Table of Contents

• Abstract Time Warping of Compound Events and SignalsRoger B. Dannenberg. [doi]
• The IBM Computer Music Centre: Studio ReportDavid Jameson. [doi]
• Instruction of Computer Music for Computer Engineering Students and ProfessionalsAntonio Camurri, Giovanni De Poli, Roger B. Dannenberg, Julius O. Smith. [doi]
• Demonstration of Gesture Sensors for the ShakuhachiHaruhiro Katayose, Tsutomu Kanamori, Satoshi Shimura, Seiji Inokuchi. [doi]
• Panel: Touched by Machine? Composition and Performance in the Digital AgeStephen Travis Pope. [doi]
• Efficient Fourier Synthesis of Nonstationary SinusoidsMichael Goodwin, Xavier Rodet. [doi]
• Motographicon: a system for computer choreographyPeter Rajka, Tamas Ungvary. [doi]
• Rhythm Tracking Using Multiple HypothesesDavid Rosenthal, Masataka Goto, Yoichi Muraoka. [doi]
• Sound hybridization based on a deterministic plus stochastic decomposition modelXavier Serra. [doi]
• A Dynamic Spatial Sound Movement ToolkitFernando Lopez-Lezcano. [doi]
• Design and Implementation of an object-oriented Media Composition FrameworkPhilipp Ackermann. [doi]
• Live Performance and Virtuosic Pitch-blend Technique for the SynthesizerStuart Favilla. [doi]
• Sound Spatializations in Real Time By First-Reflection SimulationDavide Rocchesso, Oscar Ballan, Luca Mozzoni. [doi]
• The LDR ControllerStuart Favilla. [doi]
• Novelty, Progress and Research Method in Computer Music CompositionJeff Pressing. [doi]
• A Graphical Environment for Electroacoustic Music CompositionDavid Rossiter, David M. Howard. [doi]
• The Virtual Piano Action: Design and ImplementationBrent Gillespie. [doi]
• The Communal Groove MachineAmnon Wolman, Canton Becker. [doi]
• MARS Application Using APPLI20 Development Tools: A Case StudyFabio Armani, Andrea Paladin, Claudio Rosati. [doi]
• 'Local/field': towards a typology of live electroacoustic musicSimon Emmerson. [doi]
• Model based interactive sound for an immersive virtual environmentRobin Bargar, Insook Choi, Sumit Das, Camille Goudeseune. [doi]
• Intelligent Synthesis Control with Applications to a Physical Model of Acoustic GuitarZoltán Jánosy, Matti Karjalainen, Vesa Välimäki. [doi]
• Music Space: A Metaphor for Music Representation and Music GenerationIoannis Zannos. [doi]
• The Rebirth of Computer Music by Analog Signal ProcessingAdrian Freed. [doi]
• University College Bretton Hall - Studio ReportLeigh Landy, Paschall de Paor. [doi]
• A Modular Construction Set for Time-Domain EditorsBernhard Feiten, Markus Spitzer. [doi]
• Analysis/Synthesis of Sound Using a Time-Varying Linear ModelCharles W. Therrien, Roberto Cristi, Olav E. Kjono. [doi]
• GenJam: A Genetic Algorithm for Generating Jazz SolosJohn A. Biles. [doi]
• Real-time Spectrum/cepstrum gamesPeter Pabon. [doi]
• Temporal-Gestalt Segmentation - Extensions for Compound Monophonic and Simple Polyphonic Musical Contexts: Appl. to Works by Boulez, Cage, Xenakis, and LigetiYayoi Uno, Roland Hübscher. [doi]
• Simulation of Room Acoustics with a 3-D Finite Difference MeshLauri Savioja, Timo J. Rinne, Tapio Takala. [doi]
• Realtime Musical Applications using FFT based ResynthesisZack Settel, Cort Lippe. [doi]
• Timbre Morphing Using the Lemur RepresentationBryan Holloway, Edwin Tellman, Lippold Haken. [doi]
• Adaptive Karaoke System: Human Singing Accompaniment Based on Speech RecognitionWataru Inoue, Shuji Hashimoto, Sadamu Ohteru. [doi]
• Foot-tapping: a brief intoduction to beat inductionPeter Desain, Henkjan Honing. [doi]
