Proceedings of the 2006 International Computer Music Conference: November 6-11, 2006, New Orleans, USA
Gespeichert in:
| Körperschaft: | |
|---|---|
| Format: | Tagungsbericht Buch |
| Sprache: | English |
| Veröffentlicht: |
San Francisco
International Computer Music Assoc.
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XXIV, 731 S. Ill., graph. Darst. |
| ISBN: | 0971319243 |
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| 500 | |a Includes bibliographical references and index | ||
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Datensatz im Suchindex
| _version_ | 1804149427836813312 |
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| adam_text | Table of
Contents
Monday, November 06th,
2006
Paper Session
1
A: Composition Systems and Techniques
GENERATION OF COMPLEX SOUND SEQUENCES USING PHYSICAL MODELS WITH DYNAMICAL
STRUCTURES
...............................................................................................
J
Olivier Tache, ICA
Laboratory, France; and Claude
Cadoz,
ACROE, France
AN INTRODUCTION TO ECO-STRUCTURALISM
............................................................ 9
Timothy Opie and Andrew Brown, Queensland University of Technology, Australia
ENMESHED: LIVE IN
3D
FOG
............................................................................... 13
Michael Clarke, University of Huddersfield, United Kingdom
TIME SLICES, GRAPHIC SCORES AND MUSIC COMPOSITION
.............................................. 17
Brian Evans, University of Alabama, United States
Paper Session
1
B: Sound Synthesis and Analysis
WAVEGUIDE-BASED ROOM ACOUSTICS THROUGH GRAPHICS HARDWARE
............................... 21
Niklas Roeber,
Martin
Spinaler
and Maic Masuch, University of Magdeburg, Germany
FROM SCORE-BASED APPROACH TOWARDS REAL-TIME CONTROL IN PWGLSYNTH
...................... 29
Mikael
Laurson, Vesa
Norilo,
Sibelius Academy, Finland; and Henri Penttinen, Helsinki University of Technology, Finland
FANTASY BIRDS IN YAZI S DREAM
......................................................................... 33
Lydia
Ay
ers,
Hong Kong University of Science and Technology,
Hong-Kong
RASTER SCANNING: A NEW APPROACH TO IMAGE SONIFICATION, SOUND VISUALIZATION, SOUND
ANALYSIS AND SYNTHESIS
................................................................................ 34
Woon
Seung Yeo and Jonathan
Berger,
Stanford University,-United States
Demo Session
1
THE IXI INSTRUMENTS AS
SEMIOTIC
MACHINES
.......................................................... 42
Thor Magnusson,
Creative Systems Lab
-
University of Sussex, United Kingdom
POCKET
GAMELAN:
MOBILE MEDIA FOR
MICROTONAL
PERFORMANCE
................................. 43
Greg Schiemer and Mark Havryliv, Sonic Arts Research Network, Australia
SHIFTY LOOPING: METER-AWARE, NON-REPEATING RHYTHMIC LOOPS
.................................. 44
Matthew Wright, CCRMA/Stanford and CNMAT/UCB, United States
SOUND SYNTHESIS AFFECTED BY PHYSICAL GESTURES IN REAL-TIME
................................. 45
Lars Graugaard, Aalborg University Esbjerg, Denmark
MOOD MAPPING TECHNOLOGIES WITHIN HYBRID AUDIO DESIGN
....................................... 46
Lars Graugaard and Jens Arnspang, Aalborg University Esbjerg, Denmark
XIII
Paper Session
2
A: Languages for Computer Music/Software and Hardware Systems
MITAMODHLS AND DESIGN PATTERNS IN CSL4
........................................................... 47
Stephen Pope.
Xavier
Ämat riain.
