bradr@bartok.Eng.Sun.COM (Brad Rubenstein) (07/14/90)
Music-Research Digest Fri, 13 Jul 90 Volume 5 : Issue 68
Today's Topics:
ICMC Glasgow 1990
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Date: 12 Jul 90 08:27:21 GMT
From: Naveed Khan <nk%cs.glasgow.ac.uk%strath-cs%ukc%mcsun@net.uu.uunet>
Subject: ICMC Glasgow 1990
To: music-research@prg
Message-ID: <5779@vanuata.cs.glasgow.ac.uk>
The ICMC - conference program is being posten on bealf of Bill Findlay
(wf@uk.ac.glasgow.cs)
Naveed
--
PROVISIONAL SCHEDULE, ICMC GLASGOW 1990
Authors, and more especially composers, should note that the
schedule is not fixed absolutely. Availability of musicians
may necessitate changes. We hope to give invididual participants
firm information soon. Authors or composers who notice errors
or conflicts in this provisional schedule should notify the
administrator immediately by fax: +44 41 330 4586 or by email:
info-server@cs.glasgow.ac.uk
Daily Events
Room 1.35
Paper Tree, Dokumentation
Groves TV Studio and Room 1.73
Trade Fair
Upper Foyer
Book stall
Monday 10 September
New Athenaeum Theatre
0930 Computer Music Courses Using Supercomputers: An Education
Experiment at NCSA/UIUC, Sever Tipei, Robin Bargar,
Ben Cox, David Kelley
0950 An Expert System for Teaching Piano to Novices, Roger
Dannenberg, Marta Sanchez, Annabelle Joseph, Peter
Capell, Robert Joseph, Ronald Saul
1010 Computer Assisted Music Instruction: Toward a More
Viable Philosophy of Software Architecture, Joseph
Lukasik
1030 A Multimedia Digital Signal Processing Tutoring System,
Sam Pointer, John Wawrzynek, David Wessel
1050 A Sound Design, Phil Ellis
1115 Concert of work by students and the disabled; open
to conference delegates only
1415 Concert of works by students and the disabled; open
to schools, disabled groups etc. only
Stevenson Hall
1300 Fanfare, Barry Anderson
Time Grids, Shirish Korde
Exile and Life Close to the Horizon, William Brunson
Leo Dreaming..., John Maxwell Geddes
Duo Improvisation, Chris Chafe, Dexter Morrill
Guinness Room
1415 Demonstration: Midigrid -- A Novel Compuer-based Perfor-
mance and Composition System, Andy Hunt, Ross Kirk
and Richard Orton
1540 Demonstration: Computer Music for Young Disabled Musicians,
Adele Drake
Fyfe Lecture Theatre
1415 A Computer Program for Analysing Computer Musicians'
Problem-solving, Richard Ashley
1435 A Portable Kernel for Music Notation Applications,
Kimball Stickney
1455 A Network Approach to the Problem of Sharing Music
Studio Resources, R.J. Foss, Antony Wilks
1515 The Sonogram: A Tool for Visual Documentation of Musical
Structure, Simon Waters
1540 Pathways, from the Dream Spell Series, Charles Bestor
1600 Music in Architecture, Architecture in Music, R.A. Dorgan
1620 Algorithmic Explorations of Juxtaposition and Simultaneity
in Computer-aided Composition, Kevin Jones
1640 Towards a New Paradigm for the Representation of Musical
Information, Stephen Hull
Room 1.66
1415 Demonstration: The New UPIC System, Gerard Marino,
Jean-Michel Raczinski, Marie-Helene Serra
Room 1.67
1415 Demonstration: A Sound Design, Phil Ellis
1500 Demonstration: Computer Assisted Approach to Music
Analysis, Bruce Campbell
1600 Demonstration: Real-time CSOUND: Software Synthesis
with Sensing and Control, Barry Vercoe
Tuesday 11 September
New Athenaeum Theatre
0930 The IRCAM Musical Workstation: Hardware Overview and
Signal Processing Features, Eric Lindemann, Michel
