ICMINTERNATIONAL COMPUTER MUSIC CONFERENCE
MONTREAL 1991
PROCEEDINGSEditors: Bo Alphonce, Bruce Pennycook
Published by ICMC-1991
Faculty of Music mlffmannover 89
McGill University
All Copyrights remain with the authors
CONTENTSKeynote Address
Viewpoints on the History of Digital Synthesis pg 1Julius Orion Smith III
Session 1: Sound Synthesis Systems 1
A New Chant Synthesizer in C and Its Control Environment in PATCHWORK pg 11Jean -Baptiste Barri6re, Francisco lovino, Mikael Laurson
The Integration of Real-Time Synthesis into HMSL, the Hierarchical Music pg 15Specification LanguagePhil Burk
Control Mechanisms in the MOSAIC Synthesis Program pg 19Joseph Derek Morrison
Music 30 and SCORE pg 23James Dashow
Session 2: Composition Systems 1
A High-Level System for Music Composition pg 27Antonio Camurri, Corrado Canepa, Marcello Frixione, Carlo Innocenti, ClaudioMassucco, Renato Zaccaria
Live Interactive Intelligent Computer Music: Notes on Pieces Done in HMSL, pg 371984-91Larry Polansky
An Algorithmic Approach to Composition based on Dynamic Hierarchical Assembly pg 45William F. Punch III
Session 3: Analysis of Musical Structure
Computer-Graphic Tools for Music Analysis pg 53Alexander R. Brinkman
Computer Analysis of Surface Detail in Tonal Music pg 57Sevan G. Ficici
Harmonizing Music as a Discipline in Constraint Logic Programming pg 61C. P. Tsang, M. Aitken
Automated Linguistic Analysis of Musical Compositions pg 65John Joy
Optical Music Recognition: Progress Report pg 66Ichiro Fujinaga, Bo Alphonce, Bruce Pennycook, Kharim Hogan
Session 4: Studio Reports 1
Studio Report: University of Victoria pg 74John Celona
Studio Report: Electroacoustic and Computer Studio at City University, LondonSimon Emmerson
Studio Report: Computer Music Dept of CNUCE/CNR, Pisa, ItalyLeonello Tarabella, Graziano Bertini
GRM ReportHugues Vinet, Daniel Teruggi
Session 5: Audio Analysis: Source Separation, Timbre
A Wavelet Based Sinusoid Model of Sound for Auditory Signal SeparationDaniel PW Ellis, Barry L. Vercoe
Sound Explorer: A Workbench for Investigating Source SeparationDavid K. Mellinger, Bernard M. Mont-Reynaud
Method for Automatic Evaluation of Timbre and Fluctuation of Pipe Organ SoundsMassimo Dal Sasso, Giovanni B. Debiassi, Giovanni Spagiari
A Library of Orchestral Instrument SpectraGregory J. Sandell
Session 6: Composition Systems 2
Sound Models: The Representation of Knowledge about Sound-Synthesis in theCPL EnvironmentPeter Lunden
A Phase Vocoder Graphical Interface for Timbral Manipulation of CellularAutomata and Fractal Landscape MappingsA.I. Katrami, R. Kirk, A. Myatt
Interactive Music Composition with a Minimum of Input StatesJustin R. Shuttleworth
PAT-PROC:An Interactive, Pattern-Process, Algorithmic Composition ProgramPhil Winsor
Session 7: Sound Synthesis Techniques 1
A Multiprocessor DSP System for Real-Time Interactive Sound Processing andSynthesisJohn A. Bate
Additive Synthesis and Resynthesis: A Tentatively Objective EvaluationLouis N. Belanger
A MIDI Foot Controller - The PodoboardEric Johnstone
Parametric SpectrumizationNil Parent
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Session 8: Aesthetics, Philosophy and Criticism 1
Who's Playing - The Computer's Role In Musical PerformanceAlan Belkin
Computers and Live Electronic Music: Some Solutions, Many ProblemsSimon Emmerson
Composing the Output InterfaceBrad Garton, Mara Helmuth
Tempo Curves Considered HarmfulPeter Desain, Henkjan Honing
Session 9: MIT Media Lab
A Development Environment for String HyperinstrumentsJoseph T. Chung
MIT-Media LabDr. Neil Gershenfeld
Using State-of-the-Art Technologies to Investigate the Cognitive Mapping ofMusical Intention to PerformanceMary Ann Norris
A Platform for Real-Time Perceptually-Based Audio Data ReductionTom Maglione, Barry Vercoe
