1-21 - Ercolino Ferretti - Sound synthesis by rule
22-32 - James H. Justice - Recursive digital filtering in music computation
33-41 - Tracy Lind Petersen - Vocal trac modulation of instrumental sounds by digital filtering
42-52 - Streve Saunders - Real-time digital FM audio synthesis
53-57 - Ted Kaehler - Some music at Xerox Parc
58-76 - Mark Zuckerman and Kenneth Steiglitz - Using circulant markov chains to generate waveforms for music
77-79 - Robin B. Lake and Ralph Cherubimi - Orthonal transforms for sound synthesis

1-6 - Sterling Beckwith - Towards a "computer composing instruments" for children
7-10 - Joel Chadabe - System composing
11-30 - Joel Gressel - Some rythmic applications of geometric series
31-36 - Hubert S. Howe Jr. - Computer music and technology
37-67 - David Rothenburg - A nonproceducal language for musical composition
68-82 - Sever Tipei - MP1 : A computer program for music composition

1-36 - James Beauchamp, Ken Pohlmann and Lee Chapman - The TI 980A Computer-controlled music synthesizer
37-42 - Robert Gross - The CME synthesizer
43-48 - Stan Kriz - The specification of digital-to-analog converters for audio
49-57 - John Roy - A digital sound synthesizer

1-12 - Larry Austin and Larry Bryant - A computer-synchronized, multi-track recording system
13-27 - Hélène Charnassé - La transcription automatique des tablatures : Le langage d'entrée
28-53 - Armando Dal Molin - The X-Y Typewriters and their application as music input terminals for the computer
54-78 - David Rosenboom - A model for detection and analysis of information processing modalities in the nervous system through an adaptative, interactive, computerized, electronic music instrument
79-94 - G. David Peters - Audio interfacing of the plato computer-assisted instructional system for music performance judging

1-4 - D. Arfib - Digital synthesis of complex spectra by means of non-linear distortion of sin waves and amplitude modulation
5-9 - R. cann and K. Steiglitz - Towards improved analysis-synthesis using cepstral and pole-zero techniques
10-18 - P. Dworak and A. Parker - Envelope control with an optical keyboard
19. - E. Ferretti - Nuances in the synthesis of "live sounds"
20-22 - J. Gardner, B. Harvey, J. Lawson and J.C. Risset - Computer facilities for music at IRCAM
23-29 - E. Ghent - Interactive compositional algorithms
30-34 - Pisa , P.Grossi - Computer music studies and research at CNUCE, institute of the national research council (CNR)
35-40 - J. Justice - A technique for time-variant filter design
41-51 - A. Parker, R. Blum and P. Dworak - The Carnegie-Mellon computer music system digital hardware
52-53 - T.L. Petersen - The composer as surgeon : Performing phase transplants
54-135 - C. Roads - Composing Grammars
136-168 - G. Schwede - A fuzzy hierarchical systems model for real-time visual interpretation in musical experiences
169-186 - J. C. Siddall and J. N. Siddall - New developments in stochastic computer music
187-191 - J. Walsh - Design considerations for computer music systems
192-194 - D. Wessel and B. Smith - Psychoacoustic aids for the musician's exploration of new material
195-196 - M. Yantis - A microprocessor-based live performance instrument

