Table of Contents

• On the Use of an Effective Boltzmann Machine for Musical Style Recognition and HarmonisationMatthew I. Bellgard, Chi Ping Tsang. [doi]
• An Improved Digital Waveguide Model of Flute - Implementation IssuesVesa Välimäki, Rami Hänninen, Matti Karjalainen. [doi]
• Effects Processing on Audio Subband DataScott N. Levine. [doi]
• Critically Sampled Third Octave Filter BanksScott N. Levine. [doi]
• Music and TechnologyFrank Pecquet. [doi]
• Electroacoustic and Computer Music in Latin AmericaRicardo Dal Farra. [doi]
• Physical Modeling of Aeroacoustic Sources in Flute-like InstrumentsMarc-Pierre Verge. [doi]
• Towards A Framework for Handling Musical ExpressionDaniel V. Oppenheim, James L. Wright. [doi]
• Body Modeling Techniques for String Instrument SynthesisMatti Karjalainen, Julius O. Smith. [doi]
• Automated Music, interdisciplinary aspects of a developmental historyCarola Böhm. [doi]
• Towards a Universal Algorithmic System for Composition of Music and Audio-Visual WorksJeremy L. Leach. [doi]
• Applying ImprovisationBuilder to Interactive Composition with MIDI PianoWilliam Walker, Brian Belet. [doi]
• Applying Psychoacoustic Principles to Soundfield ReconstructionSteven Trautmann. [doi]
• DSP Approach to Multichannel Audio MixingVille Pulkki, Jyri Huopaniemi, Tommi Huotilainen, Matti Karjalainen. [doi]
• Anitoo: Some Analysis ToolsDamián Keller. [doi]
• Sound Database Retrieved by SoundShuji Hashimoto, Hai Qi, Dingding Chang. [doi]
• The 3D Tetrahedral Digital Waveguide Mesh with Musical ApplicationsScott A. Van Duyne, Julius O. Smith. [doi]
• Self-Similar Grain Distribution: A Fractal Approach to Granular SynthesisDavid Chapman, Michael Clarke, Martin Smith, Paul Archbold. [doi]
• Quad Pan, Spatialization System of Music in LIveIsidoro Pérez, Javier Arias, Pablo Fernández, Luciano Pérez. [doi]
• Background Music Generaton Based on Scene AnalysisNaoyuki Onoe, Shuji Hashimoto, Dingding Chang. [doi]
• Automatic Jazz Accompaniment Computation: An Open Advice-Based ApproachMira Balaban, Stanislav Irish. [doi]
• Experiments with Non-Linear FiltersRichard W. Dobson, John ffitch. [doi]
• Demonstration: Using SynthBuilder for the Creation of Physical ModelsNick Porcaro, Pat Scandalis, David A. Jaffe, Julius O. Smith. [doi]
• Computer Music in Shenzhen, P. R. ChinaYu Ying. [doi]
• A New Method for Interactive Sound SpatialisationIain Mott, Jim Sosnin. [doi]
• OpenMusic ArchitectureGérard Assayag, Carlos Agón. [doi]
• Real-Time Granular Synthesis on a Distributed Multi-processor PlatformTakebumi Itagaki, Peter D. Manning, Alan Purvis. [doi]
• MusicWeb, New Communication and Information Technologies in the Music ClassroomCarola Böhm, Karst de Jong, Cristoph Hempel. [doi]
• The Timbral Object - An Alternative Route to the Control of Timbre SpaceDavid P. Creasey, David M. Howard, Andrew M. Tyrrell. [doi]
• Physically Informed Sonic Modeling (PhISM): Percussive SynthesisPerry R. Cook. [doi]
• Representation of Jazz Piano Knowledge Using a Deductive Object-Oriented ApproachKeiji Hirata. [doi]
• Recent Developments of MidiShareDominique Fober, Stéphane Letz. [doi]
• DIEM, The Danish Institute of Electroacoustic Music, Studio ReportWayne Siegel. [doi]
• The Graphics Environment for MaxMark Danks. [doi]
• Visualized Music Experssions in an Object-Oriented EnvironmentRumi Hiraga, Shigeru Igarashi, Yohei Matsuura. [doi]
• Musical Instrument Transient Analysis and Re-SynthesisAnna I. Katrami, Peter J. Comerford. [doi]
• Collage: Sound Colors Installation SoftwareMara Helmuth. [doi]
• On the Use of Computer Systems in Contemporary MusicBarbara Becker, Gerhard Eckel. [doi]
• A Dynamic Modelling Approach to Music RecognitionSimon Dixon. [doi]
• Israel Computers and Music Forum - Activities ReportShlomo Dubnov. [doi]
• Spatio-Temporal Patterning in Computer-Generated Music: A Nodal Network ApproachPeter McIlwain, Anthony Pietsch. [doi]
