysis and synthesis 5 : resonance modeling
320-323 - Duane Kent Wise - The recursive allpass
as a resonance filter
324-327 - Amar Chaudhary, Adrian Freed, Sami Khoury
- A 3-D graphical user interface for resonance modeling
328-331 - Atsuo Takanishi, Manabu Maeda - Development
of an anthropomorphic flutist robot WF-3RIV
Music analysis and generation 1 : abstraction layers
332-340 - Shlomo Dubnov, Gerard Assayag, Ran El-Yaniv
- Universal classification applied to musical sequences
341-348 - Kjell Lemstrom, Pauli Laine - Musical
information retrieval using musical parameters
349-352 - Tomonari Sonoda, Masataka Goto, Yoichi Muraoka
- A WWW-based melody retrieval system
Demonstration 3
353-356 - Perry Cook, Daniel Trueman - NBody
: interactive multidirectional musical instrument body radiation simulators,
and a database of measured impulse resonses
357-360 - David Gamper, Pauline Oliveros - Expended
instrument system : recent development
361-364 - Harry Castle, Scott Walton - On convincing
human/machine improvisation
Music analysis and generation 2 : compositional systems
365-368 - Michael Hamman - From symbol to semiotic
: computation as interaction
369-376 - Michael Gogins - Music graphs for algorithmic
composition and synthesis with extensible implementation in Java
377-384 - Stephane Letz, Dominique Fober - The
role of Lambda-abstraction in Elody
385-392 - Holger H. Hoos, Juergen Kilian, Thomas Helbich
- SALIERI - a general , interavtive computer music system
Music analysis and generation 3 : extentions
393-398 - Matthew Malsky - A composer's amanuensis
for the web
399-405 - Sever Tipei, Hans Kaper - Manifold compositions,
music visualization, and scientific sonification in an immersive virtual-reality
environment
406-415 - Gerard Assayag, Camillo Rueda, Carlos Agon
- Objects, time and constraints in OpenMusic
Education session
416-419 - Alessandro Ciprianni, Riccardo Bianchini
- Three levels of education in electroacoustic music : the virtual sound
project
420-423 - Peter Raschke - Music technology as
a tool for exploring the creative aspects of music
424-427 - Juan Reyes - Education with commputer
music in Colombia
428-431 - Karst De Jong, Carola Boehm - Music
web Den Haag - developing new tolls for higher music education, using wide
area networks and hypermedia technology
Music analysis and generation 4 : scoring and synthesis
432-438 - Eric D. Scheirer - SAOL : the MPEG-4
structured audio orchestra language
439-442 - Kenji Yasaka - Using Csound as a sound
engine for interactive WWW content
443-446 - Iannis Zannos - Designing an audio interaction
modeling language : some basic concepts and techniques
447-450 - James R. Lendino - Scoring for the modern
computer game
451-454 - Holger H. Hoos, Kai Renz, Keith A. Hamel
- The GUIDO notation format - a novel approach for adequately representing
score-level music
455-458 - Kai Henz, Holger H. Hoos - A WEB based
approach to music notation using GUIDO
Demonstration 4
459-462 - Gabriel Maldonaro - Using real-time
Csound MIDI with Windows
463-466 - David Zicarelli - An extensible real-time
signal processing environment for MAX
467-470 - Mara Helmuth - StochGran on Silicon
Graphics IRIX
Interactive systems 3 : dance
471-474 - Todd Winkler - Motion-sensing music
: artistic and technical challenges in two works for dance
475-481 - Niall Griffith, Mikael Fernstrom - LiveFoot
- a floor space for recording dance and controlling media
Interactive systems 4 : beyond praxis
482-489 - Brad Garton, Matthew Suttor - A sense
of style
490-496 - Roger Dannenberg, Istvan Derenyi - Synthesizing
trumpet performances
497-503 - David Wessel, Matthew Wright, Shafqat Ali
Khan - Preparation for improvised performance in collaboration with
a Khyal singer
Demonstration 5
504-505 - Francois Dechelle, Riccardo Borghesi, Maurizio
De Cecco - JMax : demontration of an integrated environment for real-time
musical applications
506-509 - Keith A. Hamel - NoteAbility - a comprehensive
music notation editor
510-513 - Seinoshin Yamagishi, Kohji Setoh - "Variations
for WWW" : network music by MAX and the WWW
514-517 - Shigeyuki Hirai, Haruhiro Katayose, Tsutomu
Kanamori - Software sensors for interactive digital art
Interactive systems : large-scale integration
518-526 - Jean-Loup Florens, Claude Cadoz, Annie
Lucianni - A real-time workstation for complex physical models of multi-sensorial
and gesturally controlled instrumants
527-535 - Insook Choi, Alex Betts - ScoreGraph
: dynamically activated connectivity among parallel processes for interactive
computer music performance
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
1999
Beijing, China
Audio analysis and resynthesis 1
1-4 - Mikael Laurson, Jarmo Hiipakka, Cumbur Erkut,
Vesa Valimaki, Matti Karjalainen, Mika Kuuskankare - From expressive
notation to model-based sound synthesis : a case study of the acoustic