1. - Curtis Roads - Preface
2-4 - Iannis Xenakis - Opening adress

5-25 - H.G.Alles - An inexpensive digital sound synthesizer
26-28 - J.F.Allouis - Use of high-speed microprocessors for digital synthesis
29-33 - Martin Barlett - A microcomputer-controlled synthesis system for live performances
34-45 - Richard Blum - A low-cost, real-time, frequency modulation hardware module for mini and micro computers
46-56 - William Buxton, E.A.Fogels, Guy Fedorkow, Lawrence Sasaki, and K.C.Smith - An introduction to SSSP digital synthesizer
57-69 - Dean Walraff - The DMX-1000 signal processing computer
70-84 - Daniel Arfib - Digital synthesis of complex spectra by means of multiplication of non-linear distorted sine waves
85-107 - James Beauchamp - Bass tone synthesis by spectrum evolution matching with non-linear functions…
108-118 - Nelson Bridwell - Interactive synthesis without obscure diagnostics
119-129 - William Buxton, William Reeves, Ronald Baecker and Leslie Mezei - The use of hierarchy and instance in a data structure for music
130-141 - Richard Cann - A musical view of analysis-synthesis
142-150 - Ercolino Ferretti - Nuance blending for the synthesis of a brass choir
151-166 - David Murray, James Beauchamp and Gary Loitz - Using the Plato/TI980A Music synthesis system : The PLACOMP language
167-174 - Tracy Lind Petersen - Interactive digital composition
175-184 - Neil Rolnick - A composer’s notes on the development and implementation of software for a digital synthesizer

185-191 - Emmanuel Ghent - Further studies in compositional algorithms
192-213 - Lejaren Hiller - Phrase structure in computer music
214-224 - Hubert Howe Jr. - Timbral structures for computer music
225-250 - Gerald Lefkoff - Tuned cyclic tone systems
251-271 - Justus Mathesws - MUSIC 3150, a Fortran program for composing music for conventional instruments
272-317 - John Myhill - Some simplifications and improvements in the stochastic music program
318-331 - Gary Nelson - Reflections on my use of computers in composition 1970-1975
332-354 - John Rogers and John Rockstroh - Score-time and real-time
355-377 - Barry Truax - Polyphonic timbral construction in Androgeny
378-391 - Maurice Wright - Plucking - One aspect o plucked string synthesis and its realisation by a computer and a musical application

392-409 - William Reeves, William Buxton, Robert Pike and Ron Baeecker - Ludwig : An exemple of interactive computer graphics in a score editor
410-449 - Dean Walraff - Nedit - A graphical editor for musical scores
450-470 - W.Kenton Bales, Richard Hamilton and Dan Scott - Computer-aided composition with AMUS
471-485 - W. Buxton, G. Fedorkow, R.Baecer, W. Reeves, K.C.Smith, G.Ciamaga and L.Mezei - An overview of the structures sound synthesis project
486-493 - James Dashow, Giovanni de Poli, Graziano Tisato and Alvise Vidolin - Computer music at the university of Padova
494-500 - Wayne Slawson - Studio Report : Computer music at the university of Pittsburgh

501-581 - Stephen E. McAdams and Albert Bregman - The perceptual factoring of acoustic sequences into musical streams
582-584 - Tracy Lind Petersen - Time-Frequency analysis in the context of a perceptual model
585-618 - Martin Piszczalski and Bernard A. Galler - The analysis and transcription of musical sound

619-636 - C. Aperghis-Tramoni - Coding and drawing music scores
637-344 - Charles G.Boody - The microcomputer as an input device for music analysis or composition by computer
645-688 - John A. Celona - Command-string notation - A new music notation system

689-719 - Waren E. Hultberg - Computer-based processes for tablature transcription : Input language application and development ; analytical aspects
720-731 - Rosalee Nerheim - Current applications of a music representation and processing system
732-760 - Alexander R. Brinkman - A computer-assisted analysis of melodic borrowing from the cantus firmus in the chorale preludes of Bach’s Orgelbüchlein
761-774 - Sh.A.Gadgiev - Statistical analysis of Azerbaijan folk songs
775-783 - Istvan Halmos, Gyogy Koszegi and Gyorgy Mandler - Computational Ethnomusicology in Hungary in 1978
784-789 - Vladimir Hosovsky, Igor Mkrtoumian and Edward Hakopian - Armenian universal structural analytical catalogue of musical texts - UNSACAT
790-852 - Larry Polansky - A hierarchical analysis of Ruggle’s Portals
853-872 - Rosalie Sward - The computer assist in attempting to solve a probhlem of twentieth century music