Lance Putnam, Jorge
Castellanos
and Ryan Avery, CREATE Lab, UCSB, United States
CiRANCLOUD
-
A NEW SUPERCOLLIDER CLASS FOR REAL-TIME GRANULAR SYNTHESIS
................ 55
Terry Lee, University of North Texas, United States
MINIAUDICLE
AND CHUCK SHELL: NEW INTERFACES FOR CHUCK DEVELOPMENT AND PERFORMANCE
63
Spencer Salazar. Ge Wang, Princeton University, Department of Computer Science, United States; and Perry Cook,
Princeton University, Department of Computer Science (also Music), United States
DESIGN AND IMPLEMENTATION OF A REAL-TIME FINGERING DETECTION SYSTEM FOR PIANO
PERFORMANCE
............................................................................................. 67
Takegawa Yoshinari, Terada Tsutomu and Nishio Shojiro, Osaka University, Japan
FOMUS, A MUSIC NOTATION SOFTWARE PACKAGE FOR COMPUTER MUSIC COMPOSERS
................ 75
David Psenicka, University of Illinois, United States
FLEXIBLE SCHEDULING FOR DATAFLOW AUDIO PROCESSING
............................................ 79
George Tzanetakis, Neil Burroughs and Adam Parkin, University of Victoria, Canada
Paper Session
2
B: Mathematical Music Theory
FUNCTORS FOR MUSIC: THE
RUBATO
COMPOSER SYSTEM
............................................... 83
Guerino
Mazzola
and Gerard Milmeister, University of Zurich, Switzerland
ON MUSICAL SCALE RATIONALIZATION
................................................................... 91
Albert Graf Johannes Gutenberg University Mainz, Germany
FOURIER ORACLES FOR COMPUTER-AIDED IMPROVISATION
............................................. 99
Fmmanuel Amiot, CPGE
Perpignan,
France; Thomas Noll, Esmuc Barcelona, Spain; Moreno
Andreatta
and Carlos
Agon, IRCAM/CNRS, France
MELODIC CLUSTERING WITHIN TOPOLOGICAL SPACES OF SCHUMANN S
TRAUMEREI.................. 104
Chantal Buteau,
Brock University, Canada
MELODIC TOPOLOGIES
.....................................................................................
Ill
Kamil
Adiloglu and Klaus Obermayer, Berlin University of Technology, Germany
Poster Session
1
INTEGRATED SYSTEM FOR CROSS-PLATFORM/CROSS-APPLICATION EDUCATION ON SOUND SYNTHESIS
AND SIGNAL PROCESSING
................................................................................. 115
Alessandro
Cipriani,
Scuola di Musica e Nuove Tecnologie
-
Conservatorio Frosinone,
Italy; and
Maurizio Giri,
Institut
Jean Nicod
CNRS
EHESS
ENS, France
EXPLORING COGNITIVE PROCESS THROUGH MUSIC COMPOSITION
...................................... 119
Adam
Lockhart,
University of North Texas, United States
THIRD ORDER AMBISONIC EXTENSIONS FOR MAX/MSP WITH MUSICAL APPLICATIONS
................ 123
Graham Wakefietd, UCSB, United States
XIV
AMBER:
A GRANULAR SAMPLING APPLICATION FOR MAC OS X.
