Filters: First Letter Of Title is A [Clear All Filters]
Automatic Species Counterpoint,
, Stanford, CA, CCRMA, 05/1984.
Auditory Distance Perception Under Natural Sounding Conditions, Final Report,
, no. STAN-M-12: Stanford University Department of Music, 1982.
"Audio Watermarking through Deterministic plus Stochastic Signal Decomposition",
EURASIP Journal on Information Security, pp. Volume 2007, Article ID 75961, 12 pages, 2007.
Abstract
"Audio FFT Filter Banks",
Proc. 12th Int. Conf. Digital Audio Effects (DAFx-09), Como, Italy, September 1–4, 2009.
The Aquisition of Musical Percepts with a New Scale,
, Stanford, CA, Stanford University, CCRMA, 07/1987.
"Approximating Measured Reverberation Using A Hybrid Fixed/Switched Convolution Structure",
Proc. 13th Int. Conf. Digital Audio Effects (DAFx-10), Graz, Austria, 09/2010.
Abstract
"Analysis-by-Synthesis/Overlap-add Sinusoidal Modeling Applied to the Analysis and Synthesis of Musical Tones",
J. Audio Eng. Soc., vol. 40, no. 6, pp. 497–516, 1992.
"Analysis of pitch perception of iharmonicity in pipa strings using response surface methodology",
Journal of New Music Research, vol. 39, issue 1, 05/2010.
AM/FM Rate Estimation and Bias Correction for Time-Varying Sinusoidal Modeling,
, no. STAN-M-118: Stanford University, Department of Music, 2004.
"An Allpass Approach to Digital Phasing and Flanging",
International Computer Music Conference, Paris, 1984.
"Alias-suppressed oscillators based on differentiated polynomial waveforms",
IEEE Transactions on Audio, Speech and Language Processing, vol. 18, issue 4, 05/2010.
Abstract
"Alias-free virtual analog oscillators using a feedback delay loop",
the 12th Int. Conference on Digital Audio Effects, Como, Italy, 09/2009.
Abstract
"Active Damping of a Vibrating String",
Proc. 6th International Symposium on Active Noise and Vibration Control, Adelaide, Australia, Sept. 18–20, 2006.
"An Acoustic Analysis of Single-Reed Woodwind Instruments with an Emphasis on Design",
Department of Music, vol. Ph.D., no. STAN-M-100, Stanford, CA, Stanford University, 03/1997.
Absolute Memory for Musical Pitch: More Than The Melody Lingers On,
, Stanford, CA, Stanford University, CCRMA, 06/1992.
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101 Introduction to Creating Electronic Sound
158/258D Musical Acoustics
220B Compositional Algorithms, Psychoacoustics, and Computational Music
223Q Queer Electronic Music Composition
228X SVOrk: Research & Development
251 Psychophysics and Music Cognition
253 Symbolic Musical Information
319 Research Seminar on Computational Models of Sound
356 Music and AI
422 Perceptual Audio Coding
451C Auditory EEG Researcvh III: Coordinated Actions and Hyperscanning