• Virtual Concert Performance - Synthetic Animated Musicians Playing in an Acoustically Simulated RoomRami Hänninen, Lauri Savioja, Tapio Takala. [doi]
• Towards a Musician's Cockpit: Transducers, Feedback and Musical FunctionRoel Vertegaal, Tamas Ungvary, Michael Kieslinger. [doi]
• Fractional Delay Lines using Lagrange InterpolatorsPhilippe Depalle, Stephan Tassart. [doi]
• Towards Synthia II: An Assessment of Design Strategies for Computer Assisted Learning of Sound SynthesisMatthew Padden, Michael Clarke, Alan Diz, Mark Kirby. [doi]
• Imroved Modelling of Attack Transients in Music Analysis-ResynthesisPaul Masri, Andrew Bateman. [doi]
• A Symbiosis of Animation and MusicRobert Pringle, Brian J. Ross. [doi]
• Visualization and Manipulation of 3D Digital Waveguide Structures for Sound ExperimentationDavid Rossiter, Andrew Horner. [doi]
• Adaptive Pitch Compensation of Singing and Its ApplicationYoshinari Sasahira, Shuji Hashimoto. [doi]
• A Look at Performer/Machine Interaction Using Real-Time SystemsCort Lippe. [doi]
• Extended CsoundBarry Vercoe. [doi]
• An Object-Oriented Approach to the Combination of Rule-Based and Generative Algorithmic Composition Methods for Real-Time Interactive ApplicationsTony Myatt. [doi]
• Exploring Instrument Constancy Through a New Method for the Design of Synthetic InstrumentsGregory H. Wakefield, Mary Simoni. [doi]
• Acceleration Sensor as an Input Device for Musical EnvironmentHideyuki Sawada, Naoyuki Onoe, Shuji Hashimoto. [doi]
• Extraction of Conducting Gestures in 3D SpaceForrest Tobey, Ichiro Fujinaga. [doi]
• A Computer-Based Editor for Lerdahl and Jackendoff's Rhythmic StructuresBruno Degazio. [doi]
• Musical Effects of Cross-Vocoding, Software ImplementatedErez Webman, Uri Shimony, Zohar Poupko, Dalit Caspi, Moty Gerner. [doi]
• IBM Computer Music Center - Studio ReportJames L. Wright, Daniel Oppenheim. [doi]
• Alias-Free Digital Synthesis of Classic Analog WaveformsTimothy Stilson, Julius O. Smith. [doi]
• Authorship and Female Voices in Electrovocal MusicHannah Bosma. [doi]
• PadMaster: Banging on Algorithms with Alternative ControllersFernando Lopez-Lezcano. [doi]
• Synthesis and Analysis Tools with Physical Modeling: An Environment for Musical Sounds ProductionEric Incerti. [doi]
• Analyzing the Moog VCF for Digital ImplementationTimothy Stilson, Julius O. Smith. [doi]
• An Improved Additive Analysis Method Using Parametric Modelling of the Short-Time Fourier TransformPhilippe Depalle, Laurent Tromp. [doi]
• GeNotator: An Environment for Investigating the Application of Genetic Algorithms in Computer Assisted CompositionKurt Thywissen. [doi]
• Musical Analysis using a Real-Time Model of Peripheral HearingTim S. Brookes, Andy M. Tyrrell, David M. Howard. [doi]
• Physical Modelling of a Stiff String by Numerical IntegrationMichael Kurz, Bernhard Feiten. [doi]
• Center for Computer Research in Music and Acoustics (CCRMA) Studio ReportAlex Igoudin, Fernando Lopez-Lezcano. [doi]
• SEE - A Structured Event Editor: Visualizing Compositional Data in Common MusicTobias Kunze, Heinrich Taube. [doi]
• A New Approach to HRTF Audio SpatializationMatija Marolt. [doi]
• Cmix on Non-UNIX WorldAlistair Riddell, Ross Bencina. [doi]
• Time-Stretching of Hyper-Resonated Sound Using a Real-Time Granulation TechniqueBarry Truax. [doi]
• Xspect: A New X/Motif Signal Visualization and Editing ProgramXavier Rodet, Dominique François, Guillaume Levy. [doi]
• Chaos and Non-Linear ModelsAmi Radunskaya. [doi]
• Machine Learning of Sound Attributes: Computer-Assistance in Concept Formation and Musical InventionEduardo Reck Miranda. [doi]
• A Cognitive Model in Design of Musical InterfacesAnna Sofie Christiansen. [doi]
• New DSP Applications on FTSFrançois Déchelle, Maurizio De Cecco, Enzo Maggi, Norbert Schnell. [doi]
• Real-Time Virtual Audio RealityLauri Savioja, Jyri Huopaniemi, Tommi Huotilainen, Tapio Takala. [doi]