......................................... 127
Jennifer Bernard, University of Cincinnati, United States; Matthew McCabe, University of Florida, Gainesville, United
States; and Kenneth Hoffmann, Waveform Software, United States
DIGITAL AUTONOMY IN ELECTROACOUSTIC MUSIC PERFORMANCE: RE-FORGING
STOCKHAUSEN..... 131
Robert Esler, UC, San Diego, United States
COOPERATIVE MULTIMEDIA ENVIRONMENTS FOR TECHNOLOGY ENHANCED MUSIC PLAYING AND
LEARNING WITH
3D
POSTURE AND GESTURE SUPPORTS
................................................. 135
Bee Ong,
Ali Khan,
Kia Ng, ICSRiM
-
University of Leeds, United Kingdom;
Pierfrancesco
Bellini, Nicola Mitolo and
Paolo Nesi, DISIT-DSI
-
University of Florence, Italy
SPECTRAL AND GRANULAR SPATIALIZATION WITH BOIDS
............................................... 139
David Kim-Boyle, University of Maryland, Baltimore County, United States
Tuesday, November 07th,
2006
Paper Session
3
A: Interactive Performance Systems
JAMOMA: A MODULAR STANDARD FOR STRUCTURING PATCHES IN MAX
................................ 143
Tim Place, Cycling
74,
Electrotap, LLC, University of Missouri Kansas City, United States; and Trond Lossius, Bergen
National Academy of the Arts, Norway
PROVIDING RHYTHM PATTERNS IN SOUND SYNTHESIS
................................................... 147
Lars Graugaard, Aalborg University Esbjerg, Denmark
THE TABLE IS THE SCORE: AN AUGMENTED-REALITY INTERFACE FOR REAL-TIME, TANGIBLE,
SPECTROGRAPHIC PERFORMANCE
........................................................................ 151
Golan Levin, Carnegie Mellon University, United States
SOUND SCOPE HEADPHONES: CONTROLLING AN AUDIO MIXER THROUGH NATURAL MOVEMENT
..... 155
Masatoshi Hamanaka, Japan Science and Technology Agency, Japan; and Seunghee Lee, University of Tsukuba, Japan
AGENTS IN CHUCK: A TIMELY PROGRAMMING EXPERIENCE
............................................. 159
Michael Spicer, Singapore Polytechnic, Singapore
Paper Session
3
B: Sound Synthesis and Analysis
USING CONCATENATIVE SYNTHESIS FOR EXPRESSIVE PERFORMANCE IN JAZZ SAXOPHONE
........... 163
Esteban Maestre,
Amaury
Hazon,
Rafael Ramirez and Alfonso Perez, Music Technology Group
- Universität
Pompeu
Fabra, Spain
ESTIMATION OF PARTIAL PARAMETERS FOR
NON
STATIONARY SINUSOIDS
.............................. 167
Axel
Roebel, IRCAM-CNRS,
France
YASAS
-
YET ANOTHER SOUND ANALYSIS-SYNTHESIS METHOD
......................................... 171
Shlomo Dubnov, UCSD, United States
TIMBRAL,
PERCEPTUAL, AND STATISTICAL ATTRIBUTES FOR SYNTHESIZED SOUND
.................... 179
James McDermott, Niall J.L. Grijfith, University of Limerick, Ireland; and Michael O Neill, University College Dublin,
Ireland
XV
1
К
ANSn
1
1
.................................................................................................. 323
Ka.
unkt
Stuoia.
College-Conserwitory
of Music, Univeristy of Cincinnati, United States
Ì
XAENDED APPLICATIONS OF THE WIRELESS SENSOR ARRAY (WISEAR)
................................ 324
Ιλινίιί
Topper. University of Virginia, United States
Till·: CASE STUDY OF AN APPLICATION OF THE SYSTEM, BODYSUIT AND ROBOTICMUSIC
-
ITS
INTRODUCTION AND AESTHETICS
......................................................................... 326
Sug unt
Goto, IRC AM. France
Paper Session
6
A: Sound Synthesis and Analysis
VISUALIZING SOUND ENVIRONMENT DURING ORCHESTRA PERFORMANCE BASED ON TIME
FREQUENCY ANALYSIS
.................................................................................... 327
Šatoru
Monta
and Sayaka Tokunou, Yamaguchi University, Japan
MUSICAL TAPESTRY: RE-COMPOSING NATURAL SOUNDS
................................................. 333
Анапу
a Misra, Perry Cook and
G e
Wang, Princeton University, Department of Computer Science, United States
FUZZY LOGIC CONTROL TOOL KIT: REAL-TIME FUZZY CONTROL FOR
МАХ
/MSP
AND PD
............... 341
R
drieo Cadiz,
Pontificia
Universidad
Catolica
de
