BibTeX entries in bib/sound-sy.bib
@INPROCEEDINGS{beauchamp95,
author = {James Beauchamp and A. Horner and S. McAdams},
title = {{Musical Sounds, Data Reduction, and Perceptual Control Parameters}},
booktitle = {Program for SMPC95, Society for Music Perception and Cognition},
publisher = {Center for New Music and Audio Technologies (CNMAT)},
address = {Univ. Calif. Berkeley},
pages = {8--9},
year = {1995},
note = {},
bib-url = {http://cmp-rs.music.uiuc.edu/people/beauchamp/publist.html},
remarks = {TO BE FOUND!},
abstract = {},
}
@ARTICLE{beauchamp98,
author = {James Beauchamp},
title = {{Methods for measurement and manipulation of timbral physical correlates}},
booktitle = {J. Acoust. Soc. Am.},
year = {1998},
volume = {103},
part = {Pt. 2},
pages = {2966},
number = {5},
note = {},
bib-url = {http://cmp-rs.music.uiuc.edu/people/beauchamp/publist.html},
remarks = {TO BE FOUND!},
abstract = {},
}
@ARTICLE{horner98,
author = {Jennifer Yuen and Andrew Horner},
title = {{Hybrid Sampling-Wavetable Synthesis with Genetic Algorithms}},
booktitle = {Journal of the Audio Engineering Society},
volume = {45},
pages = {316--330},
number = {5},
note = {},
bib-url = {http://www.cs.ust.hk/faculty/horner/subpage/pubs.html},
journal-url = {http://www.aes.org/journal/toc/may97.html},
remarks = {To BE FOUND! high quality sort-of-concatenative instrument synthesis?},
abstract = {A combination of hybrid sampling and wavetable synthesis for matching acoustic instruments is demonstrated using genetic algorithm optimization. Tone sampling is used for the critical attack portion and wavetable synthesis is used to match the more gradually changing sustain and decay. A hybrid sampling wavetable performs a smooth crossfade transition. This method has been used to synthesize piano, harp, glockenspiel, and temple block tones.},
}
@ARTICLE{horner96,
author = {Ngai-Man Cheung and Andrew Horner},
title = {{Group Synthesis with Genetic Algorithms}},
booktitle = {Journal of the Audio Engineering Society},
volume = {44},
number = {3},
pages = {130--147},
bib-url = {http://www.cs.ust.hk/faculty/horner/subpage/pubs.html},
journal-url = {http://www.aes.org/journal/toc/march.html},
remarks = {},
abstract = {Musical sounds can be efficiently synthesized using an automatic genetic algorithm to decompose musical instrument tones into group synthesis parameters. By separating the data into individual matrices, a high degree of data compression with low computational cost is achieved.},
}
@INPROCEEDINGS{chandra98,
author = {Arun Chandra},
title = {{Compositional experiments with concatenating distinct waveform periods while changing their structural properties}},
booktitle = {SEAMUS'98},
publisher = {School of Music, University of Illinois},
address = {Urbana, IL},
month = {April},
year = {1998},
url = {http://cmp-rs.music.uiuc.edu/people/arunc/miranda/seamus98/index.htm},
ps-url = {http://cmp-rs.music.uiuc.edu/people/arunc/miranda/seamus98/pre.ps},
note = {\bibhttp{cmp-rs.music.uiuc.edu/people/arunc/miranda/seamus98/index.htm}},
abstract = {wigout is a sound-synthesis program, written in C and running under Unix and 32-bit Intel systems. The premise of the program is to allow the composer to compose the waveform with which she composes. Thus, sound is not a building-block with which one composes, but the subject matter of composition. The composer defines a waveform state, consisting of an arbitrary number of segments. Each segment is similar to (but not identical with) 1) a sine wave; 2) a square wave; 3) a triangle wave; or 4) a sawtooth wave. The composer stipulates the duration for which the sound is to last, and then the waveform state (which is on the order of a few milliseconds long) is iterated until the desired duration is reached. Upon each iteration, each segment changes itself by a specified amount. The resulting sound is the result of many independent changes in the waveform's segments. Up till now, five compositions have been written using wigout, for tape alone, and for tape and performers.},
