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Proceedings of the 1996 International Computer Music Conference

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Información General

Editores: The International Computer Music Association
Año de publicación: 1996
País: España
Idioma: español
ISBN: 962-85092-1-7
Recoge los contenidos presentados a: International Computer Music Conference (1. 1996. Hong Kong).
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Red de Bibliotecas Universitarias (REBIUN)

Listado de artículos

- An improved digital Waveguide model of flute-Implementations issues
  Rami Hanninen, Vesa Valimaki, Matti Karjalainen
  págs. 1-4
- Physical modeling of aeroacoustic sources in flute-like instruments
  Marc-Pierre Verge
  págs. 5-8
- The 3D tetrahedral digital waveguide mesh with musical applications
  Scott A. van Duyne, Julius O. Smith III
  págs. 9-16
- Music Web, new communication and information technologies in the music classroom
  Carola Böhm, Karst de Jong, Cristoph Hempel
  págs. 17-20
- NetMuse: a very-high-performance Wide-area network for music
  Stephen Arnold
  págs. 21-24
- Xspect: a new X/motif signal visualization and editing program
  Xavier Rodet, Dominique François, Guillaume Levy
  págs. 25-27
- Graphical NeXTSTEP objects as FTS clients to control instruments in the new FTS client/server architecture
  Todor Todoroff, Caroline Traube
  págs. 28-31
- Estimation of parameters corresponding to a propagative synthesis model through the analysis of real sounds
  Philippe Guillemain, Richard Kronland-Martinet, Solvi Ystad
  págs. 32-35
- Evolution of musical organisms
  Bruno Degazio
  págs. 36-39
- Recent developments of midishare
  Stephane Letz, Yann Orlarey, Dominique Fober
  págs. 40-42
- Visualization and manipualtion of 3D digital Waveguide structures for sound experimentation
  George Baciu, David Paul Rossiter, Andrew Horner
  págs. 43-46
- Franskenstein: a low-cost multi-DSP computer engine for the music kit
  William Putman, Timothy S. Stilson
  págs. 47-48
- Discrete summation synthesis and hybrid sampling-wavetable synthesis of acoustic instruments with genetic algorithmus
  Jennifer Yuen, Andrew Horner, San-Kuen Chan
  págs. 49-51
- Acoustic Quanta
  Douglas Nunn, Peter Manning, Alan Purvis
  págs. 52-54
- Exemplar-based learning in adaptive optical music recognition system
  Ichiro Fujinaga
  págs. 55-56
- Haptic feedback in a computer music performance interface
  Lonny Chu
  págs. 57-58
- Learning musical structure and style by recognition, prediction and evolution
  Dominik Hornel, Thomas Ragg
  págs. 59-62
- SEE-A strutured event editor; visualizing compositional data in common music
  Tobias Kunze, Heinrich Taube
  págs. 63-66
- The graphics environment for Max
  Mark Danks
  págs. 67-70
- Towards a framework for handling musical expression
  James Wright, Daniel V. Oppenheim
  págs. 71-74
- A system for the separation of simultaneous musical audio signals
  Thomas Stainsby
  págs. 75-78
- Musical analysis using a Real-Time model of peripheral hearing
  Andy Tyrrell, Tim Brookes, David M Howard
  págs. 79-82
- A dynamic modelling approach to music recognition
  Simon Dixon
  págs. 83-86
- Using synthBuilder for the cration of physical models
  David A. Jaffe, Nick Porcaro, Pat Scandalis, Julius O. Smith III
  págs. 87-88
- Non-linear controller-mapping for gestural control of Gamaka
  Stuart Favilla
  págs. 89-92
- DSP approach to multichannel audio mixing
  Jyri Huopaniemi, Tommi Huotilainen, Ville Pulkki, Matti Karjalainen
  págs. 93-96
