Table of Contents

• The ArtsSync Project: Methods and Architectures for Mapping Foreground, Middle-ground and Background Musical Structures to Visual ImagesChristopher J. Keyes, Marcel Wierckx. [doi]
• Performer Adaptive Scores: An IntroductionRobert J. Frank. [doi]
• A Collaborative Composition System Based On A Service Oriented ArchitectureMatthew J. Dovey, Ian Gibson. [doi]
• A Novel Approach to Automatic Music Composing: Using Genetic AlgorithmDamon Daylamani Zad, Babak Nadjar Araabi, Caru Lucas. [doi]
• Computer Aided Composition by Means of Interactive GPDaichi Ando, Palle Dahlstedt, Mats G. Nordahl, Hitoshi Iba. [doi]
• Sound Scope Headphones: Controlling an Audio Mixer through Natural MovementMasatoshi Hamanaka, Seunghee Lee. [doi]
• ScalableWavetable Matching for Real-Time Polyphonic SynthesisSimon Wun, Andrew Horner. [doi]
• Jamoma: A Modular Standard for Structuring Patches in MaxTimothy A. Place, Trond Lossius. [doi]
• YASAS - Yet Another Sound Analysis-Synthesis MethodShlomo Dubnov. [doi]
• Radio drum gesture detection system using only sticks, antenna and computer with audio interfaceBen Nevile, Peter F. Driessen, W. Andrew Schloss. [doi]
• Sound Synthesis Affected by Physical Gestures in Real-timeLars Graugaard. [doi]
• Musical Performance Over Internet2 Using The AccessGridCharles Nichols, W. Scott Deal, Timothy J. Rogers, Jimmy Miklavcic, Beth Miklavcic, Many Ayromlou, Robert Wachtel, Paul Mercer, Joe Humbert, Rob King. [doi]
• The LoM Mapping Toolbox for Max/MSP/JitterDoug Van Nort, Marcelo M. Wanderley. [doi]
• "We Don't Write Songs. We Write Records": a compositional methodology based on late 20th century popular musicSimon Zagorski-Thomas. [doi]
• Semantic Time: Representing Time and Temporal Transformations for Digital Audio in Interactive ComputerMusic SystemsEric Lee, Jan O. Borchers. [doi]
• Phase-bashed packet synthesis: a musical testMiller Puckette. [doi]
• Mobile Networked Music Demonstration: Sequencer404Travis Thatcher, David Jimison, John Goetzinger, Jason Freeman, Gil Weinberg. [doi]
• Agents in ChucK: A Timely Programming ExperienceMichael Spicer. [doi]
• ComputerMusic EnactionKevin Dahan. [doi]
• On Musical Scale RationalizationAlbert Gräf. [doi]
• Melodic Modeling: A Comparison of Scale Degree and IntervalYipeng Li. [doi]
• Amber: A Granular Sampling Application for Mac OS XJennifer Bernard, Matthew McCabe, Kenneth Hoffmann. [doi]
• FOMUS, a Music Notation Software Package for Computer Music ComposersDavid Psenicka. [doi]
• GranCloud - A New SuperCollider Class for Real-time Granular SynthesisTerry A. Lee. [doi]
• Mood Mapping Technologies Within Hybrid Audio DesignLars Graugaard, Jens Arnspang. [doi]
• Hear Me Now: the implication and significance of the female composer's voice as sound source in her electroacoustic musicElizabeth Hinkle-Turner. [doi]
• PhaVoRIT: A Phase Vocoder for Real-Time Interactive Time-StretchingThorsten Karrer, Eric Lee, Jan O. Borchers. [doi]
• Mondrian Music Description Language and SequencerPeter Brinkmann. [doi]
• Jam'aa - A Middle Eastern Percussion Ensemble for Human and Robotic PlayersGil Weinberg, Scott Driscoll, Travis Thatcher. [doi]
• Flexible Scheduling for DataFlow Audio ProcessingNeil Burroughs, Adam Parkin, George Tzanetakis. [doi]
• Concatenative Synthesis Using Score-Aligned TranscriptionsRoger B. Dannenberg. [doi]
• The thing about the quotes: "Music Technology" degrees in BritainCarola Boehm. [doi]
• PerfComp: A Heuristic-Based Program for Analysis of MIDI Performance FilesTimothy M. Walker. [doi]
• Feature-Based Synthesis: Mapping Acoustic and Perceptual Features onto Synthesis ParametersMatthew D. Hoffman, Perry R. Cook. [doi]
• DSP Programming with Faust, Q and SuperColliderYann Orlarey, Albert Gräf, Stefan Kersten. [doi]
• Morphopoiesis: An Analytical Model for Electroacoustic MusicPanayiotis Kokoras. [doi]
