Publications
] Filters: First Letter Of Last Name is C [Clear All Filters]
"Noise and Aperiodicity in the Glottal Source: A Study of Singer Voices",
Twelfth International Congress of Phoenetic Sciences, no. STAN-M-75, 08/1991.
"Synthesis of the Singing Voice Using a Physically Parameterized Model of the Human Vocal Tract",
International Computer Music Conference, no. STAN-M-57, Columbus, Ohio, USA, 1989.
"Hardware, Software, and Compositional Tools for a Real Time Improvised Solo Trumpet Work",
International Computer Music Conference, no. STAN-M-56, Columbus, Ohio, USA, 1989.
"Identification of Control Parameters in an Articulatory Vocal Tract Model, with Applications to the Synthesis of Singing",
Electrical Engineering, vol. Ph.D., no. STAN-M-68, Stanford, California, Stanford University, 12/1990.
"CCRMA Papers on Physical Modeling from the 1991 International Computer Music Conference, Montreal, Canada",
International Computer Music Conference, no. STAN-M-73, Montreal, Canada, 10/1991.
Implementation of Single Reed Instruments with Arbitrary Bore Shapes Using Digital Waveguide Filters,
, no. STAN-M-50: Stanford University Department of Music, 05/1988.
"LECTOR: An Ecclesiastical Latin Control Language for the SPASM/Singer Instrument",
International Computer Music Conference, no. STAN-M-76, Montreal, Canada, 1991.
Reverberation Cancellation in Musical Signals Using Adaptive Filters,
, no. STAN-M-51, Stanford, California, CCRMA, 05/1988.
The Influence of Nonharmonic Partials on Tone Perception,
, vol. Ph.D., no. STAN-M-10: Stanford University, 1980.
Computer Simulation of Music Instrument Tones in Reverberant Environments,
, no. STAN-M-1: Stanford University Department of Music, 1974.
"The Synthesis of Complex Audio Spectra by Means of Frequency Modulation",
Journal of the Audio Engineering Society, pp. J. Audio Eng. Soc. 21 (7), 526-534., 1973.
Abstract
Intelligent Analysis of Composite Acoustic Signals, Final Report,
, Stanford, California, Stanford University Department of Music, 05/1986.
Instrumental Timbre and Related Acoustical Phenomena in the Perception of Music, Final Report,
, no. STAN-M-11, Stanford, California, Stanford University Department of Music, 08/1982.
"The Simulation of Moving Sound Sources",
Journal of the Audio Engineering Society, pp. J. Audio Eng. Soc. 19 (1), 2–6., 1971.
Abstract
Music From Machines: Perceptual Fusion and Auditory Perspective - for Ligeti,
, no. STAN-M-64: Stanford University Department of Music, 1990.
Auditory Distance Perception Under Natural Sounding Conditions, Final Report,
, no. STAN-M-12: Stanford University Department of Music, 1982.
Simulation of Music Instrument Tones in Reverberant Environments, Final Report,
: Stanford University Department of Music, 05/1978.
Intelligent Systems for the Analysis of Digitized Acoustic Signals, Final Report,
, no. STAN-M-15: Stanford University Department of Music, 1984.
Distance of Sound in Reverberant Fields,
, vol. Ph.D., no. STAN-M-94: Department of Music, Stanford University, 08/1995.
"Analysis of pitch perception of iharmonicity in pipa strings using response surface methodology",
Journal of New Music Research, vol. 39, issue 1, 05/2010.
Coupled Structural-Acoustic Systems. Application to Stringed Instruments,
, no. STAN-M-119: Stanford University, Department of Music, 2004.
"Source Separation and Note Identification in Polyphonic Music",
Proceedings of the International Conference on Acoustics, Speech, and Signal Processing, Tokyo, no. STAN-M-34, New York, IEEE Press, 1986.
Pulsed Noise and Microtransients in Physical Models of Musical Instruments,
, no. STAN-M-65: Stanford University Department of Music, sep, 1990.
"Techniques for Note Identification in Polyphonic Music",
Proceddings of the 1985 International Computer Music Conference, Burnaby, B.C., Canada, no. STAN-M-29: International Computer Music Association, 1985.
Bowed String Synthesis and Its Control From a Physical Model,
, no. STAN-M-32, replaced by STAN-M-48: Stanford University Department of Music, 07/1985.
"Temporal Separation in a Rhythmic Task",
Perception, 2010.
"Pulsed Noise in Self-Sustained Oscillations of Musical Instruments",
Proceddings of the International Conference on Acoustics, Speech, and Signal Processing, Albuquerque, no. STAN-M-61, New York, IEEE Press, 01/1990.
"CCRMA Papers Presented at the 1993 International Computer Music Conference, Tokyo, Japan",
International Computer Music Conference, no. STAN-M-81, Tokyo, Japan, 12/1993.
"Simulating Performance on a Bowed Instrument",
Current Directions in Computer Music: MIT Press, 05/1988, 1989.
"CCRMA Papers Presented at the 1996 International Computer Music Conference Hong Kong",
International Computer Music Conference Hong Kong, no. STAN-M-99, Hong Kong, CCRMA, 08/1996.
"Efficient Time-Varying Loudness Estimation via the Hopping Goertzel DFT",
Proceedings of the IEEE International Midwest Symposium on Circuits and Systems (MWSCAS-2007), 2007.
"Simulation of Recruiting Hearing Impairment Using a Tree-Structured Allpass-Complementary ERB-Band Filter Bank",
IEEE Workshop on Appl. Signal Processing to Audio and Acoustics, Demo Session, New Paltz, NY, pp. [TD1-8], oct, 2007.
"An oversampled, non-uniform filter bank for multi-band audition and level modification of audio signals",
Proc. 38th Asilomar Conference on Signals, Systems and Computers, 2004.
A Generalized Approach to Automatic Recognition of Music Scores,
, no. STAN-M-87, Stanford, California, Stanford University Department of Music, 12/1993.
"JackTrip: Under the Hood of an Engine for Network Audio",
Proceedings of International Computer Music Conference, San Francisco, California, International Computer Music Association, pp. 509–512, 2009.
"SCUBA: the Self-Contained Unified Bass Augmenter",
New Interfaces for Musical Expression, pp. 38–41, 2005.
"JackTrip/SoundWIRE Meets Server Farm",
Computer Music Journal, vol. 34, no. 3, 2010.
"JackTrip: Under the Hood of an Engine for Network Audio",
Journal of New Music Research, vol. 38, no. 3, 2010.
"To the Edge with China: Explorations in Network Performance",
ARTECH 2008: Proceedings of the 4th International Conference on Digital Arts, Porto, Portugal, pp. 61–66, 2008.