Chile, Chile; and Gary Kendall, Northwestern University, United
States
SCALABLE WAVETABLE MATCHING FOR REAL-TIME POLYPHONIC SYNTHESIS
.......................... 347
Simon Wun, Institute for
Inf
ocomm Research Singapore; and Andrew Homer, Hong Kong University of Science and
Technology, Hong Kong
CONCATENATTVE SYNTHESIS USING SCORE-ALIGNED TRANSCRIPTIONS
................................ 352
Roger Dannenberg, Carnegie Mellon University, United States
CIRCLE MAPS AS SIMPLE OSCILLATORS FOR COMPLEX BEHAVIOR: I. BASICS
........................... 356
Georg Essi,
Deutsche Telekom Laboratories, Germany
Paper Session
6
B: Interactive Performance Systems
ON THE DEVELOPMENT OF A SYSTEM FOR GESTURE CONTROL OF SPATIALIZATION
.................... 360
M
rk Marshall, Nils Peters, McGill University, Canada; Alexander
Rej
sum Jensenius, University of Oslo, Norway;
Julien
R
issinot,
Marcelo
Wanderley, McGill University, Canada; and Jonas Braasch, RPI, United States
DEVELOPMENT OF A VERSATILE INTERACTIVE PERFORMANCE SYSTEM
................................ 367
Douglas Geers, University of Minnesota, United States; and
Maja
Cerar,
Columbia University, United States
RADIO DRUM GESTURE DETECTION SYSTEM USING ONLY STICKS, ANTENNA AND COMPUTER WITH
AUDIO INTERFACE
......................................................................................... 372
ßenNevile,
University of Victoria
/
Cycling
74,
Canada; Peter Driessen and W. Andrew Schloss, University of Victoria,
Canada
PERFORMER ADAPTIVE SCORES: AN INTRODUCTION
..................................................... 380
Robert Frank, Southern Methodist University, United States
XVIII
THE ARTSSYNC PROJECT: METHODS AND ARCHITECTURES FOR MAPPING FOREGROUND,
MIDDLE-GROUND AND BACKGROUND MUSICAL STRUCTURES TO VISUAL IMAGES
..................... 388
Christopher Key
es, H
KB
U,
Hong Kong; and Marcel
Wierckx, Utrecht School of Music and Technology, Netherlands
Poster Session
3
SPECTRAL SIGNAL PROCESSING IN CSOUND
5............................................................ 392
Victor Lazzarini, Thomas Lysaght and Joseph
Ћтопеу,
National University of Ireland, Maynooth, Ireland
MAXLENK: A NEW TOOL FOR NETWORKED PERFORMANCE
.............................................. 3%
Jesse Kriss, IBM Research, United States
THE
LOM
MAPPING TOOLBOX FOR MAX/MSP/JITTER
..................................................... 397
Doug Van Nort and
Marcelo Wanderley,
Music Technology, McGill University, Canada
A COLLABORATIVE COMPOSITION SYSTEM BASED ON A SERVICE ORIENTED ARCHITECTURE
......... 401
Matthew Dovey, University of Oxford, United Kingdom; and ¡an Gibson, Leeds Metropolitan Univerisity, United Kingdom
MOTION AS THE CONNECTION BETWEEN AUDIO AND VISUALS
.......................................... 405
Niall Moody, Nick Fells and Nicholas Bailey, University of Glasgow, United Kingdom
THE KIOM: A PARADIGM FOR COLLABORATIVE CONTROLLER DESIGN
.................................. 409
Ajay Kapur, Adam R. Tindale, Manjinder S.
Benning
and Peter Driessen, University of Victoria, Canada
Thursday, November 09th,
2006
Paper Session
7
A: Studio Reports
GEORGIA TECH MUSIC TECHNOLOGY GROUP STUDIO REPORT
........................................... 413
Gil
Weinberg,
Jason Freeman, Parag Chordia, Frank Clark, Chris Moore, Scott Driscoll and Travis Thatcher, Georgia
Institute of Technology, United States
THE UNrVERSITY MUSIC TECHNOLOGY LAB
.............................................................. 417
Sanford Hinderlie,
Loyola University, United States
TULANEMUSIC TECHNOLOGY STUDIO REPORT
.......................................................... 421
Conner Richardson, James Cook and Tae Hong Park, Tulane University, United States
Paper Session
7
B: Computer Systems in Music Education
MUSICAL INTERACTION DESIGN WITH THE CREATE USB INTERFACE: TEACHING HCI WITH
CUIS
INSTEAD OF GUIS
.......................................................................................... 425
Dan Overholt,
U.C.
