Page  515 ï~~Subject Index 3 3D Sound.......................... 93, 169, 368 3D Space............................. 305 A Acceleration Sensor.........................421 Adaptive Filters............................ 324 Additive Analysis...........................297 Additive Synthesis..................... 350, 496 Aesthetics........................ 375, 473, 487 Algorithmic Composition.59, 129, 177, 274, 285, 320, 469 Algorithmic Synthesis...................... 188 Analog Synthesis...................... 332, 398 Animation............................. 316, 402 Architecture................................ 358 Artificial Intelligence.... 129, 133, 274, 479, 508 Attack Transients.......................... 100 Audio Analysis........................ 219, 293 Audio Effects Processing....................328 Audio Hardware Design.................... 496 Audio M ixing................................93 Audio Signal Decomposition..............293 Audio Synchronization......................202 Audio Synthesis............................ 287 Auditory Displays.......................... 365 Auditory Modeling.......................... 79 Auditory Models........................... 204 Auditory Scene Analysis................ 75, 324 Auralization........................... 107, 402 Automatic Accompaniment................. 346 Automatic Music Composition.............. 415 Autonomous Learning...................... 214 B Beat Induction............................. 392 Belting..................................... 216 Bifurcation.................................448 Binaural Processing........................ 107 Boltzmann Machine........................ 461 Bounded-Q Analysis......................... 75 Brass Instruments....................... 390 Bregman Electronic Music Studio..........151 C CD-ROM............................... 114 Carnatic Violin......................... 177 Center for Research in Electronic Art Technology (CREATE)..............................506 Channel Vocoding.......................... 278 Chaos................................. 440, 473 Client/Server Model......................... 40 Cm ix....................................... 263 Cognitive Modeling.........................415 Cognitive Models........................... 259 Composition Systems....................... 253 Composition..........63, 126, 194, 375, 465, 491 Compression............................... 301 Computer Aided Composition.........118, 185 Computer Aided Learning (CAL)....... 17, 214 Computer Graphics..................... 67, 316 Computer Music History.................... 104 Computer Research in Music and Acoustics (CCRM A).............................. 504 Conducting.................................305 Conductor Tracking........................ 305 Connectionism..............................312 Control Algorithms.......................... 36 Cross Vocoding............................. 278 Csound..................141, 143, 144, 282, 390 Cybernetics............................194, 308 D D ance...................................... 158 Dartmouth College......................... 151 Data Reduction............................ 206 Databases............................. 121, 289 Digital Filters......................... 232, 398 Digital Signal Processing (DSP) 47, 93, 285, 332 Diphones................................... 336 Distributed Objects........................ 339 Distributed Processing......................253 Durham Music Technology.................. 126 Dynamic Programming..................... 240 E Education................................... 17 Electroacoustic Composition................ 151 Electroacoustic Music....................... 158 Ethernet............................ 40, 107 Exemplar-Based Learning................. 55 Expressive Timing....................... 458 Extensibility............................ 145 F FOF................................... 126 ICMC Proceedings 1996 515 Subject Index

Page  516 ï~~FTS.............................. 185, 188, 432 Fast Fourier Transform (FFT).............285 Feature Decomposition..................... 248 Filter Banks........................... 301, 328 Flocking....................................312 Flute...................................1, 5, 32 Force Feedback.............................. 57 Fractals...........................212, 282, 473 Fractional Delay............................ 341 Frequency Analysis......................... 392 K G G EM........................................67 G am aka..................................... 89 G ender.....................................409 Genetic Algorithms. 36, 49, 55, 59, 111, 274, 390 Gestural Control............................. 89 Gesture Sensors............................ 173 G esture.................................... 421 Granular Synthesis.....................212, 287 Granulation................................ 491 Graphical User Interface (GUI)...25, 28, 52, 71, 257, 336, 396, 465 G uitar..................................47, 232 H Haptic Displays............................ 428 H aptics...................................... 57 Harmonisation..............................461 Head Related Transfer Function (HRTF)... 210, 365 Hebrew University.......................... 508 History................................ 104, 165 Human Computer Interaction (HCI) 57, 89, 116, 173, 259, 308, 421, 428 Hybrid Systems............................ 133 I IBM Computer Music Center............... 149 Image Processing........................... 354 Installations........................... 251, 358 Instrument Design..................... 308,436 Interactive Composition................129,386 Interactive Music Systems.................. 181 Interactive Performance.................... 173 Internet..................................... 17 Israel Computers and Music Forum..........161 J Jazz Accompaniment....................... 145 Jazz Improvisation.....................240, 346 Jazz Piano................................. 244 K-NN Classifier..............................55 L Lagrange Interpolators......................341 Latin America......................... 165, 266 Leeds University Electronic Studio.........155 Linear Predictive Coding................... 124 Live Performance........................... 465 M MAX...................... 28, 67, 185, 198, 432 MIDI...........40, 89, 141, 144, 177, 386, 425 M PEG..................................... 328 Machine Learning......................461, 479 M icrokernels................................ 181 M ixing..................................... 251 M odal Synthesis............................ 228 M oog.......................................398 Morlet W avelets............................ 392 M otif........................................ 25 Motive Induction......................240 Multi-Speaker Systems..................... 312 Multimedia.. 17, 21, 67, 114, 149, 155, 202, 289, 320, 413, 415 Music Analysis... 63, 79, 100, 129, 198, 240, 477 Music Cognition..... 57, 133, 248, 454, 458, 508 Music Composition... 36, 71, 149, 413, 419, 471, 473, 487 Music Expression....................... 71, 305 Music Formalism........................... 320 M usic Notation............................. 190 Music Performance...........89, 421, 425, 428 Music Recognition........................... 83 Music Representation.........71, 190, 244, 248 Music Score Recognition.................... 155 Music Synthesis...................100, 336, 477 M usic Theory.............................. 415 Music Transcription.....................83,219 Musical Grammars......................... 274 M usical Structure............................ 59 Musical Style Recognition.................. 461 M usical Style................................ 59 Musical Symbols........................ 344 Musicology......................... 240, 454 N NeXTSTEP............................. 28 Neural Networks..59, 133, 312, 454, 461, 508 Non-linear Filters........................ 405 Non-linear Models....................... 440 Subject Index 516 ICMC Proceedings 1996