Session 10: Analysis and Synthesis
Non Linear Periodic Prediction for On-Line Identification of OscillatorCharacteristics in Woodwind InstrumentsPerry R. Cook
A Modular System for Analysis, Processing and Synthesis of Sound SignalsPhilippe Depalle, G. Poirot
A Phase Vocoder Graphical Interface for Musical Applications of a CellularAutomata WorkstationRichard Orton, Andy Hunt, Ross Kirk
The Cro-Magnon Advanced Additive Analysis/Synthesis SystemRalph David Hill
Session 11: Educational Issues
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In, Out, But Not Thru: The Current State of Electro-Acoustic Music Education in pg 177CanadaR.D. Wraggett
The Computer-Assisted Music Classroom: A Catalyst for Creativity pg 178Bruce P. Mahin
Commonalities in the Time-Based Arts: A New Approach to the Teaching and pg 182Practice of the Electronic ArtsRichard Povall, Neil B. Rolnick
Session 12: Aesthetics, Philosophy, and Criticism 2
Understanding Music with Al pg 188Otto E. Laske
Has Structure Any Meaning in Computer Music? pg 192Hans Lunell
Found Sound. Found Structure Summary pg 194Craig Harris
Why Simulate When We Can Get The Real Thing? pg 198
Dominique M. Richard
Session 13: Perception, Cognition, Psychoacoustics
The Relevance of Beating Partials for Musical Intonation pg 202Douglas F. KeislarThe Musical Expectations of Self-Organizing Neural Networks pg 206Michael Page
A Psychoacoustical Model for Tonal Composition pg 210Richard Parncutt
Audification: The Use of Sound to Display Multivariate Data pg 214
Gregory Kramer, Stephen Ellison
Session 14: Sound Synthesis Systems 2
Sine Circuitu: 10,000 high quality sine waves without detours pg 222Cor JansenAn Expandable Real-Time Transputer Sound Generator pg 226Avi Parash, Uri Shimony
T-MAX: a parallel processing development system for MAX pg 229Bruce Pennycook, Chris Lea
Morphological Mutation Functions: Applications to Motivic Transformation and to a pg 234New Class of Time Domain Cross-Synthesis TechniquesLarry Polansky, Martin McKinney
SessioniS: Composition Systems 3
The Composer's Toolbox: A Common Lisp-Based Precomposition Environment pg 242Jonathan Hallstrom, Dale Skrien
A Formal Composition System Based on the Theory of Time Trees pg 246Aluizio Arcela, Geber Ramalho
A Self-Critical Compositional Algorithm pg 250Robert Rowe
Self-organizing Control Structures Using Multiple Cellular Automata pg 254Peter Evarist Beyls
Session 16: Analytic Projects
How to Feed Musical Gestures into Compositbns pg 258Andreas Mahling
A Meta-level Architecture for the Analysis of Jazz Chord Sequences pg 266Francois Pachet
A Fuzzy-Set-Theoretic Frame Work Towards Computer Generation of "AALAP" pg 270Patterns in Hindustani MusicLM . Chelpa
Session 17: Interactive Performance Systems 1
Real- Time Neural Network Processing of Gestural and Acoustic Signals pg 277Michael Lee, Adrian Freed, David Wessel
SHADOW: An Object-Oriented Performance System for the DMIX Environment pg 281Daniel V. Oppenheim
Representing Knowledge Used by Jazz Musicians pg 285Francois Pachet
Singing and Playing in Musical Virtual Space pg 289Akio Sato, Tsutomu Harada, Shuji Hashimoto, Sadamu Ohteru
Session 18: Sound Synthesis Techniques 2
Transmission-Line Modeling and Real-Time Synthesis of String and Wind Instruments pg 293Matti Karjalainen, Unto K. Laine, Timo Laakso and Vesa Valimaki
TBone: An Interactive WaveGuide Brass Instrument Synthesis Workbench for the pg 297NeXT MachinePerry R. Cook
Digital Waveguide Modelling of Reed Woodwinds: An Interactive Development pg 300Suzanne Hirschman, Perry R. Cook, Julius O. Smith III
Waveguide Simulation of Non-Cylindrical Acoustic Tubes pg 304Julius O. Smith III
Session 19A: Electronic Music Perspectives 2
The Script for "Poeme Electronique": Traces from a Pioneer pg 308Ann Stimson