guitar
5-8 - Tero Rolonen, Cumhur Erkut, Vesa Valimaki, Matti
Karjalainen - Simulation of plucked strings exhibiting tension modulation
driving force
9-12 - Hua Kheng, James Beauchamp - Analysis and
critical-band-based group wavetable synthesis of piano tones
Composition systems and techniques 1
13-16 - Daniel Oppenheim, Steve Abrams, Don Pazel,
James Wright - Higher-level compositional control in music sketcher
: modifiers and smart harmony
17-19 - Michael Clarke - Composing with multi-channel
spatialisation as an aspect of synthesis
20-23 - Mikael Laurson - PWCollider - a visual
composition tool for software synthesis
Demonstration 1
24-27 - Kai-yuh Hsiao, Joseph Paradiso - A new
continuous multimodal musical controller using wireless magnetic tags
Poster session 1
28-31 - Paul Modler, Ross Kirk - Evaluation of
architecture for sound generation systems with respect to interactive gestural
control and realtime performance
32-35 - Nagashima Yoichi, Tono-Ito Tamami - "It's
SHO time" - an interactive environment for SHO (Sheng) performance
36-39 - Lilit Yoo, Ichiro Fujinaga - A comparative
latency study of hardwarre and software pitch-trackers
Audio analysis and resynthesis 2
40-43 - Guillermo Garcia, Juan Pampin - Data
compression of sinusoidal modeling parameters based on psychoacoustics
masking
44-47 - Juan Pampin - ATS : a Lisp environment
for spectral modeling
48-51 - Laurent Daudet, Philippe Guillemain, Richard
Kronland-Martinet - Resynthesis of piano string vibrations based on
physical modeling
Composition systems and techniques 2
52-55 - Satoshi Nishimura - PIECE : a music language
editor synchronized with graphical views
56-59 - Wayne Siegel - Two compositions for interactive
dance
Demonstration 2
60-61 - Shuiling Liu, Junping Gong - How to produce
chinese folk music using regular MIDI equipment
Poster session 2
62-65 - Louisa Yong - ComeXos : a networked sound
manipulation primer
66-69 - Harvey Thornburg - Antialiasing for nonlinearities
: acoustic modeling and synthesis applications
70-73 - Ying Yu - Sound of China : computer music
Sound synthesis methods 1
74-77 - Adrian Freed, Todd Hodes - Second-order
recursive oscillators for musical additive synthesis applications on SIMD
and VLIW processors
78-81 - Adrian Freed - Spectral line broadening
with transform domain additive synthesis
82-84 - Patrick Fourcade, Sylvain Mangiarotti, Claude
Cadoz - Generating pitches in transients by a percussive excitation
Music in China
85-88 - Sixin Li - The design and implementation
of a processing system of Qin score (Jianzipu) QinS(1.0)
89-91 - Shuiling Liu, Junping Gong - Voice creation
and the chinese folk music
Demonstration 3
92-93 - Steven Trautmann, Ngai-man Cheung, Christopher
Poletto - Applications of the processor enhanced memory module for
music signal processing
Poster session 3
94-96 - Rochey Berry - Feeping creatures
97-99 - Tim Kreger - Creating three-dimentional
computer animations using spectral data and OpenGL
100-103 - Leigh Landy - Heightening access and
cohesion within the worlds of electroacoustic music : the promotion of
triangulation in creativity, development and scholarship
Sound synthesis methods 2
104-107 - Francisco Iovino, Olivier Lartillot, Norbert
Schnell - Modalys in jMax : real-time modal synthesis
108-111 - Takafumi Hikichi, Naotoshi Osaka - An
approach to sound morphing based on physical modeling
112-115 - Solvi Ystad, Philippe Guillemain, Richard
Kromland-Martinet - Sound modeling of transient and sustained musical
sounds
Music data structures and representation
116-119 - Alain Bonardi, Francis Rousseaux -
Towards digital "musical actions"
120-123 - Massimo Melucci, Nicola Orio - The use
of melodic segmentation for content-based retrieval of musical data
124-130 - Stephen Travis Pope, Nicola Orio, Pierre
Roy - Content analysis and queries in a sound and music database
Demonstration 4
131-134 - Fumitake Ohnaka - "SNAP" - sound network
agent project - multi agent system using Csound in the internet
Poster session 4
135-137 - John Young, Ichiro Fujinaga - Piano
master classes via the internet
138-140 - Gerhard Eckel - Kinetis sound sculptures
- stele and viola spezzata
141-144 - Ambrose Field - ASPEN / EXPLORE : a
multiprocessing assistant for electroacoustic music composers
Audio analysis and resynthesis 3
145-148 - Roger Dannenberg, Minoru Matsunaga
- Automatic capture for spectrum-based instrument models
149-152 - Thomas Helie, Christophe Vergez, Jean Levine,
Xavier Rodet - Inversion of a physical model of a trumpet
153-156 - Geoffroy Peeters, Xavier Rodet - SINOLA
: a new analysis/synthesis method using spectrum peak shape distorsion,
phase and reassigned spectrum
Music education
157-160 - Zhonggliang Tong - The computer music
education in the music composition & engineering department of Wuhan