Santa Barbara, United States
SOUND AND INTERACTION FOR K-12 MEDIATED EDUCATION
............................................ 431
David Birchfield, Thomas Ciufo, Harvey Thomburg and
Wilhelmina Savenye,
Arizona State University, United States
XIX
Paper Session
8
A: Interactive Performance Systems
MUSICAL PERFORMANCE OVER INTERNET2 USING THE ACCESSGRID
................................... 437
Charles Nichols, University of Montana, United States; Scott Deal, University of Alaska Fairbanks, United States;
Ћт-
othy Rogers, Purdue University, United States; Jimmy Miklavcic, University of Utah, United States; Beth Miklavcic,
Another Language Performing Arts Company, United States; and Many Ayromlou, Ryerson University, Canada
PLORK: THE PRINCETON LAPTOP ORCHESTRA, YEAR I
................................................... 443
Daniel Trueman, Perry Cook, Scott Smallwood and Ge Wang, Princeton University, United States
REAL-TIME SYNCHRONIZATION OF INDEPENDENTLY CONTROLLED PHASORS
.......................... 451
Lonce
Wyse,
Institute for Infocomm Research, Singapore
A PARADIGM FOR PHYSICAL INTERACTION WITH SOUND IN
3-D
AUDIO SPACE
.......................... 456
Mike Wozniewski, Zack
Settel,
La Société des arts technologiques
[SAT],
Canada;
and Jeremy Cooperstock,
McGill
University
Centre For Intelligent Machines, Canada
JAM AA
-
A
MIDDLE EASTERN
PERCUSSION ENSEMBLE
FOR HUMAN AND ROBOTIC
PLAYERS
.......... 464
Gil
Weinberg,
Scott Driscoll
and Travis Thatcher. Georgia institute of Technology, United States
Paper Session
8
B: Music Analysis
RECORDING QUALITY RATINGS BY MUSIC PROFESSIONALS
.............................................. 468
Richard Repp, Georgia Southern University, United States
DATA ASSOCIATION TECHNIQUES FOR A ROBUST PARTIAL TRACKER OF MUSIC SIGNALS
............... 475
Hamid
Satar-Boroujeni, Bahram Shafai, Northeastern University, United States; and Patrick
J
.
Wolfe, Harvard University,
United States
MUSICAL TENSION CURVES AND ITS APPLICATIONS
...................................................... 482
Min-Joon Yoo and ¡n-Kwon Lee,
Dept.
of Computer Science, Yonset University, South Korea
DETECTING MOTIVES AND RECURRING PATTERNS IN POLYPHONIC MUSIC
.............................. 487
Paul Utgqff and Phillip Kirlin, University of Massachusetts, United States
MELODIC MODELING: A COMPARISON OF SCALE DEGREE AND INTERVAL
............................... 495
Yipeng Li and David Huron, The Ohio State University, United States
Poster Session
4
USING
MOTIONGRAMS
IN THE STUDY OF MUSICAL GESTURES
........................................... 499
Alexander
Ref
sum
J
ensenius, University of Oslo, Norway
REAL-TIME SPECTRAL ATTENUATION BASED ANALYSIS AND RESYNTHESIS, SPECTRAL MODIFICATION,
SPECTRAL ACCUMULATION, AND SPECTRAL EVAPORATION; THEORY, IMPLEMENTATION, AND
COMPOSITIONAL IMPLICATIONS
...........................................................................
503
Ronald Parks, Winthrop University, United States
PHASE-BASHED PACKET SYNTHESIS: A MUSICAL TEST
...................................................