• Macintosh Graphical Interface and Improvements to Generalized Diphone Control and SynthesisXavier Rodet, Adrien Lefèvre. [doi]
• A Cognitive Model of Pattern Matching in MusicYuzuru Hiraga. [doi]
• NetSound: Realtime Audio from Semantic DescriptionsMichael A. Casey, Paris Smaragdis. [doi]
• Leeds University Electronic Studio: Studio ReportEwan Stefani, Kia Ng, David Cooper. [doi]
• A Flexible Real-Time Software Synthesis SystemRoger B. Dannenberg, Eli Brandt. [doi]
• Haptic Feedback in a Computer Music Performance InterfaceLonny Chu. [doi]
• A New Electronic Genre: The CD-ROMKristine H. Burns. [doi]
• Modelling Rhythm Perception by Continuous Time-Frequency AnalysisLeigh M. Smith. [doi]
• Perceptual Matching of Low Order Models to Room Transfer FunctionsEric M. Mrozek, Gregory H. Wakefield. [doi]
• A Real-Time Analysis and Resynthesis Instrument for Transformation of Sounds in the Frequency DomainTodor Todoroff. [doi]
• A Jazz Session System for Interplay Among All Players - VirJa Session (Virtual Jazz Session System)Masataka Goto, Isao Hidaka, Hideaki Matsumoto, Yosuke Kuroda, Yoichi Muraoka. [doi]
• An Environment for Interactive Art - Sensor Integration and ApplicationsHaruhiro Katayose, Tsutomu Kanamori, Seiji Inokuchi. [doi]
• The Mathematical Implications of a Pulse-Ribbon Perceptual Organization of PitchGregory H. Wakefield. [doi]
• Physical Models of Trumpet-like Instruments, Detailed Behavior and Model ImprovementsXavier Rodet, Christophe Vergez. [doi]
• The Impact of Fractals, Chaos, and Complexity Theory on Computer Music CompositionMladen Milicevic. [doi]
• Non-linear Controller Mapping for Gestural Control of GamakaStuart Favilla. [doi]
• Wavelet Analysis for Onset DetectionCrawford Tait, William Findlay. [doi]
• Robust Automated Music Transcription SystemsAndrew Sterian, Gregory H. Wakefield. [doi]
• Generating Musical Symbols to Perform Expressively by Appromimate FunctionsKenzi Noike, Nobuo Inui, Takashi Nose, Yoshiyuki Kotani. [doi]
• Cooking with Csound: Wavetable Synthesis Recipes for Woodwind and Brass InstrumentsAndrew Horner, Lydia Ayers. [doi]
• Camera Musica: Virtual Architecture as Medium for the Exploration of MusicGerhard Eckel. [doi]
• Learning Musical Structure and Style by Recognition, Prediction and EvolutionDominik Hörnel, Thomas Ragg. [doi]
• The Analysis and Resynthesis of Sustained Musical Signals in the Time DomainRoy Hung, N. H. C. Yung, Paul Y. S. Cheung. [doi]
• The Synthesis of Sung Vowels in Female Opera and Belt QualitiesMichelle Evans, David Howard. [doi]
• Influence of Frequency Modulating Jitter on Higher Order Moments of Sound Residual with Applications to Synthesis and ClassificationShlomo Dubnov, Naftali Tishby, Dalia Cohen. [doi]
• Creativity versus Determinism: Cognitive Science and Music Theory as Touchstones of Automatic Music CompositionDetlev Zimmermann. [doi]
• A 'Pick and Mix' Approach to the Integration of Composition ToolsBarry Eaglestone, Peter Lundén. [doi]
• Recent Developments with the TAO Physical Modelling SystemMark Pearson, David M. Howard. [doi]
• Handwritten Music Manuscript RecognitionKia Ng, David Cooper, Roger Boyle. [doi]
• Csound GM: Designing Real-Time Instruments with Csound's New MIDI OpcodesRichard Boulanger, Scott Vercoe. [doi]
• A System for the Separation of Simultaneous Musical Audio SignalsThomas Stainsby. [doi]
• A C++ Library for Computer Music Programming on Real-Time MachAndrew Choi. [doi]
• A Distributed, Object-Oriented Framework for Sound SynthesisGerhard Behles, Peter Lundén. [doi]
• Frankenstein: A Low-Cost Multip-DSP Computer Engine for the Music KitWilliam Putnam, Timothy Stilson. [doi]
• POWERpv: A Suite of Sound ProcessorsEric D. Lyon. [doi]
• Modeling the Degree of Realized Expectation in Functional Tonal Music: A Study of Perceptual and Cognitive Modeling Using Neural NetworksDan Gang, Jonathan Berger. [doi]
• Automated Motive-Oriented Analysis of Musical Corpuses: a Jazz Case StudyPierre-Yves Rolland, Jean-Gabriel Ganascia. [doi]