- Recent developments with the TAO physical modelling system
  Mark Pearson, David M Howard
  págs. 97-99
- Improved modelling of attack transients in music analysis-resynthesis
  Andrew Bateman, Paul Masri
  págs. 100-103
- Automated music, interdisciplinary aspects of a developmental history
  Carola Böhm
  págs. 104-106
- Real-Time virtual audio reality
  Tommi Huotilainen, Jyri Huopaniemi, Lauri Savioja, Tapio Takala
  págs. 107-110
- Perceptual matching of low-order models to room transfer functions
  Gregory Wakefield, Eric Mrozek
  págs. 111-113
- A new electronic genre: the CD-ROM
  Kristine Burns
  págs. 114-115
- A look at performer/machine interaction using Real-Time systems
  Cort Lippe
  págs. 116-117
- On the use of computer systems in contemporary music
  Gerhard Eckel, Barbara Becker
  págs. 118-120
- Sound database retrieved by sound
  Shuji Hashimoto, Hai Qi, Dingding Chang
  págs. 121-123
- Adaptative pitch compensation of singing and its application
  Shuji Hashimoto, Yoshinari Sasahira
  págs. 124-125
- Durham music technology: activity report
  Takebumi Itagaki, Douglas Nunn, Peter Manning, Jonathan Robert Spanier, Alan Purvis, Desmond Phillips, Simon Johnson
  págs. 126-128
- Composer's underscoring environment (CUE)
  David Cope
  págs. 129-132
- NetNeg: a hybrid interactive architecture for composing polyphonic music in Real Time
  Claudia Goldman, Jeffrey Rosenschein, Dan Gang, Daniel Lehmann
  págs. 133-140
- Extended Csound
  Barry Vercoe
  págs. 141-142
- Netsound: Realtime audio from semantic descriptions
  Michael Casey, Paris Smaragdis
  págs. 143-143
- Csound GM: designing Real-Time instruments with Csound's new MIDI opcodes
  Scott Vercoe, Richard Boulanger
  págs. 144-144
- Automatic jazz accompaniment computation: an open advice-based approach
  Mira Balaban, Stanislav Irish
  págs. 145-148
- IBM computer music center-studio report
  James Wright, Daniel V. Oppenheim
  págs. 149-150
- Studio report: the Bregman electronic music studio at Dartmouth College and the MA program in electro-acoustic music
  Jon Appleton, Larry Polansky, Charles Dodge
  págs. 151-154
- Leeds university electronic studio: studio report
  Kia Ng, Ewan Stefani, David Cooper
  págs. 155-157
- DIEM, the Danish Institute of electroacoustic music, studio report
  Wayne Siegel
  págs. 158-160
- Israel computers and music forum-activites report
  Shlomo Dubnov
  págs. 161-161
- Computer music in Shenzhen, P.R. China
  Yu Ying
  págs. 162-164
- Electroacoustic and computer music in Latin America
  Ricardo Dal Farra
  págs. 165-168
- A new method for interactive sound spatialisation
  Iain Mott, Jim Sosnin
  págs. 169-172
- An environment for interactive art-sensor integration and applications
  Seiji Inokuchi, Tsutomu Kanamori, Haruhiro Katayose
  págs. 173-176
- Approapriated musical instruments: A4 MIDI tool box and Carnatic Violin
  B. Krishnakumar, Greg Schiemer
  págs. 177-180
- A C++ library for computer music programming on Real-time mach
  Andrew Choi
  págs. 181-184
- The evolution of the graphic editing environment for the IRCAM musical workstation
  Enzo Maggi, François Dechelle
  págs. 185-187
- New DSP applications on FTS
  Norbert Schnell, Enzo Maggi, Maurizio De Cecco, François Dechelle
  págs. 188-189
- Digital notation representation and online retrieval of musical information: a discussion of current options and practices
  Elizabeth Hinkle-Turner
  págs. 190-193
- Composing the means with wich I compose: waveforms with multiple paths and cycle-lengths
  Arun Chandra
  págs. 194-197
- Anitoo: some analysis tools