conservatory of music
161-163 - Riccardo Bianchini, Alessandro Cipriani
- The virtual sound on line - computer music courses on the internet
Demonstration 5
164-166 - Perry Cook, Gary Scavone - The synthesis
toolkit (STK)
Poster session 5
167-170 - Keiji Hirata, Tatsuya Aoyagi - Musically
intelligent agent for composition and interactive performance
171-174 - Peter Beyls - Evolutionary strategies
for spontaneous man-machine interaction
175-177 - Ichiro Fujinaga, Angela Fraser - Toward
real-time recognition of acoustic musical instruments
Audio analysis and resynthesis 4
178-181 - Shlomo Dubnov, Ran El-Yaniv - Granular
synthesis of sound textures using statistical learning
182-185 - Matthew Wright, Sami Khoury, Raymond Wang,
David Zicarelli, Richard Dudas - Supporting the sound description interchange
format in the Max/MSP environment
186-189 - Daniel Arfib, Nathalie Delprat - Alteration
of the vibrato of a recorded voice
Artificial intelligence
190-193 - Belinda Thom - Learning models for
interactive melodic improvisation
194-196 - Pauli Laine - Motor neuron based virtual
drummer
Demonstration 6
197-200 - Eduard Resina, Xavier Serra - The musician's
software mall - a set of composition and performance oriented applications
for sound synthesis
Poster session 6
201-203 - Rodney Waschka - Avoiding the fitness
"bottleneck" : using genetic algorithms to compose orchestral music
204-207 - Tang-Chun Li - Creating music in a machine
age : the relations between tools, composer, and music making machines
208-211 - Conrad Berhoerster - Aspects of stochastic
music
Sound synthesis methods 3
212-215 - Censong Leng - From timbre modulation
method to research the relation between electronic music and chinese musical
tradition
216-219 - Stefania Serafin, Xavier Rodet, Christophe
Vergez - Friction and application to real-time physical modeling of
a violin
220-223 - Vesa Valimaki, Matti Karjalainen, Tero Tolonen,
Cumhur Erkut - Nonlinear modeling and synthesis of the kantele - a
traditional finnish string instrument
Performance interfaces 1
224-227 - Anthony De Ritis - Cathedral : an interactive
work for the web
228-231 - Solvi Ystad, Thierry Voinier - Design
of a flute interface to control synthesis models
232-239 - Den Trueman, Perry Cook - BoSSA : the
deconstructed violin reconstructed
Demonstration 7
240-243 - Shogo Takahashi, Hideyuki Sawada, Shuji
Hashimoto, Kenji Suzuki - Music creation from moving image and environmental
sound
Poster session 7
244-247 - Dominik Hormel, Joachim Langnickel, Bastian
Sandberger, Borje Sieling - Statistical vs. Connectionist models of
bebop improvisation
248-251 - Donncha O Maidin - Common practice notation
view : a score representation for the construction of algorithms
252-255 - Pauli Laine, Kai Lassfolk - Feedback
in musical computer applications
Audio signal processing 1
256-259 - Axel Roebel - Adaptive additive synthesis
of sound
260-263 - Myriam Desainte-Catherine, Sylvain Marchand
- Structured additive synthesis towards a mode of sound timbre and electroacoustic
music forms
264-267 - Ye Wang, Milika Vilermo - Audio signal
representation and processing in time-frequency domain
Performance interfaces 2
268-271 - Guy Garnett, Camille Goudeseume - Performance
factors in control of hight-dimentional spaces
272-275 - Francois Pachet, Olivier Delerue - MusicSpace
: a constraint-based control system for music spatialization
Demonstration 8
276-277 - Wayne Siegel, Jens Jacobsen - Composing
for the digital dance interface
Poster session 8
278-280 - James Harley - Dixieland-Gamelan band
?encounters of an algorithmic kind
281-283 - Alberto De Campo, Marianne Egger-De-Campo
- Sonification of social data
284-287 - Carola Boehm, Stephen Arnold - SmaTBaM
! - serving time-based media in the performing arts
Acoustics of musical instruments and voice 1
288-290 - Daniel Arfib, Jacques Dudon - A digital
version of the photosonic instrument
291-294 - Jean-Loup Florens, J. Germond - Reed
instruments modular representation and their interactive real time simulation
CORDIS-ANIMA
295-298 - Claude Cadoz, Jean-Loup Florens, SylvainGubian
- From song of birds to extended virtual reed instruments - physical modelling
of birds vocal tracks and application to a new king of sound sustain virtual
instruments
Music analysis 1
299-302 - Yuzuru Hiraga - Content-based retrieval
and indexing methods for music databases
303-306 - Jianli Liu, Rumi Hiraga, Shigeru Igarashi
- A computer-assisted music analysis system : Daphne
Demonstration 9
307-310 - Gabriel Maldonado - VMCI, an interface
to control Csound in real-time under Windows
Poster session 9
311-313 - Dominique Fober, Stephane Letz, Yann Orlarey
- MidiShare Joins the open source softwares
314-316 - Matija Marolt - A comparison of feed
forward neural network architectures for piano music transcription
