Table of Contents

• Synthesis from attractorsGordon Monro. [doi]
• Toward a Computer Model of a Jazz ImproviserBruce Pennycook, Dale Stammen, Debbie Reynolds. [doi]
• Nonobvious roles for electronics in performance enhancementMiller Puckette, Zack Settel. [doi]
• Generalized Diphone ControlPhilippe Depalle, Xavier Rodet, Thierry Galas, Gerhard Eckel. [doi]
• DIEM (The Danish Institute of Electroacoustic Music) Studio ReportWayne Siegel. [doi]
• An Object Oriented ARTMAP System for Classifying PitchIan Taylor, Mike Greenhough. [doi]
• Remote Control Applications using 'Smart-Controllers' in Versatile Hardware ConfigurationsDavid Zicarelli. [doi]
• Pegasus-2: Real-Time Composing Environment with Chaotic Interaction ModelYoichi Nagashima, Haruhiro Katayose, Seiji Inokuchi. [doi]
• A New Software Package for Spectral Investigation and Analysis/Synthesis Using FFT and Sinusoidal Modelling TechniquesChris Scallan, Thomas Stainsby. [doi]
• The Implementation of Nyquist, A Sound Synthesis LanguageRoger B. Dannenberg. [doi]
• Perceptual Parameters-Their Specification, Scoring and Control within Two Software Composition SystemsDaniel V. Oppenheim, Tim Anderson, Ross Kirk. [doi]
• Timbre BreedingAndrew Horner, James W. Beauchamp, Norman Packard. [doi]
• Studio Report: Center for Computer Research in Music and Acoustics (CCRMA)Patte Wood, Chris Chafe, Perry R. Cook. [doi]
• Organization of Clang-tintCurtis Roads. [doi]
• Position Papers for the Second Panel on Algorithmic MusicAtau Tanaka, Larry Austin, David Cope, Martin Herman, Otto E. Laske. [doi]
• The Music Representation Project at IRCAMGérard Assayag, Camilo Rueda. [doi]
• Panel Discussion: Algorithmic MusicDavid Cope, Larry Austin, Jean-Baptiste Barrière, Martin Herman, Gareth Loy, Otto E. Laske, Atau Tanaka. [doi]
• A Neural Network Model for Sound Localization in Binaural FusionSteve Berkley. [doi]
• Towards Non-Linear Resynthesis of Instrumental SoundsRichard Kronland-Martinet, Philippe Guillemain. [doi]
• Knowledge Representation of Sounds and Sonic-Structures Based on Constraints and Mulitple InheritancePeter Lundén. [doi]
• A High-Performance Dylan ImplementationJonathan Bachrach. [doi]
• Spectral Transformation and Cross Synthesis of Sinusoidal Analysis PeaksTheodore Apel. [doi]
• Musical Sound Transformation by ConvolutionCurtis Roads. [doi]
• The Development of an Automatic Bagpipe Playing DeviceHiroshisa Ohta, Hiroshi Akita, Motomu Ohtami, Satoshi Ishikado, Masami Yamane. [doi]
• Real-Time Neuro-Fuzzy Systems for Adaptive Control of Musical ProcessesMichael A. Lee, David Wessel. [doi]
• Towards High-Quality Sound Synthesis of the Guitar and String InstrumentsMatti Karjlainen, Vesa Välimäki, Zoltán Jánosy. [doi]
• The MAX Timeline ObjectDavid Zicarelli, Michael Lee. [doi]
• Efficient Synthesis of Stringed Musical InstrumentsJulius O. Smith III. [doi]
• On the Mechanism of 'Hypersonic Effect'Tsutomu Oohashi, Emi Nishina, Yoshitaka Fuwamoto, Norie Kawai. [doi]
• Krayola: A Flexible, Robust, and User-friendly Precompositional Sketching EnvironmentDale Skries, Jonathan Hallstrom. [doi]
• Integration of Aid to Composition and Performance Environments: Experiences of Interactions between Patchwork and Max-ISPWJean-Baptiste Barrière, Xavier Chabot. [doi]
• Understanding and Learning Musical ExpressionGerhard Widmer. [doi]
• Parameter Estimation of Non-Linear Physical Models by Simulated Evolution - Application to the Flute ModelJarkko Vuori, Vesa Välimäki. [doi]
• Towards a Chaotic Musical InstrumentBruno Degazio. [doi]
• Transcribe: A Comprehensive Autotranscription ProgramJeff Pressing, Peter Lawrence. [doi]
• The ICMC 92 CD StackRussell Tincher, Allen Strange. [doi]
• Granular Synthesis with Cmix and MAXMara Helmuth. [doi]
• Flexible Yet Controllable Physical Models: A Nonlinear Dynamics ApproachXavier Rodet. [doi]
• The Software Architecture of the Kyma SystemKurt J. Hebel, Carla A. Scaletti. [doi]
• A MIDI Control and Performance System for Brass InstrumentsPerry R. Cook, Dexter Morrill, Julius O. Smith. [doi]
• Studio Report: The University of Victoria's Laboratory for Extended MediaW. Andrew Schloss. [doi]