  Damián Keller
  págs. 198-201
- Design and implementation of a multimedia opera
  Jarrell Pair, James Oliverio
  págs. 202-203
- The mathematical implications of a pulse-ribbon perceptual organization of pitch
  Gregory Wakefield
  págs. 204-205
- The analysis and resynthesis of sustained musical signals in the time domain
  N.H.C. Yung, Roy Hung, P.Y.S. Cheung
  págs. 206-209
- On the perceptual optimization of synthetic acoustical systems
  Gregory Wakefield, Paul Runkle
  págs. 210-211
- Self-similar grain distribution: a fractal approach to granular synthesis
  Michael Clarke, David Chapman, Paul Archbold, Martin Smith
  págs. 212-213
- Towards SYnthia II: an assessment of desing strategies for computer assisted learning of sound synthesis
  Alan Dix, Michael Clarke, Mark Kirby, Mattew Padden
  págs. 214-215
- The synthesis of sung vowels in female opera and belt qualities
  David M Howard, Michelle Evans
  págs. 216-218
- Robust automated music transcription systems
  Gregory Wakefield, Andrew Sterian
  págs. 219-221
- Simulation of electron tube audio circuits
  Kai Lassfolk
  págs. 222-223
- Modeling and control of performance expression in digital waveguide models of woodwing instruments
  Gary Scavone
  págs. 224-227
- Physically informed sonic modeling (PhISM): percussive synthesis
  Perry R. Cook
  págs. 228-231
- Body modeling techniques for string instrument synthesis
  Matti Karjalainen, Julius O. Smith III
  págs. 232-239
- Automated motive-oriented analysis of musical corpuses: a jazz case study
  Pierre-Yves Rolland, Jean Gabriel Ganascia
  págs. 240-243
- Representation of jazz piano knowledge using a deductive object-oriented approach
  Keiji Hiraga
  págs. 244-247
- Collage: sound colors installation software
  Mara Helmuth
  págs. 251-252
- A distributed, object-oriented framework for sound synthesis
  Peter Lundén, Gerhard Behles
  págs. 253-256
- SuperCollider, a new Real Time synthesis language
  James McCartney
  págs. 257-258
- A cognitive model in design of musical interfaces
  Anna Sofie Christiansen
  págs. 259-262
- Cmix on Non-UNIX world
  Alistair Riddell, Ross Bencina
  págs. 263-265
- An approach to a Latinamerican computer music
  Martin Alejandro Fumarola
  págs. 266-269
- A flexible Real-Time software synthesis system
  Roger B. Dannenberg, Eli Brandt
  págs. 270-273
- GetNotator: an environment for investigating the application of genetic algorithms in computer assisted composition
  Kurt Thywisen
  págs. 274-277
- Musical effects of cross-covoding, software implemented
  Uri Shimony, Salit Caspi, Moty Gerner, Erez Webman, Zohar Pouplo
  págs. 278-281
- A system for the musical investigation and expression of levels of self-similarity in an arbitrary data stream
  Wai-Ying Ng, David Paul Rossiter
  págs. 282-284
- POWERpv: a suite of sound processors
  Eric Lyon
  págs. 285-286
- Real-Time granular synthesis on a destributed multi-processor platform
  Takebumi Itagaki, Peter Manning, Alan Purvis
  págs. 287-288
- Musical instrument database with multimedia
  Takako Tanaka, Kuniharu Tsuboi, Takashi Suzuki
  págs. 289-292
- Sound signals decomposition using a high resolution matching pursuit
  Xavier Rodet, Philippe Depalle, Remi Gribonval, Emmanuel Bacry, Stephane Mallat
  págs. 293-296
- An improved additive analysis method using parametric modelling of the short-time Fourier transform
  Laurent Tromp, Philippe Depalle
  págs. 297-300
- Critically sampled third octave filter banks
  Scott N. Levine
  págs. 301-304
- Extraction of conducting gestures in 3D space
  Ichiro Fujinaga, Forrest Tobey