The Alternators of the Telharmonium, 1906 pg 311Reynold Weidenaar
Session 19B: Voice Model Synthesis
A New Digital System for Singing Synthesis Allowing Expressive Control pg 315Gunilla Carlsson, Sten Termstrom, Johan Sundberg, Tamas Ungvary
LECTOR: An Ecclesiastical Latin Control Language for the SPASM/singer Instrument pg 319Perry R. Cook
Session 20: Composition Theory 1
Deriving a Quarter-Tone Harmonic Language Using Harmonic Spectra and their pg 322Formant Regions as a Model for Chord VoicingsRonald B. Smith
The Architecture of a Musical Composition System Based on Constraint pg 323Resolution and Graph RewritingMyriam Desainte-Catherine
A Tool for Manipulating Expressive and Structural Hierarchies in Music pg 324Stephen Travis Pope
A Theory of Poetry as Music and Its Exploration through a Computer Aid to pg 328CompositionFred Lerdahl, Xavier Chabot
Session 21 : Interactive Performance Systems 2
Strange Attractors: A Virtual Instrument Algorithm for Acoustic Instruments pg 332Stephen David Beck
Questions About Interactive Computer Performance as a Resource for Music pg 336Compositbn and Problems of MusicalityNoel Zahler
The Artificially Intelligent Computer Performer and Parallel Processing pg 340Bridget Baird
Improvisation with Highly Interactive Real-Time Performance Systems pg 344David Wessel
Session 22: Sound Synthesis Techniques 3
Generalized Time Functions pg 348Peter Desain, Henkjan Honing
Further Experiments with Non-linear Dynamic Systems: Composition and Digital pg 352SynthesisAgostino Di Scipio
An Analysis-by-Synthesis Approach to Sinusoidal Modeling Applied to the pg 356Analysis and Synthesis of Musical TonesE. Bryan George, Mark J.T. Smith
Implementation of the KL Synthesis Algorithm Under Real-Time ControlW. Brent Weeks, W. Andrew Schloss, R. LynnKirlin
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Session 23: Composition Theory 2
Automatic Composition, Connectionism, and Musiconomy pg 364Dr. Gareth Loy
MAXGEN: A graphical MAX object for the generation and editing of complex pg 375continuous control functionsJean Pich6, St6phane DesMeules
Some Applications of Time Theory to Computer Music Design pg 376Jeff Pressing
Towards a Better Software-Design for Supporting Creative Musical Activity (CMA) pg 380Daniel V. Oppenheim
Session 24: Studio Reports 2
CNMA T Studio Report pg 388Leslie Delehanty, Guy E. Garnett
LIPM Studio Report pg 392Francisco Kropfl
Studio Report: Univ ersity of York, England pg 393Dave Malha, Richard Orton, Andy Hunt, Ross Kirk
Phase 1 de /'implantation d'un centre d'acces multi-media a PRIM pg 396Myke Roy
Session 25: Interactive Performance Systems 3
MAX Objects for Media Integration pg 397Adrian Freed, David Wessel, David Zicarelli
CASCADES: Interactive Algorithmic Performance pg 401George W. Logemann
The Expanded Instrument System (EIS) pg 404Pauline Oliveros
Hierarchical Real Time Interapplication Communications pg 408Yann Orlarey
Session 26: Sound Synthesis Techniques 4
A Geometric-Concordance Device for Sound Synthesis pg 412Marcio C.P. Brandao, Ricardo S.R. Nascimento
Graphical Control of Granular Synthesis using Cellular Automata and the pg 416Freehand ProgramRichard Orton, Andy Hunt, Ross Kirk
The Arugula Computer-Music Score Editor pg 419Vance Maverick
Using Self-Similiarity for Sound/Music SynthesisShahrokh David Yadegari
Session 27: Sound Representation
The Resource - Instance Model of Music RepresentationRoger B. Dannenberg, Dean Rubine, Tom Neuendorffer
Sound Base: Phonetic Searching in Sound ArchivesKees de Koning, Shaun Oates
An Intelligent Music RepositoryBarry M. Eaglestone, Albert Verschoor
Organization of Sounds with Neural NetsBernhard Feiten, Roland Frank, Tamas Ungvary
Session 28: Studio Reports 3
Recent Musical Creation at IRCAMMarc Battier
Studto Report: LIEM CDMCAdolfo Nunez, Carlos Cester