• A Common Lisp Interface for Dynamic Patching with the IRCAM Signal Processing WorkstationThomas Hummel. [doi]
• A Fuzzy Syntactic Approach to Recognising Hand-written MusicGreg Watkins. [doi]
• Melonet: Neural Networks that Learn Harmony-Based Melodic VariationsJohannes Feulner, Dominik Hörnel. [doi]
• Granulation and Time-Shifting of Sampled Sounds in Real-Time with a QUAD DSP Audio Computer SystemTimothy Bartoo, David Murphy, Russell Ovans, Barry Truax. [doi]
• MIDI and Audio via ISDNOle Nielsen. [doi]
• Connections between Feedback Delay Networks and Waveguide Networks for Digital ReverberationJulius O. Smith, Davide Rocchesso. [doi]
• Physical Models for Music and Animated Image: The Use of CORDIS-ANIMA in "ESQUISSES"; a Music Film by ACROEClaude Cadoz, Annie Luciani, Jean-Loup Florens. [doi]
• Is There Life After MIDI?Miller Puckette. [doi]
• Timbre Characterization with Mel-Cepstrum and Neural NetsPiero Cosi, Giovanni De Poli, Paolo Prandoni. [doi]
• Lambda Calculus and Music CalculiYann Orlarey, Dominique Fober, Stéphane Letz, Mark Bilton. [doi]
• DSP Based Reliable Pitch-to-MIDI Converter by Harmonic MatchingFrancisco Javier Casajús-Quirós, Pablo Fernandez-Cid. [doi]
• Geometic Sound TransformationsGordon Monro, Jon Drummond. [doi]
• The Detection of Rhythmic Repetition Using a Self-Organising Neural NetworkSimon C. Roberts, Mike Greenhough. [doi]
• Real-time Synthesis on a Multi-processor NetworkTakebumi Itagaki, Alan Purvis, Peter D. Manning. [doi]
• A Virtual Castrato (!?)Philippe Depalle, Guillermo García, Xavier Rodet. [doi]
• Combined Linear and Nonlinear Periodic Prediction in Calibrating Models of Musical Instruments to RecordingsGary P. Scavone, Perry R. Cook. [doi]
• The Extended EnvironmentJohn Young. [doi]
• Dynamic Intonation for Keyboard InstrumentsRoger Munck-Fairwood. [doi]
• A Meta Trumpet(er)Jonathan Impett. [doi]
• Organizing the parameter space of physical models with sounds feature mapsBernhard Feiten, Gerhard Behles. [doi]
• The IRCAM "Real-Time Platform" - Evolutions and PerspectivesFrançois Déchelle, Maurizio De Cecco, Miller Puckette, David Zicarelli. [doi]
• University of Helsinki Electronic Music StudioKai Lassfolk, Kalev Tiits. [doi]
• NoteAbility: A Music Notation System that Combines Musical Intelligence with Graphical FlexibilityKeith Hamel. [doi]
• Digital Waveguide Modeling of Wind Instrument Bores constructed of Truncated ConesVesa Välimäki, Matti Karjalainen. [doi]
• Adaptive Timbre Control System Using GesturePitoyo Hartono, Kazumi Asano, Wataru Inoue, Shuji Hashimoto. [doi]
• The Making of an All-Digital Facility for Artistic Production and Research under the Label "avantgarde"Johannes Goebel. [doi]
• Control of Frequency and Decay in Oscillating Filters using Multirate TechniquesFrode Holm. [doi]
• The use of active tactile and force feedback in timbre controlling electronic instrumentsBert Bongers. [doi]
• Integrated Arts Technology: New Facilities at the University of MichiganEvan Chambers. [doi]
• Musically Salient Control Abstractions for Sound SynthesisGerhard Eckel, Ramon Gonzales-Arroyo. [doi]
• Stability/Instability of Periodic Solutions and Chaos in Physical Modles of Musical InstrumentsXavier Rodet. [doi]
• Advanced issues in beat induction modeling: syncopation, tempo and timingPeter Desain, Henkjan Honing. [doi]
• Virtual Instruments in Virtual ooms - A Real-Time Binaural Room Simulation Environment for Physical Models of Musical InstrumentsJyri Huopaniemi, Matti Karjalainen, Vesa Välimäki, Tommi Huotilainen. [doi]
