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ICMC 2001 Preliminary Schedule |
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note: s=short, l=long, b=10 min break, d=demo, p=panel |
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TUESDAY SEPT 18TH |
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| Paper# |
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Time |
Paper# |
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Time |
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PLENARY |
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PLENARY |
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| 1000 |
s |
Organizers: Cuba 101 |
9:00 |
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| 1200 |
s |
New
public-domain realizations of standard pieces for instruments and live
electronics |
9:20 |
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| 1388 |
s |
Realizing
Lucier and Stockhausen: case studies in the performance practice of
electroacoustic music |
9:40 |
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b |
DSP 1 |
10:10 |
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AESTHETICS 1 |
10:10 |
| 1049 |
s |
ANTI ALIASING
FOR SUBBAND AUTOREGRESSIVE MODELING |
10:10 |
1340 |
s |
Do
Composition Systems Support Creativity? - An evaluation |
10:10 |
| 1137 |
s |
Time-Frequency
Reassignment for Music Analysis |
10:30 |
1349 |
s |
Measuring
Intention against Reception in Electroacoustic Music: a new opportunity for analysis |
10:30 |
| 1400 |
s |
Transient modelling
by pruned wavelet trees |
10:50 |
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10:50 |
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b |
DSP 2 |
11:20 |
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b |
AESTHETICS 2 |
11:20 |
| 1379 |
s |
Detection and
modeling of fast attack transients |
11:20 |
1257 |
l |
Improvising
with Computers: A Personal Survey (1989-2001) |
11:20 |
| 1005 |
l |
Object-Based Sound Synthesis |
11:40 |
1199 |
l |
PHYSICALITY
AND FEEDBACK: A Focus on the Body in the Performance of Electronic Music |
11:50 |
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12:10 |
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12:20 |
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SPATIAL SOUND 1 |
2:00 |
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MIR (MUSIC INFORMATION RETRIEVAL) |
2:00 |
| 1289 |
s |
Analysis
and Synthesis of Room Acoustics Using the MPEG-4 Scene Description |
2:00 |
1125 |
p |
Panel: New directions in Music Information
Retrieval |
2:00 |
| 1229 |
l |
Enhancing sound description
in VRML |
2:20 |
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| 1354 |
s |
Evaluating
spatial sound with binaural auditory model |
2:50 |
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b |
SPATIAL SOUND 2 |
3:20 |
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MIR (CONTINUED) |
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| 1230 |
l |
Functional
specification of a distributed and mobile architecture for virtual sound
space systems |
3:20 |
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| 1117 |
s |
Composing
Outdoor Augmented-Reality Sound Environments |
3:50 |
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4:10 |
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4:10 |
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WEDNESDAY SEPT 19TH |
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PHYSICAL MODELING 1 |
9:00 |
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LANGUAGES AND SYSTEMS 1 |
9:00 |
| 1172 |
s |
Processing
non-redundant signals with the Square Waveguide Mesh |
9:00 |
1223 |
s |
Implementations
of Temporal Type Constructors for Music Programming |
9:00 |
| 1141 |
s |
Controlling
Material Properties in Physical Models of Sounding Objects |
9:20 |
1130 |
s |
A
system to port unit generators between audio DSP systems |
9:20 |
| 1237 |
s |
Note
Dependence of a Piano String Model Based on Coupled Digital Waveguides |
9:40 |
1182 |
s |
A Fast Data
Structure For Disk-Based Audio Editing |
9:40 |
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b |
PHYSICAL MODELING 2 |
10:10 |
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b |
LANGUAGES AND SYSTEMS 2 |
10:10 |
| 1272 |
s |
From
piano string vibrations to the acoustic field radiated by the soundboard |
10:10 |
1013 |
s |
Java
Music Specification Language, an introduction and overview |
10:10 |
| 1331 |
s |
BOWED
STRING SYNTHESIS WITH FORCE FEEDBACK GESTURE INTERACTION |
10:30 |
1088 |
s |
PWSynth:
A Lisp-based Bridge between Computer Assisted Composition and Model Based Synthesis |
10:30 |
| 1094 |
s |
Model-based
synthesis of the ud and the Renaissance lute |
10:50 |
1047 |
s |
ENP
- Musical Notation Library based on Common Lisp and CLOS |
10:50 |
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b |
PHYSICAL MODELING 3 |
11:20 |
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b |
SCORE FOLLOWING |
11:20 |
| 1104 |
s |
Vocal
fold and false vocal fold vibrations and synthesis of khoomei |
11:20 |
1087 |
s |
Bayesian
Real-time Adaptation for Interactive Performance Systems |
11:20 |
| 1334 |
l |
Singing
Voice Synthesis combining excitation plus resonances and sinusoidal plus
residual models |
11:40 |
1126 |
s |
Score
