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ORCIDComputer Music Journal, Volume 27
Volume 27, Number 1, Spring 2003
- David Cope:
Computer Analysis of Musical Allusions. 11-28
- Patrick Zanon, Giovanni De Poli
:
Estimation of Parameters in Rule Systems for Expressive Rendering of Musical Performance. 29-46 - Stefan Müller, Guerino Mazzola:
The Extraction of Expressive Shaping in Performance. 47-58
- Eric Ducasse:
A Physical Model of a Single-Reed Wind Instrument, Including Actions of the Player. 59-70 - Vesa Välimäki, Cumhur Erkut:
Commuted Waveguide Synthesis of the Clavichord. 71-82 - Carlos Palombini:
Electroacoustic Evening, Belo Horizonte, Brazil. 83 - Bob L. Sturm:
International Conference on Auditory Display 2002. 84-86 - John Dack:
Brandon LaBelle and Christof Migone, Editors: Writing Aloud - The Sonics of Language. 86-88 - Margaret Schedel:
Curtis Roads: Microsound. 88-89 - Steven M. Miller:
Robert Rowe: Machine Musicianship. 89-92 - Bill Sack:
DSP: Digital Sound Processing. 92-94 - Margaret Schedel, John P. Young:
Freight Elevator Quartet: Fix It In Post. 94-97 - Ian Whalley:
Future Perfect: The Nature of Time. 97-99 - Andrew Kaiser:
Tetsu Inoue and Carl Stone: pict.soul. 99-100 - Margaret Schedel, John P. Young:
Interface: ./swank. 100-101 - Jim Hearon:
New Zealand Sonic Art. 101-103 - Ian Whalley:
BitHeadz Unity DS-1 Software Sampler and Retro AS-1 Software Synthesizer. 103-105 - Eric S. Strother:
Sonic Implants Amps + Pickups SoundFonts. 105 - Eric S. Strother:
ChordWizard Chord Reference Software. 105-107 - Eric S. Strother:
Beatnik Mixman StudioPro 4.0 Remix Software DM2 Digital Music Mixer. 107-109 - Jonathan Segel:
Native Instruments: Reaktor 3 Software SynthesizerLen Sasso: Native Instruments Reaktor 3 - Wizoo Guide. 109-111
Volume 27, Number 2, Summer 2003
- Michael Fingerhut:
Letters. 4-5
- Richard Karpen:
An Interview with James Dashow. 14-29
- Francesco Giomi, Damiano Meacci, Kilian Schwoon:
Live Electronics in Luciano Berio's Music. 30-46 - Rajmil Fischman:
Clouds, Pyramids, and Diamonds: Applying Schrödinger's Equation to Granular Synthesis and Compositional Structure. 47-69
- Susan E. George:
Online Pen-Based Recognition of Music Notation with Artificial Neural Networks. 70-79 - Eduardo Reck Miranda, Ken Sharman, Kerry Kilborn, Alexander Duncan:
On Harnessing the Electroencephalogram for the Musical Braincap. 80-102 - Bob L. Sturm:
International Computer Music Conference 2002. 103-105 - Denis Baggi:
First International Conference on Musical Application Using XML. 105-108 - Maxwell J. Wells:
Third International Conference on Music Information Retrieval. 108-111 - Chris Kennett:
John Palmer: Jonathan Harvey's "Bhakti" for Chamber Ensemble and Electronics. 111-113 - Ian Whalley:
David Temperley: The Cognition of Basic Music Structures. 113-115 - Kristine H. Burns, Colby Leider:
Uli Aumüller: My Cinema for the Ears: The Musique Concrète of Francis Dhomont and Paul Lansky. 115-116 - Elainie Lillios:
Paul Lansky: Conversation Pieces. 116-117 - Thomas Licata:
Thomas DeLio, Agostino Di Scipio, Linda Dusman, Wesley Fuller, Michael Hamman: MUSIC/TEXT II. 117-118 - Alcides Lanza:
Barry Truax: Islands: Soundscape CompositionsBarry Truax: Twin Souls: Text-Based Electroacoustic Music. 118-119 - Nico Schüler:
Alternating Currents: Electronic Music from The University of Michigan. 119-121 - Michael Theodore:
Propellerheads ReCycle!, ReBirth, and Reason Audio Software. 121-126
Volume 27, Number 3, Fall 2003
- Keeril Makan:
An Interview with Gerard Pape. 21-32
- Sinan Bökesoy, Gerard Pape:
Stochos: Software for Real-Time Synthesis of Stochastic Music. 33-43 - Kelly Fitz, Lippold Haken, Susanne Lefvert, Corbin Champion, Mike O'Donnell:
Cell-Utes and Flutter-Tongued Cats: Sound Morphing Using Loris and the Reassigned Bandwidth-Enhanced Model. 44-65
- Henkjan Honing:
The Final Ritard: On Music, Motion, and Kinematic Models. 66-72
- Keiji Hirata, Tatsuya Aoyagi:
Computational Music Representation Based on the Generative Theory of Tonal Music and the Deductive Object-Oriented Database. 73-89 - Tae Hong Park:
Perry R. Cook: Real Sound Synthesis for Interactive Applications. 90-92 - Michael Hamman:
Thomas Licata, Editor: Electroacoustic Music: Analytical Perspectives. 92-95 - Jim Hearon:
Fernando Pereira & Touradj Ebrahimi, Editors: The MPEG-4 Book. 95-96 - Steve Benner:
Carya Amara: Vestigial Digital. 97 - James Forrest:
Curtis Bahn: r!g. 97-99 - Ross Feller:
Mara Helmuth & Allen Otte: Implements of Actuation. 99-101 - Nico Schüler:
Francisco Kröpfl: Música Electroacústica 1988-2000. 101-102 - Warren Burt:
Pauline Oliveros: Alien Bog/Beautiful Soop. 102-103 - Steve Benner:
Sonic Art from Aberdeen, Glasgow, Huddersfield, and Newcastle. 103-105 - Sandy Nordahl:
Deborah Thurlow: I Am. 105-106 - Tae Hong Park:
Sibelius 2 Notation Software. 106-109 - Jim Hearon:
Virtos Noise Wizard Noise Reduction DirectX Plug-Ins. 110-111
Volume 27, Number 4, Winter 2003
- Ketty Nez:
An Interview with Hans Tutschku. 14-26
- Dave Phillips:
Computer Music and the Linux Operating System: A Report from the Front. 27-42 - Donald Byrd, Eric J. Isaacson:
A Music Representation Requirement Specification for Academia. 43-57
- Wei Li, Xiangyang Xue:
An Audio Watermarking Technique That Is Robust Against Random Cropping. 58-68
- Jörg Langner, Werner Goebl:
Visualizing Expressive Performance in Tempo - Loudness Space. 69-83 - Alexia Rosari:
Sonic Circuits X Boston International Electronic Music Festival American Composers Forum Boston Chapter, Boston Cyberarts Festival, Berklee College of Music, Boston, Massachusetts, USA, 12 March/27 April/4 May 2003. 84-86 - Mark Polishook:
Kobe DSP Off Summer School 2003: Robots and Music Xebec Hall, Kobe, Japan, 18-23 March 2003. 86-89 - Peter V. Swendsen:
Matthew Burtner: Winter Raven (Ukiuq Tulugaq) Old Cabell Hall, University of Virginia, Charlottesville, Virginia, USA, 28 March 2003. 89-91 - C. K. Barlow:
Thomas DeLio: amounts. to. John Donald Robb Composers' Symposium/University Art Museum, University of New Mexico, Albuquerque, New Mexico, USA, 30 March-2 April 2003. 91-93 - John Phillips:
Mark Ballora: The Essentials of Music Technology. 93-95 - Chris Kennett:
Nico Schüler, Editor: Computer-Applications in Music Research. 95-98 - Meg Schedel:
Natasha Barrett: Isostasie. 98-99 - James Bohn:
Erik Belgum: Strange Neonatal Cry. 99-100 - Andrew Kaiser:
William Kleinsasser: Available Instruments. 100-101 - James Harley:
Trevor Wishart: voiceprints. 101-103 - Don Damborg, James Harley:
GRM Tools. 103-107 - Margaret Cahill:
Litter. 108-110
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