• Toward a new model of performanceMon-Chu Chen. [doi]
• The aXi0 MIDI ControlerBrad Cariou. [doi]
• Nuntius: a transmedial communication system for computer music and computer choreographyTamas Ungvary. [doi]
• Real-time MIDI data flow on Ethernet and the software architecture of MidiShareDominique Fober. [doi]
• Computer Music Project of the University of Illinois Experimental Music StudiosSever Tipei, James W. Beauchamp. [doi]
• PITCH: the Percussion Instruments' Tinbral Classification HierarchyRobert Bell. [doi]
• Pattern Processing in MusicRobert Rowe, Tang-Chun Li. [doi]
• Using HyperInstruments for the Redistribution of the Performance Control InterfaceTim Anderson, Debbie Hearn. [doi]
• The Musical Object Development Environment: MODE (Ten years of music software in Smalltalk)Stephen Travis Pope. [doi]
• Traveling Wave Implementation of a Lossless Mode-coupling Filter and the Wave Digital HammerScott A. Van Duyne, John R. Pierce, Julius O. Smith III. [doi]
• Complex Musical Pattern Description in Common MusicHeinrich Taube. [doi]
• sndSpace: A Graphical 3-D Stereo Software ToolGavin R. Starks, Ken Linton. [doi]
• Analysis of "Touch Effect" on the Transient of Pipe Organs with Mechanical TransmissionLaura Bazzanella, Giovanni B. Debiasi. [doi]
• The Design of a Pen-based Music Notation SystemGuy Garnett, Annick Leroy, Giovanni Müller. [doi]
• Modelling the Influence of Pitch Duration on the Induction of Tonality from Pitch-UseNiall Griffith. [doi]
• IRIS Studio ReportGiuseppe Di Giugno. [doi]
• A real time singing voice analysis/synthesis systemPeter Pabon. [doi]
• Formal Processes of Timbre Composition Challenging the Dualistic Paradigm of Computer MusicAgostino Di Scipio. [doi]
• Learning Expression at Multiple Structural LevelsGerhard Widmer. [doi]
• A Visual Model for Embedded Chroma Spaces: Theory and Software ApplicationsEnrique Moreno. [doi]
• Loudness of musical sounds in a reverberant environmentJan Chomyszyn. [doi]
• Neural Networks for Musical Tones Compression, Control and SynthesisRoberto Bresin, Alessandro Vedovetto. [doi]
• The MARS Station: Algorithm Design and Real Time PerformanceEnzo Maggi, Fabio Armani. [doi]
• Neural Networks vs. Rules System: Evaluation of Test of Automatic PerformanceRoberto Bresin, Giovanni De Poli, Giovanni U. Battel, Alvise Vidolin. [doi]
• An evaluation of input devices for use in the ISEE human-synthesizer interfaceRoed Vetegaal, Barry Eaglestone. [doi]
• A Simplified Approach to Modeling Dispersion Caused by Stiffness in Strings and PlatesScott A. Van Duyne, Julius O. Smith III. [doi]
• Evaluations of Artificial-Neural-Network Types for the Determination of PitchIan J. Taylor, Mike Greenhough. [doi]
• Generating Rhythms with Genetic AlgorithmsDamon Horowitz. [doi]
• A Virtual Piano Concerto - Coupling of the Mathews/Boie Radio Drum and the Yamaha Disklavier Grand Piano in the "The Seven Wonders of the Ancience World"David A. Jaffe, Andrew Schloss. [doi]
• The RUBATO Performance Workstation on NeXTSTEPGuerino Mazzola, Oliver Zahorka. [doi]
• Real-Time Additive Synthesis Controlled by a Mixture of Neural-Networks and Direct Manipulation of Physical and Perceptual AttributesAdrian Freed, Mark Goldstein, Michael Goodwin, Michael Lee, Keith A. McMillen, Xavier Rodet, David Wessel, Matthew Wright. [doi]
• A Multirate Optimisation for Real-time Additive synthesisDesmond Phillips, Alan Purvis, Simon Johnson. [doi]