317-320 - Kjell Lemström, Pauli Laine, Sami Perttu
- Using relative interval slope in music information retrieval
Acoustics of musical instruments and voice 2
321-324 - Georg Essl, Perry Cook - Banded waveguides
: towards physical modeling of bowed bar percussion instruments
325-328 - Marco Palumbi, Lorenzo Seno - Physical
modeling by directly solving wave PDE
329-332 - Haruhiro Katayose, Hideki Kawahara -
Applying STRAIGHT toward music systems - accurate F0 estimation and application
for data-driven synthesis
Music analysis 2
333-336 - Mary Simoni, Benjamen Broening, Christopher
Rozell, Colin Meek, Gregory Wakefield - A theoretical framework for
electro-acoustic music
337-340 - John Doerksen - Segmentation and interpretation
in atonal music
Demonstration 10
341-344 - Sylvain Marchand, Robert Strandh -
InSpect and reSpect : spectral modeling, analysis ans real-time synthesis
software tools for researchers and composers
Poster session 10
345-346 - Suzanne Winsberg, Philippe Depalle
- Applications of principal differential analysis to data reduction and
ectraction of musical features of sound
347-350 - James Beauchamp - Analysis and resynthesis
of percussion sounds : two methods compared
351-354 - Diemo Schwarz, Xavier Rodet - Spectral
envelope estimation and representation for sound analysis-synthesis
Acoustics of musical instruments and voice 3
355-358 - Gary Scavone - Modeling wind instrument
sound radiation using digital waveguide
359-362 - Hanna Jarvelainen, Vesa Valimaki, Matti
Karjalainen - Audibility of inharmonicity in string instrument sounds,
and implications to digital sound synthesis
Interactive performance systems 1
363-366 - Tamas Ungvary, Roel Vertegaal - The
sansOrg : time-complexity and the design of a musical cyberinstrument
367-370 - Tommi Ilmonen, Tapio Takala - Conductor
following with artificial neural networks
371-374 - Guy Garnett, Fernando Malvar-Ruiz, Fred
Stoltzfus - Virtual conducting practice environment
Demonstration 11
375-378 - Stefania Serafin, Xavier Rodet, Richard
Dudas, Marcelo Wanderley - Gestural control of a real-time physical
model of a bowed string instrument
Poster session 11
379-382 - Sergio Canazza, Antonio Roda, Nicola Orio
- A parametric model of expressiveness in musical performance based on
perceptual and acoustic analyses
383-386 - Karin Hothker, Dominik Hornel - Modelling
the motivic process of melodies with Markov chains
387-390 - Hans Kaper, Sever Tipei - Formalizing
the concept of sound
Audio signal processing 2
391-394 - Nicola Orio - The timbre space of the
classical guitar and its relationship with the plucking techniques
395-398 - Holger Hoos, Keith Hamel, Kai Renz -
Using advanced GUIDO as a notation interchange format
399-402 - Juan Pampin, Fernando Lopez-Lezcano
- Common Lisp music update report
Interactive performance systems 2
403-406 - Margaret Schedel - The notation of
interactive music : limitations and solutions
407-410 - Kenji Suzuki, Takeshi Ohashi, Shuji Hashimoto
- Interactive multimodal mobile robot for musical performance
Demonstration 12
411-413 - Timothy Madden, James Beauchamp - Armadillo
: real time and non-real time analysis of musical sounds on a Power Macintosh
Poster session 12
414-417 - Ristoffer Jensen, Jens Arnspang - Binary
decision tree classification of musical sounds
418-421 - Marcelo Wanderley, Philippe Depalle, Olivier
Warufel - Improving instrumental sound synthesis by modeling the effects
of performer gesture
422-424 - Kai Lassfolk - Sound processing kit
- an object-oriented signal processing framework
Expressive environments
425-428 - Antonio Roda, Giovanni DePoli - Expressive
processing of audio and MIDI performances in real time
429-432 - Naotoshi Osaka, Takafumi Hikichi - Visual
manipulation environment for sound synthesis, modification and performance
Machine recognition 1
433-436 - Dominik Hornel, Frank Olbrich - Comparative
style analysis with neural networks
437-440 - Alex Loscos, Pedro Cano, Jordi Bonada
- Low-delay singing voice aligment to text
441-444 - Pedro Cano, Alex Loscos - Score-performance
matching using HMMs
Interactive performance systems 3
445-448 - Francois Dechelle, Maurizio DeCecco, Enzo
Maggi, Norbert Schnell - jMax recent developments
449-452 - Lonny Chu - MusiCloth : a design methodology
for the development of a performance interface
453-456 - Joseph Paradiso, Eric Hu, Kai-Yuh Hsiao
- Interactive music for instrumented dancing shoes
Machine recognition 2
457-459 - Douglas Keislar, Thom Blum, James Wheaton,
Erling Wold - A content-Awave sound browser
460-463 - Andrew Sterian, Mary Simoni, Gregory Wakefield
- Model-based musical transcription
464-467 - Takuya Fujishima - Realtime chord recognition
of musical sound : a system using common Lisp music
Demonstration 13
468-471 - Lydia Ayers, Andrew Horner - Modeling
the woodstock gamelan for synthesis
