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Miscellaneous
Smith III, J. O., Making Virtual Electric Guitars and Associated Effects Using Faust [DRAFT], , dec, 2007.
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Smith III, J. O., Signal Processing in Faust and Pd, , nov, 2007.
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Berdahl, E., and J. O. Smith III, Transfer Function Measurement Toolbox, , 2007.
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Report
Scavone, G. P., "The 2003 CCRMA Open House", CCRMA Overview, April 2003, 2003.
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Levitine, D. J., Absolute Memory for Musical Pitch: More Than The Melody Lingers On, , Stanford, CA, Stanford University, CCRMA, 06/1992.
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Abe, M., and J. O. Smith III, AM/FM Rate Estimation and Bias Correction for Time-Varying Sinusoidal Modeling, , no. STAN-M-118: Stanford University, Department of Music, 2004.
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Mathews, M. V., and J. R. Pierce, The Aquisition of Musical Percepts with a New Scale, , Stanford, CA, Stanford University, CCRMA, 07/1987.
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Chowning, J., and C. Sheeline, Auditory Distance Perception Under Natural Sounding Conditions, Final Report, , no. STAN-M-12: Stanford University Department of Music, 1982.
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Schottstaedt, B., Automatic Species Counterpoint, , Stanford, CA, CCRMA, 05/1984.
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Mont-Reynaud, B., The Bounded-Q approach to time-varying spectral analysis, , Stanford, CA, Stanford University, CCRMA, 1986.
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Chafe, C., 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.
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Scavone, G. P., CCRMA Overview April 2003, , Stanford, CA, CCRMA, 04/2003.
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Leistikow, R., and G. P. Scavone, CCRMA Overview, April 2000, , Stanford, CA, Stanford University, CCRMA, 04/2000.
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Scavone, G. P., CCRMA Overview, April 2002, , Stanford, CA, Stanford University, CCRMA, 04/2002.
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Scavone, G. P., CCRMA Overview, February 1999, , Stanford, CA, Stanford University, CCRMA, 02/1999.
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Scavone, G. P., CCRMA Overview, January 1998, , Stanford, CA, Stanford University, 01/1998.
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Nichols, C., CCRMA Overview, July 2001, , Stanford, CA, Stanford University, CCRMA, 07/2001.
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Scavone, G. P., CCRMA Publications, 1970-1995, , Stanford, CA, Stanford University, CCRMA, 01/1996.
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Igoudin, A., and J. O. Smith III, CCRMA Report, May 1996, , Stanford, CA, Stanford University, CCRMA, 05/1996.
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Chowning, J., J. M. Grey, L. Rush, and J. A. Moorer, Computer Simulation of Music Instrument Tones in Reverberant Environments, , no. STAN-M-1: Stanford University Department of Music, 1974.
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Mathews, M. V., and D. Barr, The Conductor Program and Mechanical Baton, , Stanford, CA, Stanford University, CCRMA, 05/1988.
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Chaigne, A., Coupled Structural-Acoustic Systems. Application to Stringed Instruments, , no. STAN-M-119: Stanford University, Department of Music, 2004.
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Abe, M., and J. O. Smith III, CQIFFT: Correcting Bias in a Sinusoidal Parameter Estimator based on Quadratic Interpolation of FFT Magnitude Peaks, , no. STAN-M-117: Stanford University, Department of Music, 2004.
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Abe, M., and J. O. Smith III, Design Criteria for the Quadratically Interpolated FFT Method (I): Bias due to Interpolation, , no. STAN-M-114: Stanford University, Department of Music, 2004.
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Abe, M., and J. O. Smith III, Design Criteria for the Quadratically Interpolated FFT Method (II): Bias due to Interfering Components, , no. STAN-M-115: Stanford University, Department of Music, 2004.
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Abe, M., and J. O. Smith III, Design Criteria for the Quadratically Interpolated FFT Method (III): Bias due to Amplitude and Frequency Modulation, , no. STAN-M-116: Stanford University, Department of Music, 2004.
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Diener, G., Designing Digital Instruments with Hierarchical Waveguide Networks, , Stanford, California, Stanford University, 05/1988.
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Serra, X., An Environment for the Analysis, Transformation and Resynthesis of Musical Sounds, , Stanford, CA, Stanford University, CCRMA, 05/1988.
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Berdahl, E., G. Niemeyer, and J. O. Smith III, "Feedback Control of Acoustic Musical Instruments", STAN-M, no. 120, Stanford, CA, Stanford University, 06/2008.
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Carter, N., A Generalized Approach to Automatic Recognition of Music Scores, , no. STAN-M-87, Stanford, California, Stanford University Department of Music, 12/1993.
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Pierce, J. R., and E. D. Schubert, High Level Factors and the Musical Saliency of Auditory Phenomena, , Stanford, CA, Stanford University, CCRMA, 07/1987.
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Keisler, D., History and Principles of Microtonal Keyboard Design, , Stanford, CA, Stanford University, CCRMA, 04/1988.
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Cook, P., Implementation of Single Reed Instruments with Arbitrary Bore Shapes Using Digital Waveguide Filters, , no. STAN-M-50: Stanford University Department of Music, 05/1988.
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Chowning, J., J. M. Grey, J. A. Moorer, and L. Rush, 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.
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Chowning, J., and B. Mont-Reynaud, Intelligent Analysis of Composite Acoustic Signals, Final Report, , Stanford, California, Stanford University Department of Music, 05/1986.
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Chowning, J., L. Rush, B. Mont-Reynaud, C. Chafe, W. A. Schloss, and J. O. Smith III, Intelligent Systems for the Analysis of Digitized Acoustic Signals, Final Report, , no. STAN-M-15: Stanford University Department of Music, 1984.
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Holland, S., Learning About Harmony with Harmony Space: an Overview, , Stanford, CA, CCRMA, 09/1994.
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Gillespie, B., and S. O'Modhrain, The Moose: A Haptic User Interface for Blind Persons with Application to the Digital Sound Studio, , Stanford, California, Stanford University, 10/1995.
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Smith III, J. O., Music Applications of Digital Waveguides, : Stanford University, 1987.
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Chowning, J., Music From Machines: Perceptual Fusion and Auditory Perspective - for Ligeti, , no. STAN-M-64: Stanford University Department of Music, 1990.
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Winter Quarter 2023

101 Introduction to Creating Electronic Sound
158/258D Musical Acoustics
220B Compositional Algorithms, Psychoacoustics, and Computational Music
222 Sound in Space
250C Interaction - Intermedia - Immersion
251 Psychophysics and Music Cognition
253 Symbolic Musical Information
264 Musical Engagement
285 Intermedia Lab
319 Research Seminar on Computational Models of Sound
320B Introduction to Audio Signal Processing Part II: Digital Filters
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451B Neuroscience of Auditory Perception and Music Cognition II: Neural Oscillations

 

 

 

   

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