1. - Hubert S. Howe Jr. - Preface

2-21 - Otto Laske - Subscore manipulation as a tool for compositional and sonic design
22-42 - Kevin Jones - A space grammar for the stochastic generation of multi-dimentional structures
43-60 - Barry Truax - Timbral construction as a stochastic process

61-73 - Howard A. Peele and Stuart Smith - Instructional application of computer music

74-85 - W. Buxton, S. Patel, W. Reeves and R. Baecker - “ OBJED ” and the design of timbral resources
86-95 - W. Buxton, S. Patel, W. Reeves and R. Baecker - On the specification of scope in interactive score editors
96-99 - G. Federkow, W. Buxton, S. Patel and K. C. Smith - A microprocessor controlled clavier
100. - W. Reeves, W. Buxton, G. Federkow, K. C. Smith and R. Baecker - A microprocessor-based conducting system
101-110 - M. Green - PROD : A grammar based computer composition system
111-115 - Ames Montgomery - Using the SSSP sstem : Reflections on one composer’s experience

116-137 - John Strawn - Approximation and syntactic analysis of amplitude and frequency functions for digital sound synthesis
138-144 - Charles E. Potter and Dale Teaney - Sonic transliteration applied to descriptive music notation

145-158 - Brad Albers - SYCOM’s studio A, an integrated environment for electronic and computer music
159-177 - F. Richard Moore - Computer audio research laboratory report
178-201 - Goffredo Haus - Computer music at the institute of cybernetics of the university of Milan
202-210 - Wayne Slawson - Composer-centered development - A studio report from Pittsburgh
211-225 - Wesley Fuler - Omputer studio report : Tri-college group for electronic music and related research

226-230 - Laland Smith - The “ SCORE ” program for musical input to computers
231-244 - Peter J. Clements - Musical data structures in a multi-use environment
245-245 - Alexander R. Brinkman - A binomal representation of the pitch parameter for computer proessing of musical data
246-264 - Bruce McLean - The design of a portable translator for DARMS

265-277 - Andrew S. Glassner - Musicbox in C : An interactive, graphic digital sound editor
278-304 - Curtis Abbott - The 4CED proram

305. - Leland Smith - Printing music by computer : A 16 millimeter sound film
306-323 - Donald Byrd - Human engineering in a portable music notation system

324-336 - Blair D. McKay and Barry L. Wills - Microprocessor-supervised digital synthetizers
337-354 - Raymond F. Jurgens - Algorithmic music language
355-361 - Scott Vance - Optrix : A new method of human coupling with electronic media in live performance

362-378 - Mark Kahrs - VLSI and the design of real-time digital sound processors

379-381 - Paul Lansky - Imagination and linear prediction
382-403 - Gary S. Kendall - Composing from a geometric model : Five-leaf rose
404-442 - John Rogers, John Rockstroh, and Philip Norman Bastone - Music-Time and Clock-Time similarities under Tempo Change

443-456 - Paul E. Dworak and Philip C. Baczewski - Vectorfield model of compositional creativity
457-475 - Christopher Fry - Computer improvisation
476-483 - Rosalee Nerheim and Wilber T. England - A rythm composing program for percussion ensemble

484-497 - Tamas Ungvary - Sound image synthesis
498-511 - Daniel Arfib - The musical uses of non linear distortion

512-524 - David Keane - Computer music : Some problems and objectives in applied aesthetics
525-533 - Dorothy Gross - A computer projectin harmonic analysis
534-543 - Kemal Ebcioglu - Computer counterpoint
544-564 - C.G.Marillier - Computer assisted analysis of tonal structure in the classical symphony

565-573 - Steve Levine and J. William Mauchly - THE Fairlight computer musical instrument
574-576 - Michael Yantis - SBASS-1 features
577-582 - Don Lieberman - The ADS 200 advanced digital synthesizer