• Multirate Additive SynthesisDesmond Phillips, Alan Purvis. [doi]
• Graphical NeXTSTEP Objects as FTS Clients to Control Instruments in the new FTS Client/Server ArchitectureTodor Todoroff, Caroline Traube. [doi]
• Design and Implementation of a Multimedia OperaJames Oliverio, Jarrell Pair. [doi]
• Composer's Underscoring Environment (CUE)David Cope. [doi]
• Acoustic QuantaDouglas Nunn, Alan Purvis, Peter D. Manning. [doi]
• A System for the Musical Investigation and Expression of Levels of Self-Similarity in an Arbitrary Data StreamDavid Rossiter, Wai-Yin Ng. [doi]
• Adaptive Control of a Vocal Cord and Vocal Tract for Computerized Mechanical Singing InstrumentsHideyuki Sawada, Shuji Hashimoto. [doi]
• Sound Signals Decomposition Using a High Resolution Matching PursuitRémi Gribonval, Philippe Depalle, Xavier Rodet, Emmanuel Bacry, Stéphane Mallat. [doi]
• Optimisations of the FOF Algorithm for VLSI ImplementationJonathan Robert Spanier, Simon Johnson, Alan Purvis. [doi]
• NetMuse: a Very-High-Performance Wide-Area Network for MusicStephen Arnold. [doi]
• On the Perceptual Optimization of Synthetic Acoustical SystemsPaul Runkle, Gregory H. Wakefield. [doi]
• A Modal Distribution Approach to Piano Analysis and SynthesisRowena Guevara, Gregory H. Wakefield. [doi]
• Musical Muscle Memory and the Haptic Display of Performance NuanceChris Chafe, M. Sile O'Modhrain. [doi]
• Musical Instrument Database with MultimediaTakashi Suzuki, Takako Tanaka, Kuniharu Tsuboi. [doi]
• Studio Report: The Bregman Electronic Music Studio at Darthmouth College and the MA Program in Electro-Acoustic MusicJon Appleton, Charles Dodge, Larry Polansky. [doi]
• Exemplar-based Learning in Adaptive Optical Music Recognition SystemIchiro Fujinaga. [doi]
• Sound Onset Localization and Partial Tracking in Gaussian White NoiseLudger Solbach, Rolf Wöhrmann. [doi]
• TIM(br)E: Compositional Approaches to FOG SynthesisMichael Clarke. [doi]
• Physical Motion as a Metaphor for Timing in Music: The Final RitardPeter Desain, Henkjan Honing. [doi]
• Durham Music Technology: Active ReportTakebumi Itagaki, Simon Johnson, Peter D. Manning, Douglas Nunn, Desmond Phillips, Alan Purvis, Jonathan Robert Spanier. [doi]
• Studio Report: The Institute of Computer Science, Hebrew UniversityDan Gang. [doi]
• Discrete Summation Synthesis and Hybrid Sampling-Wavetable Synthesis of Acoustic Instruments with Genetic AlgorithmsSan-Kuen Chan, Jennifer Yuen, Andrew Horner. [doi]
• An Approach to a Latin American Computer MusicMartin Alejandro Fumarola. [doi]
• TEMA: An "Open" Support Environment for Music CompositionBarry Eaglestone, Peter Lundén. [doi]
• SuperCollider, a New Real Time Synthesis LanguageJames McCartney. [doi]
• The Center for Research in Electronic Art Technology (CREATE)JoAnn Kuchera-Morin, Stephen Travis Pope. [doi]
• Digital Notation Representation and Online Retrieval of Musical Information: A Discussion of Current Options and PracticesElizabeth Hinkle-Turner. [doi]
• Composing the Means With Which I Compose: Waveforms With Multiple Paths and Cycle-lengthsArun Chandra. [doi]
• Evolution of Musical OrganismsBruno Degazio. [doi]
• The Evolution of the Graphic Editing Environment for the IRCAM Musical WorkstationEnzo Maggi, François Déchelle. [doi]
• Estimation of Parameters Corresponding to A Propagative Synthesis Model Through the Analysis of Real SoundsSølvi Ystad, Philippe Guillemain, Richard Kronland-Martinet. [doi]
• NetNeg: A Hybrid Interactive Architecture for Composing Polyphonic Music in Real TimeClaudia V. Goldman, Dan Gang, Jeffrey S. Rosenschein, Daniel J. Lehmann. [doi]
• Appropriated Musical Instruments: A4 MIDI Tool Box and Carnatic ViolinGreg Schiemer, B. Krishnakumar. [doi]
• Simulation of Electron Tube Audio CircuitsKai Lassfolk. [doi]
• Modeling and Control of Performance Expressin in Digital Waveguide Models of Woodwind InstrumentsGary P. Scavone. [doi]