Page  517 ï~~0 S Object Oriented Techniques.. 244, 253, 419, 483 Onset Detection............................ 500 Open Architecture.......................... 145 Open Learning Systems...................... 17 OpenG L..................................... 67 Opendoc................................... 339 Opera................................. 202, 216 Operating Systems......................40, 181 Optical Music Recognition (OMR)...... 55, 354 O rgan........................................ 5 P Parallel Processing......................... 287 Parameter Spaces............................ 36 Pattern Matching...........................248 Perception............................. 320, 458 Percussion Instruments..................... 228 Performance Analysis.......................483 Performance Expression.................... 224 Perform ance................................. 57 Philosophy................................. 473 Physical Feedback.......................... 259 Physical Modeling. 1, 5, 9, 87, 97, 224, 228, 232, 341, 352, 402, 444, 448 Physical modeling........................... 47 Piano.............................. 47, 350, 386 Pipe Organ.................................477 Pitch Compensation........................ 124 Pitch Detection............................. 204 Pitch Representation....................... 204 Polynomial Interpolation................... 206 Psychoacoustic.............................368 Psychoacoustics............................. 79 Pysical Modeling........................... 361 Q Quicktim e.................................. 339 R Real-Time Composition.....................185 Real-Time Performance.................. 141 Real-Time Signal Processing.............. 188 Real-Time Software Synthesis.............270 Real-Time Synthesis. 87, 141, 143, 144, 257, 361 Real-Time Systems.................. 116, 173 Real-Time............................... 40 Recorder................................. 5 Rennaissance........................... 104 Reverberation...................... 111, 405 Rhythm Perception...................... 392 Rhythm........................... 396, 425 Room Acoustics................... 107, 111,402 Scene Analysis..............................413 Scripting Languages........................ 316 Self-Similarity......................... 212, 282 Semantic Sound Descriptions..............143 Shenzhen Computer Music.................. 162 Short Time Fourier Transform (STFT). 100, 297 Signal Decomposition........................ 75 Signal Processing............177, 222, 491, 508 Signal Separation............................ 75 Sine Generation............................ 126 Singing Synthesis................. 216, 444, 493 Singing.....................................124 Sinusoidal Modeling......................... 75 Sonification............................ 202, 282 Sound Analysis... 25, 32, 52, 121, 206, 324, 350, 352, 372, 432 Sound Classification........................ 378 Sound Composition Machines...............104 Sound Database............................ 121 Sound Editing............................... 25 Sound Event Detection..................... 324 Sound M odel...............................100 Sound Retrieval............................ 121 Sound Synthesis.. 49, 52, 97, 118, 206, 214, 253, 270, 278, 293, 297, 350, 352, 372, 375, 378, 390, 405, 432, 436, 448, 479, 496 Soundfield Reconstruction.................. 368 Spatial Audio..............................202 Spatialization...................... 28, 169, 465 Spatialized Sound.......................... 365 Spectral Analysis....................... 79, 121 Spectral M odel............................. 372 Speech Synthesis........................... 444 Standard Music Description Language (SMDL) 190 Stochastic Modeling........................ 228 Strings......................... 32, 97, 361, 440 Structure Matching.........................248 Studio Report. 126, 149, 151, 155, 158, 161, 162, 165, 504, 506, 508 Summation Synthesis........................ 49 Sweepable Filters........................... 398 Synthesis Description Language.............87 Synthesis Languages........................257 Synthesis................................ 1, 5, 9 T Tetrahedral Mesh......................... 9 The Danish Institute of Electroacoustic Music (DIEM)............................. 158 Threads Programming................... 181 Timbral Object......................... 372 Timbre Space........................... 372 Timbre........................ 278, 372, 436 Tim e Delay.................................116 ICMC Proceedings 1996 517 Subject Index

Page  518 ï~~Time-Frequency Analysis................... 293 Transcription System....................... 344 Transducers................................ 308 Transputers................................ 287 Trum pet................................... 448 Turbulence................................... 5 U Ultrasound................................. 169 U nix........................................ 25 Unsupervised Learning.......................59 V VLSI..................................126, 493 Vacuum Tubes............................. 222 V ideo...................................... 114 V iolin...................................... 177 Virtual Auditory Displays.................. 210 Virtual Reality..........43, 107, 346, 358, 402 Visualization.................25, 43, 63, 97, 483 Vocal Chord................................444 Vocal Tract.................................444 Vortex........................................ 5 w W ave dispersion.............................. 9 Waveform Synthesis........................ 194 Wavefront Reconstruction.................. 368 Waveguide Modeling..........1, 32, 43, 224, 341 W aveguides.................................491 W avelets........................... 52, 324, 500 Wavetable Synthesis......................... 49 Wide Area Network..........................21 W om en.....................................409 Woodwind Instruments................ 224, 390 W orkstations.......................... 185, 188 x X Windows-.................................25 Subject Index 518 ICMC Proceedings 1996