Poster session 13
472-475 - Damian Murphy, David Howard - The waveVerb
multi-channel room acoustics modeling system
476-479 - YeeOn Lo, Dan Hitt - Analysis of percussio
for timbre measurement and synthesis
480-483 - Huaming Xue - The sounding distance
sensation and its significance of artistic representation
Room acoustics
484-487 - David Malham - Higher order ambisonic
systems for the spatialization of sound
488-491 - Adrian Freed, Arnold Kaup, Sami Khoury,
David Wessel - Volumetric modeling of acoustic fields in CNMAT's sound
spatialization theatre
492-495 - Joel Laird, Paul Masri, Nishan Canagarajah
- Modeling diffusion at the boundary of a digital waveguide mesh
Machine recognition 3
496-499 - Gerard Assayag, Shlomo Dubnov, Olivier
Delerue - Guessing the composer's mind : applying universal perdiction
to musical style
500-503 - Kia Ng, David Cooper, Ewan Stefani, Roger
Boyle, Nick Bailey - Embracing the composer : optical recognition of
hand-written manuscripts
Demonstration 14
504-507 - Adrian Freed, Tristan Jehan - Musical
applications of new filter extentions to Max/MSP
Poster session 14
508-511 - Christopher Penrose - Extending musical
mixing : adaptive composite signal processing
512-514 - Takebumi Itagaki, Donald Knox - Multimedia
application of time compress/stretch of sound by granulation
515-518 - Bonnie Miksch, Leon Couch - "Bleep,
Buzz, Blurp" : the challenge of teaching new ways to listen
Real time systems
519-522 - Atau Tanaka - Network audio performance
and installation
523-526 - Eli Brandt, Roger Dannenberg - Time
in distributed real-time systems
527-530 - Ian Gibson, David Howard, Andrew Tyrrell
- Composing with the York polyphonic real-time singing synthesizer
Aesthetics
531-534 - Kenneth Fields - Postformalism
535-537 - Michael Clarke - Revisiting Kontakte
: issues of history, performance and intuition
538-541 - Mladen Milicevic - Aesthetics of designing
an adaptive fuzzy system for evaluation of the computer music
Demonstration 15
542-544 - Victor Abramian - Encyclopedia of classical
music
Poster session 15
545-548 - Joel Laird, Tom Huns, Paul Masri, Nishan
Canagarajah - WaRM : a framework for modeling resonant acoustic environments
549-552 - Steffen Brandorff - Simultaneity in
interactive computer music
History of electroacoustic music 1
553-556 - Anastasia Georgaki - Proteic voices
in the computer music repertory (1972-1997)
557-560 - Alexandra Hettergott - Human voice treatment
in various types of electroacoustic music
561-564 - Madelyn Byrne - Speech-based computer
music : selected works by Charles Dodge and Paul Lansky
Demonstration 16
565-568 - Nishan Canagarajah, Paul Masri, Joal Laird
- Digital music research group (Bristol, UK) : studio report
Poster Studio report 1
569-572 - Richard Andrews - Center for new music
and audio technologies (CNMAT) : studio report
573-576 - Gisella Belgeri, Guiseppe DiGiugno -
Federazione CEMAT and centres of computer music research and production
in Italy
577-580 - Tony Myatt - The design and implementation
of an integrated high performance computer music system for research and
postgraduate teaching at the university of York, UK
MPEG-4 and MPEG-7
581-584 - Xavier Serra, Perfecto Herrera, Geoffroy
Peeters - Audio descriptors and descriptor schemes in the context of
MPEG-7
585-588 - Riitta Vaananen, Jyri Huopaniemi - Virtual
acoustics rendering in MPEG-4 multimédia standard
589-596 - Matthew Wright, Eric Scheirer - Cross-coding
SDIF into MPEG-4 structured audio
History of electroacoustic music 2
597-599 - David Topper - Rtcmix and the open
source / free software model
600-601 - Reynold Weidenaar - Magic music from
the Telharmonium
Demonstration 17
602-604 - Mara Helmuth - Patchmix : a Cmix instrument-builder
Poster Studio report 2
605-608 - Fernando Lopez-lezcano - CCRMA studio
report
609-612 - Maria Christina DeAmicis - GRAMMA :
the new music in a old architecture
613-615 - Douglas Nunn - Anglia polytechnic university
- studio report
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
2000
Berlin, Germany
Aesthetic 1 : general studies
1-4 - Kenneth Fields - The interdisciplining
of computer music
5-7 - Dominique M. Richard - Music as handwerk,
the middle way between vorhandenheit and zuhandenheit
8-11 - Ingeborg Okkels, Anders Conrad - Bricoleur
and engineer in computer music
Aesthetic 2 : composition principles
12-15 - Kostas Giannakis, Matt Smith - Auditory-visual
associations for music compositional processes : a survey
16-19 - Denise Garcia - Body representations in
the electroacoustic music
20-23 - Natasha Barrett - A compositional methodology
based on data extracted from natural phenomena
Aesthetic 3 : individual portraits
24-27 - Laura Bianchini - Varèse - Le
Corbusier. Scenes from a rebellious thought. Reconstruction of the Poème
Electronique
28-31 - Anna Rubin - Forêt Profonde by F.