• Digital Autonomy In Electroacoustic Music Performance: Re-Forging StockhausenRobert Esler. [doi]
• Musical Tension Curves and its ApplicationsMin-Joon Yoo, In-Kwon Lee. [doi]
• An approach to visualization of complex event data for generating sonic structuresSinan Bökesoy, Jean-Baptiste Thiebaut. [doi]
• An Evolved Neural Network/HC Hybrid for Tablature Creation in GA-based Guitar ArrangingDaniel R. Tuohy, Walter D. Potter. [doi]
• DARRT: Distributed Audio Rendering & Retrieval using Triana - Experiments in applying Grid Computing technologies for audio processingIan J. Taylor, Eddie Al-Shakarchi, Stephen David Beck. [doi]
• Squawk: A Graphical Software for Spectral Audio ProcessingRyoho Kobayashi. [doi]
• Metamodels and Design Patterns in CSL4Stephen Travis Pope, Xavier Amatriain, Lance Putnam, Jorge Castellanos, Ryan Avery. [doi]
• The Fujara: A Physical Model of The Bass Pipe Instrument in An Interactive CompositionJuraj Kojs, Stefania Serafin. [doi]
• Towards the One-Man Indian Computer Music Performance SystemAjay Kapur, George Tzanetakis, W. Andrew Schloss, Peter F. Driessen, Eric Singer. [doi]
• MSC: a computer assisted system integrating music and video through magic squares as compositional modelsPaul Oehlers, Christopher H. Mich. [doi]
• Automatic Chord Recognition from Audio Using Enhanced Pitch Class ProfileKyogu Lee. [doi]
• Ambisonics Spatialization Tools for Max/MSPJan C. Schacher, Philippe Kocher. [doi]
• An Intelligent SP-MIDI Polyphonic Reduction AlgorithmSimon Lui, Andrew Horner, Lydia Ayers. [doi]
• Real-time Spectral Attenuation Based Analysis and Resynthesis, Spectral Modification, Spectral Accumulation, and Spectral Evaporation; Theory, Implementation, and Compositional ImplicationsRonald Keith Parks. [doi]
• Ssynth: a Real Time Additive Synthesizer With Flexible ControlVincent Verfaille, Julien Boissinot, Philippe Depalle, Marcelo M. Wanderley. [doi]
• Melodic Clustering Within Topological Spaces of Schumann's TrôumereiChantal Buteau. [doi]
• A Bottom-Up Approach to Chord DetectionChristian Sailer, Katja Rosenbauer. [doi]
• Laptop Performance: Techniques, Tools, and a New Interface DesignMark Zadel, Gary P. Scavone. [doi]
• AUTUMN: A General Pitch-Extraction Wave-to-MIDI Transcription SystemKevin J. Di Filippo, Andrew Horner, Eric Fung, Jenny Lim, Lydia Ayers. [doi]
• An Application of The System, "BodySuit" and "RoboticMusic" - Its Introduction and AestheticsSuguro Goto. [doi]
• The University Music Technology LabSanford Hinderlie. [doi]
• Detecting Motives and Recurring Patterns in PolyphonicMusicPaul E. Utgoff, Phillip B. Kirlin. [doi]
• Exploring Cognitive Process Through Music CompositionAdam Lockhart, Damián Keller. [doi]
• Score Following of Orchestral Music Using Acoustic Pressure Peak-Tracking and Linear Stretch MatchingTakefumi Miura, Ayumu Akabane, Makoto Sato, Takao Tsuda, Seiki Inoue. [doi]
• The Table is The Score: An Augmented-Reality Interface for Real-Time, Tangible, Spectrographic PerformanceGolan Levin. [doi]
• Using Motiongrams in the Study of Musical GesturesAlexander Refsum Jensenius. [doi]
• Analysis of musical structure in Audio and MIDI signals using information rateShlomo Dubnov. [doi]
• Negotiating the Musical Work: An empirical studyHenrik Frisk, Stefan Östersjö. [doi]
• The AIMS Project: Creative Experiments in Musical SonificationReginald Bain. [doi]
• Extended Applications of the Wireless Sensor Array (WISEAR)David Topper. [doi]
• Score Generation in Voice-Leading and Chord SpacesMichael Gogins. [doi]
• Visualizing Sound Environment during Orchestra Performance based on Time Frequency AnalysisSatoru Morita, Sayaka Tokunou. [doi]
• Motion as the Connection Between Audio and VisualsNiall Moody, Nick Fells, Nicholas Bailey. [doi]
• The Bluetooth Radio Ball Interface (BRBI): A Wireless Interface for Music/Sound Control And Motion SonificationWoon Seung Yeo. [doi]