  págs. 305-307
- Towards a musician's Cockpit: transducers, feedback and musical function
  Roel Vertegaal, Michael Kieslinger, Tamas Ungvary
  págs. 308-311
- Spatio-temporal patterning in computer-generated music: a nodal network approach
  Peter McIlwain, Anthony Pietsch
  págs. 312-315
- A symbiosis of animation and music
  Robert Pringle, Brian Ross
  págs. 316-319
- Towards a universal algorithmic system for composition of music and audio-visual works
  Jeremy Leach
  págs. 320-323
- Sound onset localization and partial tracking in Gaussian white noise
  Rolf Wöhrmann, Ludger Solbach
  págs. 324-327
- Effects processing on audio subband data
  Scott N. Levine
  págs. 328-331
- Alias-free digital synthesis of classic analog waveforms
  Timothy S. Stilson, Julius O. Smith III
  págs. 332-335
- Macintosh graphical interface and improvements to generalized diphone control and synthesis
  Xavier Rodet, Adrien Lefevre
  pág. 336
- Open music architecture
  Gérard Assayag, Carlos augusto Agon Amado
  págs. 339-340
- Fractional delay lines using Lagrange interpolation
  Stephan Tassart, Philippe Depalle
  págs. 341-343
- Generating musical symbols to perform expressively by appoximate
  Takashi Nose, Yoshiyuki Kotani, Kenzi Noike, Nobuo Inui
  págs. 344-345
- A Jazz session system for interplay among all players- VirJa Session (virtual Jazz session system)
  Masataka Goto, Yoichi Muraoka, Isao Hidaka, Yosuke Kuroda, Hideaki Matsumoto
  págs. 346-349
- A modal distribution approach to piano analysis and synthesis
  Gregory Wakefield, Rowena Guevara
  págs. 350-351
- Synthesis and analysis tools with physical modeling: an environment for musical sounds production
  Eric Incerti
  págs. 352-353
- Handwritten music manuscript recognition
  Kia Ng, Roger Boyle, David Cooper
  págs. 354-357
- Camera musica: vitual architecture as medium for the exploration of music
  Gerhard Eckel
  págs. 358-360
- Physical modelling of a stiff string by numerical integration
  Michael Kurz, Bernhard Feiten
  págs. 361-364
- A new approach to HRTF audio spatialization
  Matija Marolt
  págs. 365-367
- Applying psychoacoustic principles to soundfield reconstruction
  Steven Trautmann
  págs. 368-371
- The trimbal object-An alternative route to the control timbre
  Andy Tyrrell, David Crasey, David M Howard
  págs. 372-374
- TIM(br)E: compositional approaches to FOG synthesis
  Michael Clarke
  págs. 375-377
- Influence of frequency modulating jitter on higher order moments of sound residual with applications to synthesis and classification
  Naftali Tishby, Shlomo Dubnov, Dalia Cohen
  págs. 378-385
- Applying improvisation builder to interactive composition with MIDI piano
  Brian Belet, William Walker
  págs. 386-389
- Cooking with Csound: wavetable synthesis recipes for Woodwind and Brass instruments
  Andrew Horner, Lydia Ayers
  págs. 390-391
- Modelling rhythm perception by continuous time-frequency analysis
  Leigh Smith
  págs. 392-395
- A computer-based editor for Lerdahl and Jackendoff's rhythmic structures
  Bruno Degazio
  págs. 396-397
- Analyzing the Moog VCF for digital implementation
  Timothy S. Stilson, Julius O. Smith III
  págs. 398-401
- Virtual concert performance-synthetic animated musicians playing in an acoustically simulated room
  Rami Hanninen, Lauri Savioja, Tapio Takala
  págs. 402-404
- Experiments with non-linear filters
  Richard Dobson, John Ffitch
  págs. 405-408
- Authorship and female voices in electrovocal music
  Hannah Bosma
  págs. 409-412
- Background music generation based on scene analysis