Following Using Spectral Analysis and Hidden Markov Models |
11:40 |
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12:10 |
1375 |
s |
Alignment
of Monophonic and Polyphonic Music to a Score |
12:00 |
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PHYSICAL MODELING 4 |
2:00 |
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b |
CONDUCTING |
2:00 |
| 1361 |
s |
Analysis-Synthesis
of Flute Sounds Using a Non-Linear Digital Waveguide Model |
2:00 |
1403 |
l |
Music Plus One: A System for Expressive and Flexible Musical
Accompaniment |
2:00 |
| 1213 |
s |
Applications
of Bioacoustics in Physical Modeling and the Creation of New Musical
Instruments |
2:20 |
1300 |
s |
Modeling
the Tempo Coupling between an Ensemble and the Conductor |
2:30 |
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2:40 |
1250 |
s |
Technological
Advances for Conducting a Virtual Ensemble |
2:50 |
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b |
PHYSICAL MODELING 5 |
3:10 |
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STUDIO REPORTS 1 |
3:10 |
| 1034 |
s |
Simple resonators with
shape control |
3:10 |
1306 |
s |
Music Informatics
Laboratory at DIKU |
3:10 |
| 1165 |
s |
New
techniques to model reverberant instrument body responses |
3:30 |
1204 |
s |
University
of Cincinnati College Conservatory of Music Center for Computer Music |
3:30 |
| 1007 |
s |
PHYSICAL
MODELING FOR SOUND SYNTHESIS WITH PARTICLE-INTERACTION NETWORKS: STUDY OF THE PERCUSSION .. |
3:50 |
1041 |
s |
Centre for
Music Technology, University of Glasgow |
3:50 |
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4:10 |
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4:10 |
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THURSDAY SEPT 20th |
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PHYSICAL MODELING 6 |
9:00 |
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DEMOS 1 |
9:00 |
| 1057 |
s |
Automatic
Estimation of Control Parameters : An Instance-Based Learning Approach |
9:00 |
1139 |
d |
The
Accordiatron: A Gestural Interface For Interactive Music |
9:00 |
| 1024 |
s |
Parameter
estimation for dual-polarization plucked string models |
9:20 |
1115 |
d |
An
Interactive Beat Tracking and Visualisation System |
9:00 |
| 1246 |
s |
Data-driven
identification of bowed string dynamics using a Bayesian network. |
9:40 |
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b |
PERCEPTUAL SYNTHESIS |
10:10 |
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INTERACTIVE SYSTEMS 1 |
10:10 |
| 1059 |
l |
Perceptual
Wavetable Matching Synthesis of Musical Instrumental Tones |
10:10 |
1008 |
l |
A
MutaSynth in Parameter Space: Controlling Sound Synthesis by Interactive Evolution |
10:10 |
| 1187 |
s |
Listener
Evaluation of Reduction Strategies for Sinusoidal and Resonance Models |
10:40 |
1291 |
s |
The
MATRIX: A New Musical Instrument for Interactive Performance |
10:40 |
| 1185 |
s |
On
the importance of phase information in additive analysis/synthesis of
binaural sounds |
11:00 |
1366 |
s |
New Algorithms and
Technology for Analyzing |
11:00 |
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b |
ICMA MEMBERS MEEETING |
11:30 |
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b |
ICMA MEMBERS MEETING |
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| 999 |
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ICMA general meeting |
11:30 |
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STUDIO REPORTS 2 |
2:00 |
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LINUX PANEL Introductory Remarks by Dave Phillips |
2:00 |
| 1069 |
s |
The
international Sound art festival in Mexico City |
2:00 |
1189 |
s |
Audio
Latency Measurements of Desktop Operating Systems |
2:20 |
| 1271 |
s |
Delimitation
of compositive constants in the electroacoustic music from the interior of
Argentina |
2:20 |
1123 |
s |
PortAudio -
an Open Source Cross Platform Audio API |
2:35 |
| 1309 |
s |
Studio Report: University
of Limerick |
2:40 |
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b |
PERCEPTION |
3:10 |
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LINUX PANEL (continued) |
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| 1282 |
s |
Octave Ambiguous Tones |
3:10 |
1188 |
s |
A
System Supporting Flexible Distributed Real-Time Music Processing |
2:50 |
| 1152 |
s |
Use of
the waveguide mesh in tests of shape recognition |
3:30 |
1070 |
s |
Demudi: The Debian
Multimedia Distribution |
3:05 |
| 1108 |
s |
Audibility
of initial pitch glides in string instrument sounds |
3:50 |
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Discussion |
3:20 |
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4:10 |
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4:10 |
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FRIDAY SEPT 21st |
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NETWORKS AND LOUDSPEAKERS |
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EXPRESSION 1 |
9:00 |
| 1281 |
s |
ARCHITECTURAL
OVERVIEW OF A SYSTEM FOR COLLABORATIVE MUSIC COMPOSITION OVER THE WEB |
9:00 |
1109 |
s |
Spectral
analysis of timing profiles of piano performances |
9:00 |
| 1208 |
s |
Telemusic:
Using the Web for Live Interactive Music |
9:20 |
1067 |
s |
The
Local Boundary Detection Model (LBDM) and its Application in the Study of Expressive Timing |