• Melodic TopologiesKamil Adiloglu, Klaus Obermayer. [doi]
• Fuzzy Logic Control Tool Kit: Real-time Fuzzy Control for Max/MSP and PdRodrigo F. Cádiz, Gary S. Kendall. [doi]
• Real-time synchronization of independently controlled phasorsLonce Wyse. [doi]
• A Logic-based Language for Modeling and Verifying Musical ProcessesRafael Ramirez. [doi]
• Integrated System for Cross-Platform/Cross-Application Education on Sound Synthesis and Signal ProcessingAlessandro Cipriani, Maurizio Giri. [doi]
• Pragmatic Considerations in Mixed Music: a Case Study of La RagePierre-Alexandre Tremblay. [doi]
• Orchestra Spatialization Using The AUDIENCE EngineLeandro F. Thomaz, Regis Rossi Alves Faria, Marcelo Knörich Zuffo, João Antonio Zuffo. [doi]
• Sound Art in MexicoManuel Rocha Iturbide. [doi]
• The Immersive Computer-controlled Audio Sound Theater: Experiments in multi-mode sound diffusion systems for electroacoustic music performanceStephen David Beck, Joseph Patrick, Brian Willkie, Kenley Malveaux. [doi]
• Development of a Versatile Interactive Performance SystemDouglas Geers, Maja Cerar. [doi]
• VScore: A Real-time Visual Application for Scoring MusicDavid Topper, Juraj Kojs. [doi]
• {TranSpell}Kazuaki Shiota. [doi]
• The KiOm: A Paradigm for Collaborative Controller DesignAjay Kapur, Adam R. Tindale, Manjinder Singh Benning, Peter F. Driessen. [doi]
• Evaluating and Extending Computational Models of Rhythmic Syncopation in MusicLeigh M. Smith, Henkjan Honing. [doi]
• Shifty Looping: meter-aware, non-repeating rhythmic loopsMatthew Wright. [doi]
• Functors for Music: The Rubato Composer SystemGuerino Mazzola, Gérard Milmeister. [doi]
• Pocket Gamelan: mobile media for microtonal performanceGreg Schiemer, Mark Havryliv. [doi]
• Mobile STK for Symbian OSGeorg Essl, Michael Rohs. [doi]
• A Comparison of Statistical Approaches to Symbolic Genre RecognitionCarlos Pérez-Sancho, Pedro J. Ponce de León, José Manuel Iñesta Quereda. [doi]
• Aesthetics, Score Generation, and Sonification in a Game PieceCristyn Magnus. [doi]
• Georgia Tech Music Technology Group - Studio ReportGil Weinberg, Jason Freeman, Parag Chordia, Frank Clark, Chris Moore, Scott Driscoll, Travis Thatcher. [doi]
• Generation of Complex Sound Sequences using Physical Models with Dynamical StructuresOlivier Tache, Claude Cadoz. [doi]
• Raster Scanning: A New Approach to Image Sonification, Sound Visualization, Sound Analysis And SynthesisWoon Seung Yeo, Jonathan Berger. [doi]
• Estimation of partial parameters for non stationary sinusoidsAxel Roebel. [doi]
• The Sound Recordist as Composer: Aesthestic and Practical ConcernsColby Leider, Kristine H. Burns. [doi]
• Timbral, Perceptual, And Statistical Attributes for Synthesized SoundJames McDermott, Niall J. L. Griffith, Michael O'Neill. [doi]
• Data Association Techniques for a Robust Partial Tracker of Music SignalsHamid Satar-boroujeni, Bahram Shafai, Patrick J. Wolfe. [doi]
• MaxLink: a New Tool for Networked PerformanceJesse Kriss. [doi]
• Circle Maps as Simple Oscillators for Complex Behavior: I. BasicsGeorg Essl. [doi]
• On the Development of a System for Gesture Control of SpatializationMark T. Marshall, Nils Peters, Alexander Refsum Jensenius, Julien Boissinot, Marcelo M. Wanderley, Jonas Braasch. [doi]
• Musical Tapestry: Re-composing Natural SoundsAnanya Misra, Perry R. Cook, Ge Wang. [doi]
• Fourier Oracles for Computer-Aided ImprovisationEmmanuel Amiot, Thomas Noll, Moreno Andreatta, Carlos Agón. [doi]
• Studio Report: Audio Technology at American University Improving Curriculum through upgrading FacilitiesPaul Oehlers, Teresa Larkin, Fred Katz, Matt Boerum, Matt Weiner. [doi]
• Recording Quality Ratings by Music ProfessionalsRichard Repp. [doi]
• Recent Trends in PWGLMikael Laurson, Mika Kuuskankare. [doi]
• The Shiraz Festival: avant-garde arts performance in 1970s IranRobert J. Gluck. [doi]