Starkier, Eric Viara
0950 A Universal Recorder for the IRCAM Musical Workstation,
Bennett Smith
1010 ANIMAL: A Rapid Prototyping Environment for Computer
Music Applications, Eric Lindemann
1030 A Compositional Environment Based on PreFORM II Patchwork
Esquisse, Jacques Duthen, Mikael Laurson, Magnus Lindberg
1050 Ensemble: An Extensible Music Performance Environment
for the NeXT Computer, Michael McNabb
1115 KEYNOTE SPEECH: From Piano to Computer to Piano, Jean-
Claude Risset
Stevenson Hall
1300 Help Me Remember, Rodney Waschka II
Scir, Horacio Vaggione
Lark Full Cloud, Michael McNabb
2000 Introduction to the Stone, Rodolfo Caesar
Cascade, Todd Winkler
Sands of Sirocco, Arne Eigenfeldt
String Trio Music, Cort Lippe
Domestic Blitz, Nicholas Virgo
Acuerdos Por Diferencia, Javier Alvarez
Vanishing Point, Chris Chafe
Still Life in Wood and Metal, David Evan-Jones
Chandler Studio Theatre
1415 Demonstration: IRCAM Musical Workstation
Guinness Room
1415 Demonstration: CDP Workstation, Tom Endrich
1540 Tutorials: CDP Workstation, Tom Endrich
Room 1.24
1415 A Run-time System for Arctic, Roger Dannenberg
1435 Second Order Universal Processing Device for Real-time
Music Synthesis, Uri Shimony, Yehuda Zarfati
1455 DSP-sound: A Software Synthesis Package for Real-time
DSP-based Systems, Russell Pinkston
1515 An Improved Cepstral Method for Deconvolution of Source
Filter Systems with Discrete Spectra: Application
to Musical Sound Signals, Thierry Galas, Xavier Rodet
1535 The Sound Accelerator as a Real-time DSP Environment:
Encoding/Decoding Audio Signals, Marina Bosi
1600 Studio Reports:IRCAM, Jean-Francois Allouis, Jean-
Baptiste Barriere, Marc Battier
Columbia, Brad Garton
Salzburg, Hans Strasburger
EMS, Hans Lunell
Room 1.31
1415 Demonstration: ST Ample, David Burden
1540 Demonstration: Matrix System/Digital Mixing, Vincent
Glasmacher
Fyfe Lecture Theatre
1415 Ensemble: An Object-oriented Real-time Performance
System, Lounette Dyer
1435 A Signal Editor for the IRCAM Musical Workstation,
Gerhard Eckel
1455 A Real-time Operating System for Computer Music, Eric
Viara, Miller Puckette
1515 Conceptual Integrity in a Music Notation Interface,
Glendon Diener
1540 Mixview: A Portable, Graphics-based Soundfile Editor
and Processor, Douglas A. Scott
1600 The Acoustic Piano Under Machine Control: Recent Technical
Research, Alistair Riddell
1620 Disorder Sounds in Order: Theory and Practice in Instrument
Simulation, Peter Comerford and Lucy Kitching
1640 Coding, Representation and the Composition of the
Instrumental Gesture, C. Cadoz, C. Ramstein
Room 1.66
1415 Demonstration: The New UPIC System, Gerard Marino,
Jean-Michel Raczinski, Marie-Helene Serra
Room 1.67
1415 Tutorial: MPL for the Macintosh, Gary Lee Nelson
1515 Demonstration: Feature Classification and Related
Response in a Real-time Interactive System, Robert
Rowe
1600 Demonstration: Quill: An Object-oriented Language
for Composition, Daniel Oppenheim
Wednesday 12 September
New Athenaeum Theatre
0930 VLSI Parallel Processing for Musical Sound Synthesis,
John Wawrzynek, Thorsten von Eicken
0950 Counterpoint Comositions in Non-tempered Systems,
Bernd Streitberg, Klaus Balzer
1010 MIDAS: A Musical Instrument Digital Array Signal Processor,
Ross Kirk, Richard Orton
1030 An Efficient Scheduling Algorithm for Real-time Musical
Systems, Yann Orlarey
1050 GUEST SPEAKER: Emile Tobenfeld
1115 Is More Than Three Decades of Computer Music Reaching