583-594 - Blair D. McKay, Barry L. Wills and David W. Carr - Polyphonic velocity-sensitive keyboard interface
595-606 - Douglas J. Steele and Barry L. Wills - A microcomputer-based keyboard music system
607-611 - Kimball P. Stickney - Music-11 and ST-10 : Classic stochastic concepts revisited
612-613 - Kimball P. Stickney - Inexpensive computer music scoring : newly available hardare
614-643 - Charles Ames - Crystals : recursive structures in computer music composition
644-652 - Helene Charnasse - Towarda data base in musicology : The computer processing of the Brigman file
653-783 - Deta S. Davis - Computer application in music : A bibliography

1. - Lejahren Hiller - Development of computer music
1. - James Beauchamp - Review of acoustics research and sound analysis/synthesis technique
1. - Charles Dodge - Theory and technique of computer sound synthesis

3-18 - David Keane - The quest of "musically intersting" structures in computer music
19-28 - Joel Chadabe - Paths to a point in a musical landscape
29. - Tod Machover - A survey of recent compositional and musical research at IRCAM

31-56 - Otto Laske - Toward a definition of computer music
57-71 - Malgorzata Mikulska - Some remarks on computer-assisted composition

73. - Brad Alberts - Designing an integrated environment for the composer and teacher
74. - Alan Schindler, Robert Gross and Alexander Brinkman - The eastman school of music computer music studio
75-93 - Bruce W. Pennycook - Department of computing & information science and department of music
94-100 - Wayne Slawson - Sound color and filters : the hybrid studio revisited

101-109 - Sever Tipei - Solving specific compositional problems with MP1
110-117 - Michael Matthews - Algorithms for harmonic pitch structure generation
118-132 - Jon Meinecke - Stochastic melody writing procedure : an analysis based approach
133-157 - Charles Ames - Protocol : motivation, desgn, and implementation of a computer-assisted composition for solo piano
158-170 - John Abel and Paul Barth - Computer composition of melodic deep structures

171. - Bruce McLean - Current problems in score input methods
172-177 - Philip Baczewski and Dan W. Scott - An intuitive control structure for the generation of computer-synhtesized musical sound
178-195 - Alexander Brinkman - Data structures for a music-11 preprocessor
196-212 - Colin Banger and Bruce Pennycook - GCOMP : graphic control of mixing and processing

213. - Paul E. Dworak - Using hierarchical thinking strategies in creative behavior
214. - Ikuo Kitagaki and Kunihiro Suetake - Piano training system on the use of a micro-computer of the caracteristic extraction of the learners’ playing a fundamental etude

215-224 - DanSenn - The white side program : the application of microcomputers to music composition both as a clerical tool and as a generative device
225-243 - Gary S. Kendall and C. A. Puddie Rodgers - The simulation of three-dimentional localization cues for headphone listening

245. - James A. Moorer - The lucasfilm audio signal processing station
246-263 - John Snell - Real-time console for live performance of computer music and for recording studios
264. - Curtis Abott - Microprogramming a generalized signal processor architecture
265-279 - John Stautner, Barry Vercoe and Miller Puckette - A four-channel reverberation network
280. - Alexandre Parodi - Low cost sound analysis/synthesis technique
281. - G. DiGIugno, Jean Kott and Andrew Geroz - Progress report on the 4X machine and its use
282. - J. B. Barrière, J. Holleville, Y. Potard and X. Rodet - Musical synthesis : evolution of the "Chant" project

283. - Barton McLean - The Fairlight CMI and its uses in advanced laser graphics
284. - Neil B. Rolnick - Idiomatic instruments
285. - Jeffrey S. Risberg - Evolution of interactive control and rel-time synthesis in a digital music system
286. - M. V. Mathews and J. Pasquale - RTSKEO : a scheduled performance language for the Crumar general development system
287-291 - Stanley Haynes - 15 months of musical productionusing a real-time digital sound synthesis system
292. - Miller Puckette, Barry Vercoe and John Stautner - A real-time music 11 emulator
293-297 - L. Sasaki, G. Fedorkow, W. Buxton, C. Retterath and K. C. Smith - A touch-sensitive input device