Dhomont - representation of the unconscious
32-37 - Howard Jonathan Fredrics - Lars-Gunnar
Bodin's "Anima" : intervallic symmetry as a metaphor for a cybernetic age
Physical modeling 1 : modeling methods
38-45 - Pirouz Djoharian - Shape and material
design in physical modelling sound synthesis
46-49 - Federico Avanzini - Onthe use of weighted
sample methods in digitizing the clarinet equations
Physical modeling 2 : modeling keyboard instruments
50-53 - Vesa Valimaki, Mikael Laurson, Cumhur Erkut,
Tero Tolonen - Model-based synthesis of the clavicord
54-57 - Bank Balazs - Nonlinear interaction in
the digital waveguide with the application to piano sound synthesis
58-61 - Julien Bensa, Kristoffer Jensen, Richard Kromland-Martinet,
Solvi Ystad - Perceptual and analytical analysis of the effect of the
hammer impact on the piano tones
Physical modeling 3 : playable models
62-65 - Christophe Vergez, Xavier Rodet - Air
flow related improvements for basic physical models of brass instruments
66-69 - M. Sile O'Modhrain, Stefania Srafin, Chris
Chafe, Julius O. Smith - Qualitative and quantitative assessment of
a virtual bowed string instrument
70-73 - Tapio Takala, Jarmo Hipakka, Mikael Laurson,
Vesa Valimaki - An expressive synthesis model for bowed string instruments
74-77 - Mikael Laurson - Real-time implementation
and controlof a classical guitar synthesizer in SuperCollider
Physical modeling 4 : waveguide meshes
78-81 - Federico Fontana, Davide Rocchesso -
Online correction of dispersion error in 2D waveguide meshes
82-85 - Marc Aird, Joel Laird, John Ffitch - Modelling
a drum by interfacing 2-D and 3-D waveguide meshes
86-89 - Patty Huang, Stefania Serafin, Julius O. Smith
- A waveguide mesh model of high-frequency violin body resonances
Voice synthesis 1 : modeling, representation
90-97 - Hui-Ling Lu, Julius O. Smith - Glottal
source modeling for singing voice synthesis
98-101 - Maureen Mellody, Gregory H. Wakefield
- Signal analysis of the singing voice : low-order representation of singer
identity
Voice synthesis 2 : applications
102-108 - Norbert Schnell, Geoffroy Peeters, Serge
Lemouton, Philippe Manoury, Xavier Rodet - Synthesizing a choir in
real-time using pitch synchronous overlap add (PSOLA)
109-112 - Pedro Cano, Alex Loscos, Jordi Bonada, Maarten
de Boer, Xavier Serra - Voice morphing system for impersonating in
Karaoke applications
Distributed performance systems
113-116 - Donald P. Pazel, Steven Abrams, Robert
Fuhrer, Daniel V. Oppenheim, James Wright - A distributed interactive
music application using harmonic constraint
117-120 - Philip L. Burk - Jammin'on the web -
a new client/server architecture for multi-user musical performance
121-124 - Mara Helmuth - Sound exchange and performance
on internet2
Virtual music environments
125-128 - Jaein Hwang, Gerard Jounghyun Kim -
Design and analysis of virtual music environment (VME)
129-132 - Stéphane Natkin - Mapping a virtual
sound space into a real visual space
133-136 - Francois Pachet, Olivier Delerue, Peter
Hanappe - Dynamic audio mixing
Integration of sensor systems
137-140 - Todd Winkler - Participation and response
in movement-sensing installations
141-144 - Insook Choi, Geoffrey Zheng, Ken Cheng
- Embedding a sensory data retrieval system in a movement-sensitive space
and a surround sound system
145-148 - M. Sile O'Modhrain, Chris Chafe - The
performer-instrument interaction : a sensory motor perspective
149-153 - Robin Bargar, Francois Dechelle, Insook
Choi, Alex Betts, Camille Goudeseune, Nobert schnell, Olivier Warusfel
- Coney island : combining jMax, Spat and VSS for acoustic integration
of spatial and temporal models in a virtual reality installation
Music information retrieval 1 : audio perception and representation
154-161 - Michael A. Casey, Alex Westner - Separation
of mixed audio sources by independent subspace analysis
162-165 - Massimo Melucci, Nicola Orio, Marco Gambalunga
- An evaluation study on music perception for music content-based information
retrieval
Music information retrieval 2 : databases and standards
166-169 - Geoffroy Peeters, Stephen McAdams, Perfecto
Herrera - Instrument sound description in the context of MPEG-7
170-173 - Tomonari Sonoda, Yoichi Muraoka - A
WWW-based melody-retrieval system - an indexing method for a large melody
database
174-177 - Carola Boehm, Donald MacLellan, Cordy Hall
- Mu Ta TeD'll : a system for music information retrieval of encoded music
Audio encoding formats
178-181 - Richard W. Dodson - Developments in
audio file formats
182-185 - Marek Claussen, Ludger Solbach - Streaming
structured audio
186-189 - Matthew Wright, Amar Chaudhary, Adrian Freed,
Sami Khoury, Ali Momeni, Diemo Schwarz, David Wessel - An XML-based
SDIF stream relationships language
190-193 - Maarten De Boer, Jordi Bonada, Xavier Serra
- Using the sound description interchange format within the SMS application
Music models and analysis methods 1 : analysis of electroacoustic
music
194-200 - Robert J. Frank - Temporal elements
: a cgnitive system of analysis for electro-acoustic music
201-204 - Robert J. Frank, Willi Steinke - Bringing
the gulf between music and listener : effet of style label and descriptive
notes on listeners’ ratings of understanding, liking and artistic merit
of computer music
Music models and analysis methods 2 : interaction models
205-208 - Robin Bargar, Alex Betts, Kelly Fitz, Insook
Choi - Models and deformations in procedural synchronous sound for
animation
209-212 - Andy Hunt, Marcelo M. Wanderley, Ross Kirk
- Towards a model for instrumental mapping in expert musical interaction