the Public It Deserves? Leigh Landy
1135 PANEL DISCUSSION: Making Money with Computer Music
Chairman: Brad Garton
Stevenson Hall
1300 Impossible Animals, David Jaffe
I Know of No Geometry, Richard Boulanger
Aquaphon, Adelhard Roidinger
Dragons in the Sky, Mark Schulz
1900 Pre-concert talk: Ritual Melodies, Jonathan Harvey
2000 Crosstalk, Michael Vaughan
Postcards from our Futures, Bob Pritchard
Time and Fire, Andrew Lewis
Telegram to the President, David Jaffe
Ensphered, Michael Vaughan
Haiku, Stephen Montague
Flugan II, Sven Olaf Hellstrom
Serendipity, Rohan de Livera
Chandler Studio Theatre
1415 Demonstration: The IRCAM Musical Workstation, Francois
Dechelle, Gerhard Eckel, Eric Lindemann, Miller Puckette,
Bennett Smith, Michel Starkier, Eric Viara
Guinness Room
1415 Sound Synthesis: Time Domain Computation of Three
Dimensional Acoustic Field by Retarded Potential Technique,
Jean-Marie Adrien
1435 Ambisonics: A Technique for Low Cost, High Precision,
Three Dimensional Sound Diffusion, David Malham
1455 Surroundsound: A B-format Soundfield Processing Program,
Sile O'Modhrain
1515 Discussion: Sound Synthesis, Ambisonics, Surroundsound
1540 Demonstration: Ambisonics
1600 Demonstration: Surroundsound
Room 1.31
1415 Demonstration: Score Input to CSound via the Midi
Keyboard, Hans Strasburger, Stefan Kohler, Irmfried
Radauer
1540 Demonstration: Dynamic Quantization: A Neural Network
that has Learned to Play a Given Melody in Different
Styles, Christiane Linster, Gunther Hipfinger
Room 1.24
1415 Computational Modelling of Musical Expression, Neil Todd
1435 The Principle of Designing a Melody Tonality Analysizing
Experimental System, Feng Yin, Gao Qingshi, Zhang Xiang
1455 Composition as a Constraint Satisfaction Problem,
Russell Ovans
1515 Autocorrelation and the Study of Musical Expression,
Peter Desain, Siebe de Vos
1540 POCO, An Environment for Analyzing, Modifying and
Generating Expression in Music, Henkjan Honing
1600 Studio Reports: STEIM, Joel Ryan
Madrid, Adolfo Nunez
DIEM, Wayne Siegel
Huddersfield, Michael Clarke, Mark
Bromwich, Geoff Smith
Fyfe Lecture Theatre
1415 A Neural Network that Learns to Play in Different
Musical Styles, Christiane Linster
1435 Pulsed Noise in Musical Systems, Perry Cook
1455 Tracking Musical Beats in Real Time, Paul Allen, Roger
Dannenberg
1515 Natural Selection of Musical Identities, Per Hartmann
1540 Algorighmic Composition: Quantum Mechanics and the
Musical Domain, Reginald Bain
1600 Parameters Estimation for Non-linear Resynthesis Methods
with the Help of a Time-frequency Analysis of Real
Sounds, Richard Kronland-Martinet, Philippe Guillemain,
Nathalie Delprat
1620 Computer-assisted Composition by Interactive Rhythm
Transformations, Johannes Johansson, Bengt-Arne Molin
1640 A Mid-level Language for Composition, D. Hitt, Yee
On Lo
Room 1.67
1415 Demonstration: Contemporary Music Analysis Package,
Peter Castine
1515 Demonstration: The Lasy Workstation, Jacques Chareyron
1600 Demonstration: Interface Composer/Computer/Electronic
Instruments, Herve Lequay
Room 1.66
1600 Demonstration: The New UPIC System, Gerard Marino,
Jean-Michel Raczinski, Marie-Helene Serra
Thursday 13 September
New Athenaeum Theatre
0930 The Usefulness of Qualitative Theories of Musical
Perception, Gerhard Widmer
0950 Subsymbolic Approaches to Musical Composition, Peter
Beyls
1010 Beyond MIDI: Knowledge Based Support for Computer