• Helsinki Music ToolsJukka-Pekka Kervinen, Kai Lassfolk. [doi]
• AREM/ARMS - Reinterpretation of musical structuresMiguel Calzón. [doi]
• Physical Modeling with the 2-D Digital Waveguide MeshScott A. Van Duyne, Julius O. Smith III. [doi]
• A Network for Music Research, Composition and Pedagogy in the University of GlasgowStephen Arnold. [doi]
• Physical Models That LearnNicolas Szilas, Claude Cadoz. [doi]
• An Artificial Perception Model and Its Application to Music RecognitionAndranick Tanguiane. [doi]
• IGDIS (Instrument for Greek DIction and Singing): A Modern Greek Text to Speech/Singing Program for the SPASM/Singer InstrumentPerry R. Cook, Dimitris Kamarotos. [doi]
• Gesture Sensor in Virtual PerformerTautomu Kanamori, Haruhiro Katayose, Satosi Simura, Seiji Inokuchi. [doi]
• Melody Retrieval with HummingTetsuya Kageyama, Kazuhiro Mochizuki, Yosuke Takashima. [doi]
• MixNet - A Comprehensive Realtime Automated Production System: Progress ReportRick Bidlack, Kevin Elliot, Peter Otto. [doi]
• A Sound Source Separation System with the Ability of Automatic Tone ModelingKunio Kashino, Hidehiko Tanaka. [doi]
• Computer Music Enters the Museum: Recent Developments in ParisMarc Battier. [doi]
• Studio Report: The Electroacoustic Music Studio at The University of Birmingham (UK)Jonty Harrison, Robert Dow. [doi]
• Developing Jazz Improvisional Skills with the Use of Music Sequencing SoftwareDennis Thurmond. [doi]
• Synthesis and Control of Hundreds of Sinusoidal Partials on a Desktop Computer without Custom HardwareAdrian Freed, Xavier Rodet, Philippe Depalle. [doi]
• A Computer Music System for Human SingingWataru Inoue, Shuji Hashimoto, Sadamu Ohteru. [doi]
• Deterministic Chaos, Iterative Models, Dynamical Systems and Their Application in Algorithmic CompositionMartin Herman. [doi]
• Linking Different Cultures with ComputersSteve Shihong Chen, J. Richard Dennis. [doi]
• Narrativisation in Electroacoustic and Computer Music - Reflections on Empirical Research into Listener's ResponseMichael Bridger. [doi]
• An Implementation of a 3D Binaural Audio System within an Integrated Virtual Reality EnvironmentRick Bidlack, Dorota Blaszczak, Gary S. Kendall. [doi]
• A Behavioral or Actor-Based Paradigm of Sound Production and Studio CompositionKevin Elliot. [doi]
• Techniques to Foster Drum Machine ExpressivityJeff A. Bilmes. [doi]
• Wavelet Analysis of Rhythm in Expressive Musical PerformanceNeil P. McAngus Todd. [doi]
• A Binaural Recording and Playback System for the Reproduction of Virtual Concert HallsGilbert A. Soulodre, Dale Stammen. [doi]
• Virtual Sound Compostion for the CAVERobin Bargar. [doi]
• Modeling a Hypermedia Composition/Performance SystemLarry Austin. [doi]
• Demonstration of Concerto Accompanist, a Program for the Macintosh ComputerFrank Weinstock. [doi]
• SeeMusic: A Tool for Music VisualizationBernard Mont-Reynaud. [doi]
• Analysis of Sound for Additive Synthesis: Tracking of Partials Using Hidden Markov ModelsPhilippe Depalle, Guillermo García, Xavier Rodet. [doi]
• Modeling of Woodwind Bores with Finger HolesVesa Välimäki, Matti Karjalainen, Timo I. Laakso. [doi]
• Using Physically-Based Models and Genetic Algorithms for Functional Composition of Sound Signals, Synchronized to Animated MotionTapio Takala, James K. Hahn, Larry Gritz, Joseph Geigel, Jong Won Lee. [doi]
• Whatever Happened to CMAP for Macintosh? A Status ReportPeter Castine. [doi]
• The 'Blues-o-Matic' Real-time Interactive Performance ModelBrad Garton, Damon Horowitz. [doi]
• Musical Technical Issues in Using Interactive Instrument Technology with Application to the BioMuseAtau Tanaka. [doi]
• Real-time Recognition of Melodic Fragments Using the Dynamic Timewarp AlgorithmDale Stammen, Bruce Pennycook. [doi]
• Computer Aided Composition in Chinese StudioWu Jian. [doi]
• The Development of a Piano PlayerEiji Hayashi, Tatsuya Ishikawa, Kazuhiro Yamamoto, Masami Yamane, Hajime Mori. [doi]
• MAX as an Overall Control Mechanism for Multi-Discipline Installation ArtCharles Bestor. [doi]
• Computer Music: A Grand Adventure and Some Thoughts About LoudnessJohn Chowning. [doi]
• What Ever Happened to our Beautiful SchematicsPeter Desain, Tom Brus. [doi]