Music models and analysis methods 3 : perception models
213-216 - Ian Whalley - Emotion, theme and structure
: enhancing computer music through system dynamics modelling
217-220 - Maja Serman, J. L. Griffith Niall, Nikola
Serman - Tracking monophonic music for modelling melodic segmentation
processes
221-224 - Nico Schüler - Towards a general
methodological classification of computer-assisted music analysis
Sound processing and perception 1 : improving techniques
225-228 - Gregory H. Wakefield, Laurie M. Heller,
Laurel H. Carney, Maureen Mellody - On the perception of transients
: applying psychological constraints to improve audio analysis and synthesis
229-232 - Gregory H. Wakefield - A mathematical/psychometric
framework for comparing the perceptual response to different analsis-synthesis
techniques : ground rules for a synthesis bake-off
233-236 - Andrea Bari, Sergio Canazza, Giovanni De
Poli, Gian Antono Mian - Improving the extended Kalman filter method
for the restoration of electro-acoustic music
Sound processing and perception 2 : perceiving instrumental
sounds
237-240 - Hanna Jarvelainen, Ton Verma, Vesa Valimaki
- The effect of inharmonicity on pitch in string instrument sounds
241-243 - Ichiro Fujinaga, Karl MacMillan - Realtime
recogniton of orchestral instruments
Tranducers and speackers
244-247 - Marcelo M. Wanderley, Jean-Philippe Viollet
Fabrice Isart, Xavier Rodet - On the choice of transducer technologies
for specific musical functions
248-251 - Dan Trueman, Curtis Bahn, Perry R. Cook
- Alternative voices for electronic sound : spherical speakers and sensor-speaker
arrays (SenSAs)
Interactive systems 1 : realtime sound and graphics processing
252-257 - Francois Dechelle, Norbert Schnell, Riccardo
Borghesi, Nicola Orio - The jMax environment : an overview of new features
258-261 - James McCartney - A new, flexible framework
for audio and image synthesis
Interactive systems 2 : adaptive and affective systems
262-265 - Antonio Camurri, Paolo Coletta, Massimiliano
Peri, Matteo Ricchetti, Andrea Ricci, Riccardo Trocca, Gualtiero Volpe
- A real-time platform for interactive dance and music systems
266-269 - Yoichiro Taki, Kenji Suzuki, Shuji Hashimoto
- Real-time initiative exchange algorithm for interactive music system
270-273 - Antonio Camurri, Paolo Coletta, Matteo Ricchetti,
Gualtiero Volpe - Synthesis of expressive movement
Interactive systems 3 : sensor and image processing
274-276 - Charles Nichols - The vBow : a haptic
musical controller human-computer interface
277-280 - Joseph A. Paradiso, Kai-Yuh Hsio, Joshua
Strickon, Peter Rice - New sensor and music systems for large interactive
surfaces
281-283 - Ronald Kuivila - Forests and trees :
distinguishing many from few with a video camera
284-287 - Shu Matsuda, Takayuki Rai - DIPS : real-time
digital image processing objects for Max environment
Spatialization 1 : 3D sound encoding
288-291 - Riitta Vaananen, Jyri Huopaniemi, Ville
Pulkki - Comparison of sound spatialization techniques in MPEG-4 scene
description
292-295 - Gordon Moro - In-phase corrections for
Ambisonics
Spatialization 2 : 3D sound tools
296-299 - Harry D. Castle - Fleece : graphical
3-D trajectory specification software for saptialization in live performance
300-303 - Peter Lunden - Snd3D : a 3D sound system
for VR and interavtive applications
304-307 - Ville Pulkki - Generic panning tools
for MAX/MSP
Towards intelligent composition tools
308-315 - Steven Abrams, Robert Fuhrer, Daniel V.
Oppenheim, Donald P. Pazel, James Wright - A framework for representing
and manipulating tonal music
316-319 - Francois Pachet - Rhythms as emerging
structures
320-323 - Roberto Morales, Eduardo Morales, L. Enrique
Sucar - Integrating Bayesian network with logic programs for music
Composition systems 1
324-327 - Torsten Anders - Arno : constraints
programming in common music
328-331 - Eli Brandt - Temporal type constructors
for computer music programming
332-335 - Carlos Agon, Marco Stroppa, Gerard Assayag
- High level musical control of sound synthesis in open msic
Composition systems 2
336-339 - Stephane Letz, Dominique Fober, Yann Orlarey
- Real-time composition in Elody
340-343 - Hans G. Kaper, Szever Tipei, Jeff M. Wright
- Disco : an object-oriented system for msic composition and sound design
Expressive performance 1 : analysis
344-347 - Gerhard Widmer - Large-scale induction
of expressive performance rules : first quantitative results
348-351 - Osamu Ishikawa, Yushi Aono, Harahiro Katayose,
Seiji Inokuchi - Extraction of musical performance rules using a modified
algorithm of multiple regression analysis
352-355 - Ali Taylan Cemgil, Bert Kappen, Peter Desain,
Henkjan Honing - On tempo tracking : Tempogram representation and Kalman
Filtering
Expressive performance 2 : synthesis
356-359 - Sergio Canazza, Giovanni De Poli, Carlo
Droli, Antonio Roda, Federico Zamperini - Real-time morphing among
different expressive intentions in audio playback
360-363 - Keiji Hirata, Rumi iraga, Tatsuya Aoyagi
- Next generation performance rendering - exploiting controllability
364-367 - Roberto Bresin, Anders Friberg - Rule-based
emotional coloring of music performance
Sound synthesis methods 1
368-371 - Bill Verplank, Max Mathews, Robert Shaw
- Scanned synthesis
372-375 - Richard Boulanger, Paris Smaragdis, John
Ffitch - Scanned synthesis : an introduction and demonstration of a
new synthesis and signal processing technique
376-379 - Bernd Schoner, Chuck Cooper, Neil Gershenfeld
- Cluster-weighted sampling for synthesis and cross-synthesis of violin