Computer Based Experimental Research in Music Perception and Cognition at theCMR-FSUJack A. Taylor
CEDS TO GROW A CAT: A Progress/Studio ReportNoelZahler
Session 29: MIDI Applications
Design of a C++ Library for MIDI ApplicationsWilliam F. Punch III, Greg Sepesi
A Real-Time MIDI Composer and Interactive Improviser by Means of FeedbackSystemsSergi Jorda
Progress in the Application of 3-Dimensional Ambisonic Sound Systems toComputer MusicDave Malham, Richard Orton
A Performance Instrument for LightingLouis-Philippe Demers
Session 30: Composition Techniques
Mapping Complex Systems Using Granular SynthesisMichael Hamman
Genetic Algorithms and Computer-Assisted Music CompositionAndrew Homer, David E. Goldberg
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Applications of the Wavelet Transform at the Level of Pitch Contour pg 483Clifton Kussmaul -
Composition with Time-Shifted Environmental Sound Using a Real-Time pg 487Granulation TechniqueBarry Truax
Session 31: SPECIAL SESSION
Patenting Your Computer Music Algorithms in the U.S. pg 491Anthony L. Miele
Recent Changes in Computer and Electronic Music Subject Headings at the pg 495Library of CongressDeta S. Davis
The International Digital Electroacoustic Music Archive pg 501
Marcia L. Bauman, Glendon R. Diener, Max V. Mathews
FORUM ON THE PRESERVATION OF ELECTROACOUSTIC MUSIC
Session 32: Kyma/CapybaraLightweight Classes Without Programming pg 505Caria Scaletti
A Framework for Developing Signal Processing and Synthesis Algorithms for the pg 509Motorola 56001Kurt J. Hebel
Proportional Recursive Stochastic Composition Using COMP2, a Smalltalk-80 pg 513Composition Program Within the Kyma Digital Synthesis System.Brian Belet
Session 33: Workstations
More Thorough Stochastic Music pg 517lannis Xenakis
Musical and Extra-Musical Applications of the NeXT Music Kit pg 521David A. Jaffe
Parallel Transform Method for Lossless Compression of Analog Data pg 525R. Crandell, M. Minnick
A Fast Communication-Interface to the CAMP-DSP -Subsystem for general pg 529purpose Sound-Synthesis, Analysis and ProcessingRupert C. Nieberie
Musical Performance Using the IRCAM Workstations pg 533Cort Lippe, Miller Puckette
Session 34: Interactive Performance Systems 5
Practical Aspects of a MIDI Conducting SystemRoger B. Dannenberg, Kenneth Bookstein
The MIDI Baton IIIDavid Keane, Kevin Wood
Interactive Signal Processing for Acoustic InstrumentsTodd Winkler
Space at Performer's FingertipsPhilippe Menard
Session 36: Analysis of Performed Sound
Musical Analysis of Computer Music with SonagramsMartha Brech
"MacSonogram": a Programme to Produce Large Scale Sonograms for MusicalPurposesPeter Lunden, Tamas Ungvary
Fundamental Frequency Estimation Using a New Harmonic Matching MethodXavier Rodet, Boris Doval
The Criterion of Data Complexity in Rhythm RecognitionAndranick Tanguiane
Demonstrations
Patchmix and StochGran: Two Graphical InterfacesMara Helmuth
New UPIC System DemonstrationJ.M. Raczinski
BESSIE: A Real Time Interactive Computer Tutorial on Frequency ModulationSynthesis for the NeXT ComputerAnthony G. Holland
Creation of MIDI Files for Acoustical Experiment Using the TX81ZAlain Pitre
MIDI Generation of Sound MorphologiesSerge de Laubier, Daniel Teruggi
Real -Time Tempo Tracking Using Rules to Analyze Rhythmic QualitiesAnthonie Driesse
Lime' Music Notation Software for the MacintoshLippold Haken
The Acousmographe, a Macintosh software for the graphical representation of soundsOlivier Koechlin, Hugues Vinet
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TDSP Station, a HyperCard environment for DSP sound processing algorhythms pg 589Olivier Koechlin, Hugues Vinet, Didier Brisson
The Cro-Magnon Advanced Additive Analysis/Synthesis System' pg 592Ralph David Hill
Index pg 594