• A Knowledge Based System for Recognition and Transcription of XVIth Century Guitar TablaturesD. Derrien-Péden. [doi]
• The Recognition and Editing System for Shakuhachi ScoreToshiaki Matsushima. [doi]
• A Musical Application of Real-time Granular Sampling Using the IRCAM Signal Processing WorkstationCort Lippe. [doi]
• Slappability: A New Metaphor for Human Computer InteractionDaniel V. Oppenheim. [doi]
• The Development of an Automatic Drum Playing DeviceKoichi Sekiguchi, Ryoji Amemiya, Hiroshi Kubota, Masami Yamane. [doi]
• The Sound Studios of the Banff Centre for the ArtsKevin Elliot. [doi]
• Distal Learning of Musical Instrument Control ParametersMichael A. Casey. [doi]
• SIbelius Academy Computer Music StudioPauli Laine. [doi]
• Visualization and Predictive Modelling of Musical Signals using Embedding TechniquesJeff Pressing, Chris Scallan, Neil Dicker. [doi]
• Cosmology and Technology in MusicJoji Yuasa. [doi]
• The International Digital ElectroAcoustic Music Archive - A new source for research into the history of electroacoustic musicThomas Gerwin. [doi]
• MicroTuner: An Interactive Tuning System for the MAX EnvironmentAndrea Szigetvári. [doi]
• A Computer Accompaniment System with IndependenceYasuo Horiuchi, Hozumi Tanaka. [doi]
• DIEM Multi DSP Box for Live PerformanceKim Steffensen, Bjarne Slipsager, Mads Folmer, Steffen Brandorff. [doi]
• PinnaWorks: a NeXT Application for Three-Dimensional Sound Processing in Real-TimeGary S. Kendall. [doi]
• Losses in Tubular Acoustic Systems - Theory and Experiment in the Sampled Time and Frequency DomainsNoam Amir, Giora Rosenhouse, Uri Shimony, Itai Shelef. [doi]
• Introduction of Computer Music Studio of Sonology Department, Kunitachi College of MusicTakayuki Rai, K. Matsunuma, K. Takasaki, S. Mokushou. [doi]
• The Use of 3-D Audio in a Synthetic Environment: An Aural Renderer for a Distributed Virtual Reality SystemStephen Travis Pope, Lennart E. Fahlén. [doi]
• SYSTHEMA - Analysis and Automatic Synthesis of Classical ThemesDominik Hörnel. [doi]
• A Computational Model of Music Cognition Based on Interacting Primitive AgentsYuzuru Hiraga. [doi]
• On Continuous Musical Control of Discrete Musical ObjectsPeter Desain, Henkjan Honing. [doi]
• Tactile Audio FeedbackChris Chafe. [doi]
• Studio Report Elektronisches Studio TU BerlinFolkmar Hein, Bernhard Feiten. [doi]
• Experiments on Computerized Piano AccompanimentShigeru Igarashi, Takashi Tsuji, Tetsuya Mizutani, Tsuyoshi Haraguchi. [doi]
• Virtual PerformerHaruhiro Katayose, Tsutomu Kanamori, Katsuyuki Kamei, Yoichi Nagashima, Kosuke Sato, Seiji Inokuchi, Satosi Simura. [doi]
• Neural Networks that Learn and Reproduce Various Styles of HarmonizationJohannes Feulner. [doi]
• Listening Simulations: Concepts, Design and an Application to Virtual RealityEliot Handelman. [doi]
• A Real-Time Implementation of MPEG Audio Layer I Decoding on a Fixed-Point DSP PlatformKwang Rip Hyun, Raja Banerjea, Munchurl Kim, Haniph Latchman, Subramania I. Sudharsanan. [doi]
• The IRCAM Signal Processign Workstation and IRCAM Max User Groups: Future Developments and PlatformsCort Lippe, Miller Puckette, Zack Settel, Vincent Puig. [doi]
• Self-organizing Neural Network and Grey's Timbre SpaceGiovanni De Poli, Paolo Tonella. [doi]
• A Confluence of Computer Music and Ancient Chinese AestheticsLinda Seltzer. [doi]
• Automatic Generation of Expressive Performance by using Music StructuresKenzi Noike, Nobuo Takiguchi, Takashi Nose, Yoshiyuki Kotani, Hirohiko Nisimura. [doi]
• Time-Shifting and Transposition of Sampled Sound with a Real-Time Granulation TechniqueBarry Traux. [doi]
• Real Time Sound Processing and Synthesis on Multiple DSPs Using the Music Kit and the Ariel Quint ProcessorDavid A. Jaffe, Julius O. Smith. [doi]
• UPIC Special SessionGerard Pape, Didier Rocton. [doi]
• Simplicity as complexity - technicalities and aesthetics of Japanese musical instruments and musicSatosi Simura, Tuneko Tukitani, Toru Seyama, Osamu Yamaguti. [doi]
• On the Realization of NoaNoa and Près, Two Pieces for Solo Instruments and Ircam Signal Processing WorkstationXavier Chabot, Kaija Saariaho, Jean-Baptiste Barrière. [doi]