Aided Composition, Heinz-Dieter Bocker, Andreas Mahling,
Rainer Wehinger
1030 Variations: A Hypermedia Project, Michael Burroughs,
David Fenske
Panel Discussion: Hypermedia
Chairman: David Wessel
1415 STEIM Time
In the Realm of the Sensors, Paul Spandermaan, Peter Cost,
Joel Ryan
The Lick Machine and the MIDI Conductor Project, Michel
Waisviz and Frank Balde
The Web, Michel Waisvisz
1620 MIDI Conductor Concert
Stevenson Hall
1300 Netvaerk, Wayne Siegel, Ivar Frounberg, Fuzzy, Svend
Aaquist Johansen
2000 Robombe de Redoble, Peter Bosch
Novars, Francis Dhomont
Synthecisms II, Brian Bevelander
Pianocentrix, David Keane
Thrust, Keith Hamel
Chandler Studio Theatre
1415 Demonstration: A Graphical Editor for Building Unit
Generator Patches, Michael Minnick
1515 Demonstration: Efficient Dynamic Resource Management
on Multiple DSPs as Implemented in the NeXT Music
Kit, David Jaffe
1620 Demonstration: Mixview: A Portable, Graphics-based
Soundfile Editor and Processor, Douglas A. Scott
Guinness Room
1415 Demonstration: The CDP Computer Music Workstation,
Tom Endrich
1540 Workshop/Tutorial: CDP Computer Music Workstation,
Tom Endrich
Room 1.31
1415 Demonstration: The Orpheus Composition Environment,
Paul Buckley, Andrew Lewis
1540 Demonstration: Subsymbolic Approaches to Musical Com-
position, Peter Beyls
Room 1.24
1415 Cellular Automata Music, Dale Millen
1435 Sound Data Base Using Spectral Analysis Reduction
and an Additive Synthesis Model, Bernhard Feiten and
Tamas Ungvary
1455 CESAM: A Concept Engine for Synthesis of Audio and
Music, Frode Holm
1515 Autobusk, Clarence Barlow
1540 Metabolizing Music, Eric Iverson
1600 DSP Driver Software for Performance-oriented Music
Synthesis Systems, Adrian Freed
1620 Studio Report: 605k, Clarence Barlow
Northwestern University, Amnon Wolman
Peabody Conservatory, McGregor Boyle
Fyfe Lecture Theatre
1415 A Constraint-based Logic Program for Generating Poly-
phonies, Francis Courtot
1435 One Example of How Artificial Intelligence Can Be
Useful in the Music Field, Francis Rousseaux
1455 Pattern Matching as an Engine for the Computer Simulation
of Musical Style, David Cope
1515 Computer Representations of Time for Non-pulse-based
Music, Guy Garnett
1540 Experience with a Harmony-learning Program, Malcolm
Harrison
1600 Musical Event Detection from Audio Signals within
a Multiresolution Framework, Edward Pearson, Ronald
Wilson
1620 The KANSEI Music System '90, Haruhiro Katayose,Seiji
Inokuchi
1640 Godel Tune: Formal Models in Music Recognition Systems,
Dominique Richard
Room 1.67
1415 Knowledge Information Processing in Conducting Computer
Music Performer, Hideyuki Morita, Hiroshi Watanabe,
Tsutomu Harada, Sadamu Ohteru, Shuji Hashimoto
Friday 14 September
New Athenaeum Theatre
0930 Cmix: Abstraction and Fancy, Paul Lansky
0950 Synthesis of Acoustic Timbres using Principal Component
Analysis, Barry Truax, Robert Laughlin
1010 Gestural Control Model of Sound Synthesis Process,
Sylvie Gibet, Pierre-Francois Marteau
1030 New Techniques for a Real-time Phase Vocoder, Ian
Bowler
1100 Concurrent CSound: Parallel Execution for High Speed
Direct Synthesis, Nick Bailey, Alan Purvis, Peter
Manning, Ian Bowler
1120 Chaotic Non-linear Systems and Digital Sound Synthesis:
An Exploratory Study, Barry Truax
1140 Composition by Exploration of Non-linear Dynamic Systems,
Agostino Di Scipio
1415 STEIM Time
In the Realm of the Sensors, Paul Spandermaan, Peter Cost,