family instruments
Sound synthesis methods 2
380-383 - Gianpaolo Evangelsta - The short-time
Laguerre transform : a new method for real-time frequency warping of sounds
384-387 - Kelly Fitz, Lippold Haken, Paul Christensen
- A new algorithm for bandwidth association in bandwidth-enhanced additive
sound modeling
388-391 - Pietro Polotti - Time-special modeling
of sound by means of harmonic-band wavelets
Sound synthesis methods 3
392-395 - Kelly Fitz, Lippold Haken, Paul Christensen
- Transient preservation under transformation in an additive sound model
396-399 - Jordi Bonada - Automatic technique in
freqency domain for near-lossless time-scale modification of audio
400-403 - Harvey Thornburg, Fabien Gouyon - A
flexible analysis-synthesis method for transients
Studio report 1
404-405 - Eric Lyon - The Bregman electronic
music studio at Dartmouth College
406-409 - Laura Bianchini - Designing a virtual
theatrical listening space
410-413 - Richard Boulanger - Two new courses
in computer musc performance @ Berklee : alternate controllers and the
techno/rave ensemble
Studio report 2
414-416 - Christopher Dobrian - The Gassman electronic
music studio - university of California at Irvine
417-420 - Richard ndrews - Center for new music
and audio technologies (CNMAT) studio report
421-423 - Richard Karpen, Jan Pampin, Brett Batey,
Chad Kirby - CARTAH/SMCC studio report
Studio report 3
424-427 - John Young - Victoria university of
Wellington - electroaoustic music studios
428-431 - Kathryn Alexander, Matthew Suttor -
Current work at YalMust, Yale university’s music and technology center
432-435 - Andrew Hugill, Leigh Landy - The music,
technology and innovation research group (MTIRG) at De Montfort university
- studio report
Studio report 4
436-438 - JoAnn Kuchera-Morin, Curtis Roads, Alberto
De Campo, Anne Deane, Stephen T. Pope - CREATE studio report 2000
439-442 - Curtis Bahn - IEAR studios : integrated
electronic arts at Rensselaer polytechnic institute
443-446 - Xavier Serra - Musical activities at
the audiovisual institute of the Pompeu Fabra university
Posters 1
447-450 - Matija Marolt - Adaptive oscillator
networks for partial tracking and piano music transcription
451-453 - David Topper - SLING1.0 : a GUI for
controling synthesis and linking instruments in Rtcmix
454-457 - Jurgen Kilian, Holger H. Hoos - VISCO
- visual Salieri components
Posters 2
458-460 - Colby N. Leider - CurvePainter : a
new compositional tool
461-464 - Sita Popat, Kia Ng, Kris Popat, Jacqueline
Smith-Autard - Interactive composition : sharing the creative process
on the internet
465-468 - Maarten Van Walstijn, Gary Scavone -
The wave digital tonehole model
Posters 3
469-472 - Kai Renz - Design and implementation
of a platform independent GUIDO notation engine
473-476 - Stefania Serafin, Julius O. Smith -
Influence of attack parameters on the playability of a virtual bowed string
instrument
477-480 - Jian-Li Liu, Rumi Hiraga, Shigeru Igarashi
- Musical analysis of a computer music project, by computer-assistance,
for computer music applications
Posters 4
481-484 - Diemo Schwarz, Matthew Wright - Extentions
and applications of the SDIF description interchange format
485-488 - Kia Ng, Sita Popat, Bee Ong, Ewan Stefani,
Kris Ppat, David Cooper - Trans-domain mapping : areal-time interactive
system for motion acquisition and musical mapping
489-491 - Kristine H. Burns - WOW’EM : encouraging
an integrated generation
Demonstrations
492-495 - Amar Chaudhary, Adrian Freed, Matthew Wright
- An open architecture for real-time music software
496-498 - Christopher Penrose, Eric Lyon - FFTease
: a collection of spectral signal processors for Max/MSP
499-502 - Roberto Bresin, Anders Friberg - Software
tools for musical expression
503-506 - Stephen Brandon, Leigh M. Smith - Next
steps from NeXTSTEP : music kit and sound kit in a new world
507-510 - Kostas A. Tsahalinas - “ Aulos ” : an
Rtcmix interfaced software application for modeling cylindrical pipes with
tone holes, with emphasis on the simulation of the ancient greek Auloi
511-514 - Andrei Smirnov - Music and gesture :
sensor technologies in interactive music and the Theremin based space control
systems
515-516 - Adrian Freed, Rimas Avizienis - A new
music Keyboard with continous key-position sensing and high-speed communication
517-518 - David Topper - Pawn & spawn : portable
and semi portable audio workstation
519-522 - Perry R. Cook, Colby N. Leider - SqueezeVox
: a new controller for vocal synthesis models
523-526 - Rimas Avizienis, Adrian Freed, Takaniko
Suzuki, Davd Wessel - Scalable connectivity processor for computer
music performance systems
527-530 - Karin Hothker, Dominik Hornel - Harmonizing
in real-time with neural networks
531-534 - Klaus C. Wassermann, Mark Blanchard, Ulysses
Bernardet, Jonatas Manzolli, Paul F.M.J. Verschure - Roboser - an autonomous
interactive musical composition system
535-538 - Maarten de Boer, Jordi Bonada, Pedro Cano,
Alex Loscos, Xavier Serra - Singing voice impersonator application
for PC
539-542 - Kenji Suzuki, Keishiro Tabe, Shuji Hashimoto
- A mobile robot platform for music and dance performance
543-546 - Adrian Freed, Osman Isvan - Musical applications
of new, multi-axis guitar string sensors
547-550 - Richard Boulanger, Young Jun Choi, Luigi
Castelli - Developing a Windows and Macintosh graphical user interface
for the mathews radio-baton system
551-554 - Tomoko Yonezawa, Kenji Mase - Tangible
sound : musical instrument using fluid media
PROCEEDINGS OF THE INTERNATIONAL COMPUTER MUSIC CONFERENCE
2001
Havana, Cuba