• Blind Decomposition of Concurrent SoundsMamoru Ueda, Shuji Hashimoto. [doi]
• Rulebased models of initial beat induction and an analysis of their behaviorPeter Desain, Henkjan Honing. [doi]
• Center for Computer Research in Music and Acoustics (CCRMA)Fernando Lopez-Lezcano. [doi]
• The Audio Browser - An Audio Database Navigation Tool in a Virtual EnvironmentJohn F. Whitehead. [doi]
• On the Use of Schrodinger's Equation in the Analytic Determination of Horn ReflectanceDavid P. Berners. [doi]
• A Rhythm Perception Model by Neural Rhythm GeneratorsKen-ichi Ohya. [doi]
• Blending "Traditional" off-line Algorithmic Textual Input with Realtime Interaction and GraphicsDaniel Oppenheim. [doi]
• A Method of Denoising and Reconstructing Audio SignalsJonathan Berger, Maxim J. Goldberg, Ronald R. Coifman. [doi]
• A Model of Beat Induction Accounting for Perceptual Ambiguity by Continuously Variable ParametersRichard Parncutt. [doi]
• Algorithms Adapted from Chaos Theory: Compositional ConsiderationJames Harley. [doi]
• The Effects of Multi-Channel Signal Decorrelation in Audio ReproductionGary S. Kendall. [doi]
• Circulant Feedback Delay Networks for Sound Synthesis and ProcessingDavide Rocchesso, Julius O. Smith. [doi]
• Using Wavelet Based Analysis and Resynthesis to Uncover the PastJonathan Berger, Charles Nichols. [doi]
• Computer-Assisted Training of Timbre Perception SkillsRené Quesnel. [doi]
• Optical Music Recognition - progress reportAmnon Wolman, Tad Yaeger. [doi]
• The Theremin Center for Electro-Acoustic MusicAndre Smirnov. [doi]
• Soundmodels: A language for description of sound and sonic structures based on a taxonomyPeter Lundén. [doi]
• Sound Utilities 2.0: A Software System for Creating Virtual Acoustic SpacesDale Stammen, Gilbert A. Soulodre. [doi]
• A New Network and Communications Protocol for Electronic Musical DevicesDavid Wessel, Keith A. McMillen, Matthew Wright, David Simon. [doi]
• Dynamically Configurable Feedback/Delay Networks: A Virtual Instrument Composition ModelMichael Hamman. [doi]
• MacMusic, the MUSIC N Environment for Macintosh: Algorithmic Synthesis and Composition Made EasyIsidoro Perez. [doi]
• A graphical user interface for MIDI Signal Generation and sound synthesisYouichi Horry. [doi]
• Automating Ensemble PerformanceLorin Grubb, Roger B. Dannenberg. [doi]
• The Resonant Dynamics of Beat Tracking and Meter PereceptionEdward W. Large. [doi]
• Genetic Algorithms as a Method for Granular Synthesis RegulationIchiro Fujinaga, Jason Vantomme. [doi]
• Synthesis of Trumpet Tones Using a Fixed Wavetable and a Centroid-Controlled Second Order FilterAndrew Horner, James W. Beauchamp. [doi]
• MPI Revisited: Aga Matter for Piano and TapeSever Tipei. [doi]
• An Auditory-Motor Model of Beat InductionNeil P. McAngus Todd, Chris Lee. [doi]
• The MIDI Time Clip: A Performer/Machine Synchronization System for Life PerformanceBruce W. Pennycook, Dale Stammen. [doi]
• Voice Source and Acoustic Output Qualities for Singing SynthesisDavid Rossiter, David M. Howard. [doi]
• The Morpho Concepts: Trends in a Software for Acousmatic Music CompositionDaniel Teruggi. [doi]
• The SoundLab: a wearable computer music instrumentSteve Curtin. [doi]
• Computer Music at Texas A & M UniversityMara Helmuth. [doi]
• The Computer Music World View: Sketch of an Ethnomusicalogical and Aesthetic ApproachEvan K. Chambers. [doi]
• Kant: a Critique of Pure QuantificationCarlos Agón, Gérard Assayag, Joshua Fineberg, Camilo Rueda. [doi]