Joel Ryan
The Lick Machine and the MIDI Conductor Project, Michel
Waisviz and Frank Balde
The Web, Michel Waisvisz
1620 MIDI Conductor Concert
Stevenson Hall
1300 Ebb and Flow, Paul Rhys
Improvisation, Emile Tobenfeld
Three Sonic Spaces, Laurie Spiegel
Sun and Ice, Robert Rowe
Vox 5, Trevor Wishart
2000 new work, Peter Nelson
new work, Iannis Xenakis
As Others See Us, James MacMillan
Chandler Studio Theatre
1415 The NeXT Machine: Hands on Experience
Guinness Room
1415 Demonstration: The Audiodisk Controller: A SCSI-to-AES/EBU
Interface, Thomas Wells, Douglas Karl, Peter Lowe
1515 Demonstration: Series Phi Digital Signal Processor,
Lawrence Casserley
1600 Demonstration: An Interactive Real-time System for
the Control of Sound Localization, Marina Bosi
Room 1.31
1415 Demonstration: The Orpheus Composition Environment,
Paul Buckley, Andrew Lewis
1540 The Midi Baton, David Keane
Room 1.24
1415 An Highly Parallel Architecture for Real-time Digital
Signal Processing Application, Nick Bailey
1435 Studio Report: Durham, Alan Purvis, Nick Bailey, Peter
Manning, Ron Berry, Ian Bowler
1455 Demonstration: Durham's New Desk-top Supercomputer
System Running Parallel CSound, Alan Purvis, Nick
Bailey, Peter Manning, Ron Berry, Ian Bowler and Michael
Clarke
Fyfe Lecture Theatre
1415 A Flexible Object-oriented Composition and Performance
System Customisable to control any Sound Producing
Device, T.M Anderson
1435 EXPLODE: A User Interface for Sequencing and Score
Following, Miller Puckette
1455 Modal Synthesis Compilation of Mechanical Sub-structures
and Acoustical Sub-systems, Olivier Calvet, Ronan
Laurens, Jean Marie Adrien
1515 Analytical Tools for Group Additive Synthesis, Barry
Eaglestone, Shaun Oates
1540 A Real-time Implementation of Physical Models, Fred
Malouf
1600 UDI: A Unified D.S. Interface for Sound Signals Analysis
and Synthesis, Philippe Depalle
1620 In the Intimacy of a Sound, Daniel Arfib
1640 Two New Approaches to the Simulation of Acoustic Spaces,
Brad Garton
Room 1.64
1415 High Level Control of Granular Synthesis Using the
Concepts of Inheritance and Social Interaction, Peter
Bowcott
1435 Time-shifting of Sampled Sound with a Real-time Granulation
Technique, Barry Truax
1455 Physical Model Sound Synthesis: Modular Instrument
Modelisation and Simulation, J.L. Florens, C. Cadoz
1515 Modular Feedback Keyboard, C. Cadoz, L. Lisowski,
J.L. Florens
1540 Patchmix: A C++ X Graphical Interface to Cmix, Mara
Helmuth
1600 A Practical Modular DSP Performance System for the
Composer/Programmer, Daniel Brandt
1620 On Mapping N Articulation Onto M Synthesiser-control
Parameters, Ian Bowler
1640 Problems to be Faced by Developers of Computer-based
Automatic Music Recognisers, Alastair Clarke, Malcolm
Brown, Michael Thorne
Room 1.67
1415 Demonstration: PRISM: Pattern Recognition in Sound
and Music, Emmanuel Gresset, Bernard Mont-Reynaud
1515 Demonstration: Unison: A Real-time Interactive System
for Digital Sound Synthesis, John Bate
1600 Recent Advances in the Coupling of the Language MAX
with the Matthews Boie Radio Drum, Andrew Schloss
Saturday 15 September
New Athenaeum Theatre
0900 CMA Business Meeting
Stevenson Hall
1130 Inside Leonardo, Arne Eigenfeldt
The First Sea, Michael Matthews
Quakerbridge, Paul Lansky
Harpsi-Kord, David Little
Ricordanze, Thomas Wells
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End of Music-Research Digest