507
Miller Puckette, UCSD, United States
XX
A MUSIC INFORMATION RETRIEVAL SYSTEM FOR STRUCTURAL QUERIES
............................... 511
Alberto Pinto,
Università degli Studi di Milano,
Italy
MORPHOPOIESIS: AN ANALYTICAL MODEL FOR ELECTROACOUSTIC MUSIC
............................. 515
Panayiotis Kokoras, Aristotle University of
Thessaloniki,
Greece
STUDIO REPORT: AUDIO TECHNOLOGY AT AMERICAN UNIVERSITY IMPROVING CURRICULUM
THROUGH UPGRADING FACILITIES
........................................................................ 519
Paul Oehlers, Teresa Larkin, Fred Katz, Matt Boerum and Matt Weiner, American University, United States
SSYNTH: A REAL TIME ADDITIVE SYNTHESIZER WITH FLEXIBLE CONTROL
............................. 523
Vincent
Verfaule, Julien Boissinot,
Philippe
Depalle
and
Marcelo Wanderley,
McGill University, Canada
Friday, November
IO*11,
2006
Paper Session
9
A: Composition Systems and Techniques
PRAGMATIC CONSIDERATIONS IN MIXED MUSIC: A CASE STUDY OF LA RAGE
........................... 527
Pierre
Alexandre
Tremblay,
University of Huddersfield, United Kingdom
COMPUTER MUSIC ENACTION
............................................................................. 531
Kevin Dahan, C1CM
-
Université de
Paris
8,
France
Paper Session
9
B: Sound Synthesis and Analysis
FEATURE-BASED SYNTHESIS: MAPPING FROM ACOUSTIC AND PERCEPTUAL FEATURES TO SYNTHESIS
PARAMETERS
............................................................................................... 536
Matt Hoffman and Perry Cook, Department of Computer Science, Princeton University, United States
THE
FUJARA:
A PHYSICAL MODEL OF THE BASS PIPE INSTRUMENT IN AN INTERACTIVE COMPOSITION
540
Juraj
Kojs,
University of Virginia, United States
Demo Session
3
MOBILE NETWORKED MUSIC DEMONSTRATION: SEQUENCER404
........................................ 544
Travis Thatcher, David Jimison, John Goetzinger, Jason Freeman and Gil
Weinberg,
Georgia institute of Technology,
United States
Paper Session
10
A: Artificial Intelligence and Music
A COMPARISON OF STATISTICAL APPROACHES TO SYMBOLIC GENRE RECOGNITION
................... 545
Carlos
Pérez-Sancho,
Pedro J. Ponce
de León
and
José M.
Iñesta, Universidad de Alicante,
Spain
A NOVEL APPROACH TO AUTOMATIC MUSIC COMPOSING: USING GENETIC ALGORITHM
................ 551
Damon Daylamani
Zad,
Brunei University, United Kingdom; Babak Araabi and
Caru
Lucas, University of Tehran, ¡ran
FACTORED LANGUAGE MODEL OF QUANTIZED PITCH AND DURATION
................................ 556
liao Li, Gang Ji and Jeff Biltnes, University of Washington, Seattle, United States
XXI
AURALIZATION
OF A CONSTRAINT SOLVER
..............................................................
564
Arnaud
Lallouet and
Jeremie
Vautard, University of Orleans, France
TOWARDS MACHINE LEARNING OF EXPRESSIVE MICROTIMING IN BRAZILIAN DRUMMING
............. 572
Matthew Wright, CCRMA/Stanford and CNMAT/UCB, United States; and Edgar Berdahl, Department of Electrical En¬
gineering, Stanford University; United States
AN EVOLVED NEURAL NETWORK/HC HYBRID FOR
TABLATURE
CREATION IN GA-BASED GUITAR
ARRANGING
................................................................................................ 576
Daniel R. Tuohy and W.D. Potter, University of Georgia Artificial Intelligence Center, United States
Paper Session
10
B: Composition Systems and Techniques
AN ACOUSMATIC COMPOSITION ENVIRONMENT
........................................................... 580
Morten Breinbjerg, Aarhus University, Denmark
WE DON T WRITE SONGS. WE WRITE RECORDS: A COMPOSITIONAL METHODOLOGY BASED ON LATE
20th CENTURY POPULAR MUSIC
............................................................................ 585
Simon Zagorski-Thomas, London College of Music, United Kingdom
SCORE GENERATION IN VOICE-LEADING AND CHORD SPACES
........................................... 593
Michael Gogins, Irreducible Productions, United States
BIOINFORMATIC RESPONSE DATA AS A COMPOSITIONAL DRIVER
........................................ 601
Robert Hamilton, CCRMA, Stanford University, United States
A SAMPLE ACCURATE TRIGGERING SYSTEM FOR PD AND MAX/MSP
..................................... 606
Eric Lyon,
The University of Manchester, United Kingdom
Poster Session
5
A BOTTOM-UP APPROACH TO CHORD DETECTION
........................................................ 612
Christian Sailer and
Katja Rosenbauer, Fraunhofer IDMT,
Germany
A BRIEF SURVEY OF THE CURRENT APPLICATIONS OF ENP
...............................................