}
@ARTICLE{beauchamp96,
author = {James Beauchamp and A. Horner},
title = {{Piecewise Linear Approximation of Additive Synthesis Envelopes: A Comparison of Various Methods}},
booktitle = {Computer Music Journal},
volume = {20},
pages = {72--95},
number = {2},
note = {},
bib-url = {http://cmp-rs.music.uiuc.edu/people/beauchamp/publist.html},
remarks = {},
abstract = {},
}
@ARTICLE{wakefield96,
author = {W. J. Pielemeier and G. H. Wakefield},
title = {{A High Resolution Time--Frequency Representation for Musical Instrument Signals}},
journal = {J. Acoust. Soc. Am.},
volume = {99},
number = {4},
pages = {2382--2396},
year = {1996},
note = {},
bib-url = {},
remarks = {},
abstract = {},
}
@INPROCEEDINGS{wakefield98,
author = {G. H. Wakefield},
title = {{Time--Pitch Representations: Acoustic Signal Processing and Auditory Representations}},
booktitle = {Proceedings of the IEEE Intl. Symp. on Time--Frequency/Time--Scale},
year = {1998},
address = {Pittsburgh},
}
@INPROCEEDINGS{wakefield98-short,
author = {G. H. Wakefield},
title = {{Time--Pitch Representations: Acoustic Signal Processing and Auditory Representations}},
booktitle = {Proc. IEEE Intl. Symp. Time--Frequency/Time--Scale},
year = {1998},
address = {Pittsburgh},
}
@INPROCEEDINGS{loris2000a,
author = {Kelly Fitz and Lippold Haken and Paul Chirstensen},
title = {{Transient Preservation under Transformation in an Additive Sound Model}},
booktitle = {Proceedings of the International Computer Music Conference},
address = {Berlin},
year = {2000},
}
@INPROCEEDINGS{loris2000a-short,
author = {K. Fitz and L. Haken and P. Chirstensen},
title = {{Transient Preservation under Transformation in an Additive Sound Model}},
booktitle = {Proc. ICMC},
address = {Berlin},
year = {2000},
}
@INPROCEEDINGS{loris2000b,
author = {Kelly Fitz and Lippold Haken and Paul Chirstensen},
title = {{A New Algorithm for Bandwidth Association in Bandwidth-Enhanced Additive Sound Modeling}},
booktitle = {Proc. ICMC},
address = {Berlin},
year = {2000},
}
@INPROCEEDINGS{loris2000b-short,
author = {K. Fitz and L. Haken and P. Chirstensen},
title = {{A New Algorithm for Bandwidth Association in Bandwidth-Enhanced Additive Sound Modeling}},
booktitle = {Proc. ICMC},
address = {Berlin},
year = {2000},
}
@INPROCEEDINGS{sms97,
author = {X. Serra and J. Bonada and P. Herrera and R. Loureiro},
title = {{Integrating Complementary Spectral Models in the Design of a Musical Synthesizer}},
booktitle = {Proceedings of the International Computer Music Conference},
year = {1997},
address = {Tessaloniki},
}
@INPROCEEDINGS{sms97-short,
author = {X. Serra and J. Bonada and P. Herrera and R. Loureiro},
title = {{Integrating Complementary Spectral Models in the Design of a Musical Synthesizer}},
booktitle = {Proc. ICMC},
year = {1997},
address = {Tessaloniki},
}
@ARTICLE{sms90,
author = {X. Serra and J. Smith},
title = {{Spectral Modeling Synthesis: a Sound Analysis/Synthesis System Based on a Deterministic plus Stochastic Decomposition}},
journal = {Computer Music Journal},
year = {1990},
volume = {14},
number = {4},
pages = {12--24},
}
@ARTICLE{beauchamp93,
author = {J. W. Beauchamp},
title = {{Unix Workstation Software for Analysis, Graphics, Modification, and Synthesis of Musical Sounds}},
journal = {Proceedings of the Audio Engineering Society},
year = {1993},
}
@INPROCEEDINGS{beauchamp93-short,
author = {J. W. Beauchamp},
title = {{Unix Workstation Software for Analysis, Graphics, Modification, and Synthesis of Musical Sounds}},
booktitle = {Proc. AES},
year = {1993},
}
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