  Naouyki Onoe, Shuji Hashimoto, Dingding Chang
  págs. 413-414
- Creativity versus determinism: cognitive science and music theory as touchstones of automatic music composition
  Detlev Zimmermann
  págs. 415-418
- TEMA: an "open" support environment for music composition
  Barry Eaglestone, Peter Lundén
  págs. 419-420
- Acceleration sensor as an input device for musical environment
  Naouyki Onoe, Shuji Hashimoto, Hideyuki Sawada
  págs. 421-424
- PadMaster: banging on algorithms with alternative controllers
  Fernando López-Lezcano
  págs. 425-427
- Musical muscle memory and the haptic display of performance nuance
  Chris Chafe, Sile O'Modhrain
  págs. 428-431
- A Real-time analysis and resynthesis instrument for transformation of sounds in the frequency domain
  Todor Todoroff
  págs. 432-435
- Exploring instrument constancy throygh a new method for the design of synthectic instruments
  Gregory Wakefield, Mary Simoni
  págs. 436-439
- Chaos and non-linear models
  Ami Rudunskaya
  págs. 440-443
- Adaptative control of a voca chord and vocal tract for computerized mechanical singing instruments
  Shuji Hashimoto, Hideyuki Saeada
  págs. 444-447
- Physical models of trumpet-like instruments, detailed behavior and model improvements
  Xavier Rodet, Christophe Vergez
  págs. 448-453
- Modeling the degree of realized expectation in functional tonal music: a study of perceptual and cognitive modeling using neural networks
  Dan Gang, Jonathan Berger
  págs. 454-457
- Physical motion as a metaphor for timing in music: the final Ritard
  Henkjan Honing, Peter Deasin
  págs. 458-460
- On the use of an effective Boltzmann machine for musical style recognition and harmonisation
  Chi-Ping Tsang, Mathew Bellgard
  págs. 461-464
- Quad pan, spatialization system of music in live
  Isidoro Pérez, Javier Arias, Pablo Fernández, Luciano Pérez
  págs. 465-468
- An object-oriented approach to the combination of rule-based and generative algorithmic composition methods for Real-time interactive applications
  Tony Myatt
  págs. 469-470
- A 'pick and mix' approach to the integration of compostion tools
  Peter Lundén, Barry Eaglestone
  págs. 471-472
- The impact of fractals, chaos, and complexity theory on computer music composition
  Helena Röcklinsberg
  págs. 473-476
- Musical instrument transient analysis and re-synthesis
  Peter Comerford, Anna Katrami
  págs. 477-478
- Machine learning of sound attributes: computer-assistance in concept formation and musical invention
  Eduardo Reck Miranda
  págs. 479-482
- Visualized music expression in an object-oriented environment
  Rumi Hiraga, Shigeru Igarashi, Yohei Matsuura
  págs. 483-486
- Music and technology
  Franck Pecquet
  págs. 487-490
- Time-stretching of hyper-resonated sound using a Real-time granulation technique
  Barry Truaz
  págs. 491-492
- Optimisations of the FOF algorithm for VLSI implementation
  Jonathan Robert Spanier, Alan Purvis, Simon Johnson
  págs. 493-495
- Multirate additive synthesis
  Alan Purvis, Desmond Phillips, Simon Johnson
  págs. 496-499
- Wavelet analysis for onset detection
  William Findlay, Crawford Tait
  págs. 500-503
- Center for computer research in music and acoustics (CCRMA) studio report
  Fernando López-Lezcano, Alex Lane Igoudin
  págs. 504-505
- The center for research in electronic art technology (CREATE)
  Jo Ann Kuchera-Morin, Stephen Pope, Kenneth Fields
  págs. 506-507
- Studio report: the institute of computer science, Hebrew University
  Dan Gang
  págs. 508-511

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