• Summarizing Musical Preferences as Audio SignaturesJason Freeman. [doi]
• The ixi Instruments as Semiotic MachinesThor Magnusson. [doi]
• An Introduction to Eco-StructuralismTimothy Opie, Andrew R. Brown. [doi]
• Enmeshed: live in 3D fog~Michael Clarke. [doi]
• tMt: tulane Music technology Studio ReportConner Richardson, James T. E. Cook, Tae Hong Park. [doi]
• Comparing Musical Control Structures and Signal Processing Strategies for the Augmented Cello and GuitarAdrian Freed, Ahm Lee, John Schott, Frances Marie Uitti, Matthew Wright, Michael Zbyszynski. [doi]
• Towards Machine Learning of Expressive Microtiming in Brazilian DrummingMatthew Wright, Edgar Berdahl. [doi]
• Waveguide-based Room Acoustics through Graphics HardwareNiklas Röber, Martin Spindler, Maic Masuch. [doi]
• Fantasy Birds in Yazi's DreamLydia Ayers. [doi]
• Java Music Specification Language and Max/MSPNick Didkovsky, Langdon Crawford. [doi]
• From Score-Based Approach Towards Real-Time Control in PWGLSynthMikael Laurson, Vesa Norilo, Henri Penttinen. [doi]
• Bioinformatic Response Data as a Compositional DriverRobert Hamilton. [doi]
• Sound and Interaction for K-12 Mediated EducationDavid Birchfield, Thomas Ciufo, Harvey D. Thornburg, Wilhelmina Savenye. [doi]
• miniAudicle and ChucK Shell: New Interfaces for ChucK Development and PerformanceSpencer Salazar, Ge Wang, Perry R. Cook. [doi]
• Cooperative Multimedia Environments for Technology-Enhanced Music Playing and Learning with 3D Posture and Gesture SupportsBee Ong, Ali Khan, Kia Ng, Pierfrancesco Bellini, Nicola Mitolo, Paolo Nesi. [doi]
• Auralization of a Constraint Solver: The music of n-queensArnaud Lallouet, Jérémie Vautard. [doi]
• An Acousmatic Composition EnvironmentMorten Breinbjerg, Ole Caprani, Rasmus B. Lunding, Line Kramhøft. [doi]
• A Music Information Retrieval system for structural queriesAlberto Pinto. [doi]
• Noise, Dissonance and the Twentieth-Century Spiritual Crisis: Synchresis in Chion's RequiemSarah L. Jacobs, Paul Rudy. [doi]
• Third-Order Ambisonic Extensions for Max/MSP with Musical ApplicationsGraham Wakefield. [doi]
• Time Slices, Graphic Scores and Music CompositionBrian Evans. [doi]
• PLOrk: The Princeton Laptop Orchestra, Year 1Daniel Trueman, Perry R. Cook, Scott Smallwood, Ge Wang. [doi]
• Providing Rhythm Patterns in Sound SynthesisLars Graugaard. [doi]
• jSymbolic: A Feature Extractor for MIDI FilesCory McKay, Ichiro Fujinaga. [doi]
• A Parallel-Formant Speech Synthesizer in Max/MSPMichael Kexin Ma, Sidney Fels, Robert Pritchard. [doi]
• The Interpretation of MIDI VelocityRoger B. Dannenberg. [doi]
• Musical Pattern Design Using Contour IconsCharlie Cullen, Eugene Coyle. [doi]
• Musical Interaction Design with the CREATE USB Interface Teaching HCI with CUIs instead of GUIsDan Overholt. [doi]
• A Paradigm for Physical Interaction with Sound in 3-D Audio SpaceMike Wozniewski, Zack Settel, Jeremy R. Cooperstock. [doi]
• Using Concatenative Synthesis for Expressive Performance in Jazz SaxophoneEsteban Maestre, Amaury Hazan, Rafael Ramirez, Alfonso Pérez. [doi]
• Spectral Signal Processing in Csound 5Victor Lazzarini, Thomas Lysaght, Joseph Timoney. [doi]
• A Sample Accurate Triggering System for Pd and Max/MSPEric D. Lyon. [doi]
• Creativity and Access in Electronic Music: Cracked and Pirated Software InstrumentsKalika Navin Doloswala. [doi]
• A Factored Language Model of Quantized Pitch and DurationXiao Li, Gang Ji, Jeff A. Bilmes. [doi]
• A Brief Survey of the Current Applications of ENPMika Kuuskankare, Mikael Laurson. [doi]
• Design and Implementation of a Real-Time Fingering Detection System for Piano PerformanceYoshinari Takegawa, Tsutomu Terada, Shojiro Nishio. [doi]
• Spectral and Granular Spatialization with BoidsDavid Kim-Boyle. [doi]
• Automatic Raag Classification of Pitch-tracked Performances Using Pitch-class and Pitch-class Dyad DistributionsParag Chordia. [doi]