616
Mika Kuuskankare
and
Mikael Laurson,
Sibelius Academy, Finland
JAVA MUSIC SPECIFICATION LANGUAGE AND MAX/MSP
..................................................
62°
Nick Didkovsky, Algomusic, United States; and Langdon Crawford, New York University, United States
SCORE FOLLOWING OF
ORCHESTRAI.
MUSIC USING ACOUSTIC PRESSURE PEAK-TRACKING AND
LINEAR STRETCH MATCHING
................................................................; ·............
624
Takefumi Miura, Ayumu Akabane, MakotoSato, Tokyo institute of Technology, Japan; Takao Ts
uda
and Seiki
1
noue,
Japan
Broadcasting Corporation, Japan
MONDRIAN MUSIC DESCRIFriON LANGUAGE AND SEQUENCER
.........................................
628
Peter
Brinkmann,
The City College of New York, United States
MSC: A COMPUTER ASSISTED SYSTEM INTEGRATING MUSIC AND VIDEO THROUGH MAGIC SQUARES
AS COMPOSITIONAL MODELS
..............................................................................
PaulOehlers, American University, United States; and Christopher Mich, QVC, United States
XXII
Saturday, November 11th,
2006
Paper Session
11
A: Interactive Performance Systems
COMPARING MUSICAL CONTROL STRUCTURES AND SIGNAL PROCESSING STRATEGIES FOR THE
AUGMENTED CELLO AND GUITAR
......................................................................... 636
Adrian Freed, CNMAT, UC Berkeley, United States;
Ahm Lee,
John
Schott,
Freelancer, United States; Matthew Wright,
Michael Zbyszynski, CNMAT, UC Berkeley, United States; and Frances Marie Uitti, Freelancer, Netherlands
LAPTOP PERFORMANCE: TECHNIQUES, TOOLS, AND A NEW INTERFACE DESIGN
........................ 643
Mark
Zadel
and Gary Scavone, McGill University, Canada
THE IMMERSIVE COMPUTER-CONTROLLED AUDIO SOUND THEATER: EXPERIMENTS IN
MULTI
MODE
SOUND DIFFUSION SYSTEMS FOR ELECTROACOUSTIC MUSIC PERFORMANCE
.......................... 649
Stephen David Beck, Joseph Patrick, Brian Willkie and Kenley Malveaux, Louisiana State University, United States
THE AIMS PROJECT: CREATIVE EXPERIMENTS IN MUSICAL SONIFICATION
.............................. 656
Reginald Bain, University of South Carolina, United States
Paper Session
11
B: Miscalleneous
THE SOUND RECORDIST AS COMPOSER: AESTHESTIC AND PRACTICAL CONCERNS
..................... 66
1
Colby
Leider,
University of Miami, United States; and
Kristine
H. Burns, Florida International University, United States
Paper Session
12
A: Psychoacoustics, Music Perception and Cognition/Miscellaneous
AN INTELLIGENT SP-MIDI POLYPHONIC REDUCTION ALGORITHM
....................................... 666
Siu Hang
Lui,
Andrew Homer and
Lydia
Ayers, Hong Kong University of Science and Technology, Hong Kong
MUSICAL PATTERN DESIGN USING CONTOUR ICONS
...................................................... 674
Charlie Cullen, Digital Media Centre, Dublin Institute of Technology, Ireland; and Eugene Coyle, Dublin Institute of
Technology, Ireland
THE THING ABOUT THE QUOTES: MUSIC TECHNOLOGY DEGREES IN BRITAIN
........................... 682
Carola Boehm,
Centre for Music Technology, University of Glasgow, United Kingdom
EVALUATING AND EXTENDING COMPUTATIONAL MODELS OF RHYTHMIC SYNCOPATION IN MUSIC
.... 688
Leigh Smith and
Henkjan
Honing, Music Cognition Group,