9:20 |
| 1303 |
s |
Radiation control
on multi loudspeaker device |
9:40 |
1001 |
s |
Articulation
rules for automatic music performance. |
9:40 |
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b |
INTERACTIVE SYSTEMS 2 |
10:10 |
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b |
EXPRESSION 2 |
10:10 |
| 1326 |
s |
Preparation
for Interactive Live Computer Performance in Collaboration with a Symphony
Orchestra |
10:10 |
1170 |
l |
Inductive
Learning of General and Robust Local Expression Principles |
10:10 |
| 1324 |
s |
Managing
Complexity with Explicit Mapping of Gestures to Sound Control with OSC |
10:30 |
1359 |
s |
ETNA
- a New Advanced Graphical Tree Representation of Music |
10:40 |
| 1232 |
s |
System-level MIDI
Performance Testing |
10:50 |
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11:00 |
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b |
ABSTRACT SYNTHESIS 1 |
11:20 |
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b |
COMPOSITION TOOLS |
11:20 |
| 1295 |
s |
Frequency Shaping of Audio
Signals |
11:20 |
1110 |
l |
Visual and
Adaptive Constraint Programming in Music |
11:20 |
| 1193 |
s |
Manipulation
and Resynthesis with Natural Grains |
11:40 |
1363 |
l |
An Environment for
Composing Music for Film |
11:50 |
| 1039 |
s |
Temporal Filtering:
Framing Sonic Objects |
12:00 |
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12:20 |
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ABSTRACT SYNTHESIS 2 |
2:00 |
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DEMOS 2 |
2:00 |
| 1179 |
s |
Synthesizing
sounds with specified, time-varying spectra |
2:00 |
1066 |
d |
The
_Williams [re]Mix[er]: An Interactive, Octophonic, _I Ching_ Composing Program |
2:00 |
| 1222 |
s |
Hard Sync Without Aliasing |
2:20 |
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| 1052 |
s |
Adaptive
additive synthesis using spline based parameter trajectory models |
2:40 |
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b |
ABSTRACT SYNTHESIS 3 |
3:10 |
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STUDIO REPORTS 3 |
3:10 |
| 1002 |
l |
An
Audio-Driven, Perceptually-Meaningful Timbre Synthesizer |
3:10 |
1228 |
s |
Center
for Computer Research in Music and Acoustics (CCRMA) |
3:10 |
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3:40 |
1327 |
s |
Center
for New Music and Audio Technologies (CNMAT): Studio Report |
3:30 |
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1033 |
s |
Kopavogur Computer Music Center |
3:50 |
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4:10 |
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SATURDAY SEPT 22nd |
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PITCH TRACKING |
9:00 |
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DEMOS 3 |
9:00 |
| 1068 |
s |
Refined knowledge-based
pitch tracking |
9:00 |
1192 |
d |
Trumpet
and trumpet player: modelisation and simulation in a musical context |
9:00 |
| 1207 |
s |
Efficient
Pitch Detection Techniques for Interactive Music |
9:20 |
1014 |
d |
Real time extended physical models for the composer and performer |
9:00 |
| 1284 |
s |
Constant
Q Profiles for Tracking Modulations in Audio Data |
9:40 |
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b |
TRANSCRIPTION |
10:10 |
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VISUALIZATION |
10:10 |
| 1089 |
s |
Automatic
Bass Line Transcription From Polyphonic Music |
10:10 |
1043 |
s |
Visualizing
Musical Structure and Rhythm via Self-Similarity |
10:10 |
| 1338 |
s |
ESTIMATION
OF MULTIPLE FUNDAMENTAL FREQUENCIES IN AUDIO SIGNALS USING A GENETIC ALGORITHM |
10:30 |
1101 |
l |
Harmonic Visualizations
of Tonal Music |
10:30 |
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MACHINE LEARNING 1 |
11:20 |
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b |
STUDIO REPORTS 4 |
11:20 |
| 1387 |
l |
machine
learning techniques for real-time improvisational solo trading |
11:20 |
1134 |
s |
Gesture Control Research at
Ircam |
11:20 |
| 1328 |
l |
Experiments
in Unsupervised Learning of Musical Style |
11:50 |
1362 |
s |
Hypermusic
and the Sighting of Sound - A nomadic studio report |
11:40 |
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12:20 |
1154 |
s |
Princeton Sound Kitchen
Software report |
12:00 |
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MACHINE LEARNING 2 |
2:00 |
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ACCREDITATION PANEL |
2:00 |
| 1146 |
s |
Learning-Based
Jam Session System for A Guitar Trio |
2:00 |
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| 1003 |
s |
Analysis
and Synthesis of Palestrina-Style Counterpoint Using Markov Chains |
2:20 |
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| 1360 |
s |
Grouping,
Smilarity and the Recognition of Rhythmic Structure |
2:40 |
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b |
MACHINE LEARNING 3 |
3:10 |
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panel ends |
3:30 |
| 1332 |
l |
Representation
and Discovery of Multiple Viewpoints Patterns |
3:10 |
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| 1260 |
l |
A Memory-Based Model
for Musical Analysis |
3:40 |
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4:10 |
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