Universiteit
van Amsterdam, Netherlands
Paper Session
12
В
:
Digital Audio Signal Processing
DSP PROGRAMMING WITH FAUST,
Q
AND SUPERCOLLIDER
............................................... 692
Yann Orlarey,
Grame,
Centre National
de
Creation
Musicale,
France; Albert Graf, Johannes Gutenberg University Mainz,
Germany; and Stefan
Kersten,
Technical University Berlin, Germany
AUTUMN: A GENERAL PITCH-EXTRACTION WAVE-TO-MIDI TRANSCRIPTION SYSTEM
................... 700
Kevin
Di Filippo,
Andrew Homer, Eric Fung, Jenny
Lim
and
Lydia
Ayers, Hong Kong University of Science and Technol¬
ogy, Hong Kong
PHAVORIT: A PHASE VOCODER FOR REAL TIME INTERACTIVE TIME-STRETCHING
...................... 708
Thorsten Karrer,
Eric Lee and
Jan Borchers, RWTH Aachen
University, Germany
XXIII
DART: DISTRIBUTED
AUDIO
RENDERING
&
RETRIEVAL USING TRIANA
-
EXPERIMENTS IN APPLYING
GRID COMPUTING TECHNOLOGIES FOR AUDIO PROCESSING
............................................. 716
¡an Taylor, Cardiff University. United Kingdom: Stephen David Beck, Louisiana State University, United States: and
Eddie Al-Shakarchi. Cardiff University, United Kingdom
SQUAWK: A GRAPHICAL SOFTWARE FOR SPECTRAL AUDIO PROCESSING
................................ 724
Rxoho Kobaxashi. Keio University Graduate School of Media and Governance, Japan
Author Index
................................................................................................ 729
XXIV
|
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| spelling | International Computer Music Conference 2006 New Orleans, La. Verfasser (DE-588)1025373200 aut Proceedings of the 2006 International Computer Music Conference November 6-11, 2006, New Orleans, USA Georg Essl ... San Francisco International Computer Music Assoc. 2006 XXIV, 731 S. Ill., graph. Darst. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Computer music Computer music / Congresses Computermusik (DE-588)4113239-7 gnd rswk-swf (DE-588)1071861417 Konferenzschrift 2006 New Orleans gnd-content Computermusik (DE-588)4113239-7 s DE-604 Essl, Georg Sonstige oth Digitalisierung BSB Muenchen 3 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025237945&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Proceedings of the 2006 International Computer Music Conference November 6-11, 2006, New Orleans, USA |
| title_auth | Proceedings of the 2006 International Computer Music Conference November 6-11, 2006, New Orleans, USA |
| title_exact_search | Proceedings of the 2006 International Computer Music Conference November 6-11, 2006, New Orleans, USA |
| title_full | Proceedings of the 2006 International Computer Music Conference November 6-11, 2006, New Orleans, USA Georg Essl ... |
| title_fullStr | Proceedings of the 2006 International Computer Music Conference November 6-11, 2006, New Orleans, USA Georg Essl ... |
| title_full_unstemmed | Proceedings of the 2006 International Computer Music Conference November 6-11, 2006, New Orleans, USA Georg Essl ... |
| title_short | Proceedings of the 2006 International Computer Music Conference |
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| title_sub | November 6-11, 2006, New Orleans, USA |
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