299-307 - Martin Piszczalsk and B. A. Galler - Perceptual organization in music listening
308. - Stephen McAdams and David Wessel - A general synthesis package based on principles of auditory perception
309-314 - David N. Stewart - Innovative programming method for sound waveform production : a plucked string sound
315. - Dexter Morill - The dynamic aspects of trumpet phrases
316-323 - James W. Beauchamp - Data reduction and resynthesis of connected solo passages using frequency, amplitude, and "brightness" detection and the nonlinear synthesis technique

325-331 - J. Timothy Kolosick - Microcomputers and future work in computer-assisted music analysis
332-347 - William F. Blair - A selection method for organization of proportions and musical intervals for composition and analytic purpose
348-362 - John H. Chalmers - Combination product sets and other harmonic and melodic structures
363-394 - Denise A. Lagasse - A model computer program for the parametral analysis of atonal music

395-395 - Caesar Castro -
396. - William Buxton -
397-413 - Martin Lamb -
414-416 - W. Buxton, S. Hull and A. Fournier -

417-421 - David Crawford -
422. - John Maxwell -

423- - -

1-15 - B. Truax - The new electronic and computer music studio at Simon Fraser university
16-19 - F. R. Moore and D. G. Loy - Computer audio research laboratory studio report
20-25 - B. Maillard, J. F. Allouis and Y. Geslin - The GRM digital studio for treating natural sounds : Its aims and methods
26-32 - J. Celona and M. Longton - Real-time synthesis at the university of Victoria
33-39 - S. Petrarca and N. Sani - Studio report S.I.M./Rome (Use of advanced digital technology for musical purpose
40-53 - C. Turco - Studio report IASM Napoli

54-65 - T. Blum - Phthong - An interactive system for music composition
66-72 - S. Sapir and R. Kronland-Martinet - Use of microprocessor in real-time synthesis of sounds
73-91 - C. Cadoz, A.L Luciani, J. L. Florens and T. Berberyan - The control channels of instrumental playing in computer music - real time in computer music incidence on the choice of the basic models
92-99 - L. Kleen - A generalized orchestra compiler for Z80 micorprocessor
100-115 - A. Marr and B. Pennicook - Alternative software for DMX-1000
116-132 - G. Haus and M. Malcangi - A portable ‘Walsh’ synthesizer
133-153 - S. Cavaliere, I. Ortosecco, P. Parascandolo and A Piccialli - An efficient method to implement amplitude modulmation in hardware

154-161 - L.Tarabelle - A microprocessor-based system for music production
162-171 - D. G. Loy - Asound file system for UNIX
172-187 - V. Asta and A. Freed - The AXIS digital polyphonic digital music synthesizer
188-193 - C. Abbott - Remembering performance gestures
194-201 - S. T. Pope - Introduction to the Mshell
202-216 - B. W. Pennicook - The audio composition system of the defense and civil institute for environmental medicine, Downsview Canada

217-224 - A. Noetzel - A multi-microprocessor system for real-time music synthesis : design and implementation
225-231 - G. B. Debiasi and M. Rubazzer - Architercture for a digital sound synthesis processor
232-240 - J. F. Allouis and J. Y. Bernier - The SYTER project : sound processor design and software overview
241-244 - M. De Loye - Real-time control system for digital synthesizer

245-278 - A. Andronico and A. Campia - On automatic pattern recognition and acquisition of printed music
279-296 - G . Degli Antoni and G. Haus - Music and causality
297-07 - M. Santojemma - Formal representation of basic blocks for sound synthesis

308-340 - J. O. Smith - Synthesis of bowed strings
341-349 - D. Arfid - Is MUSIC V a real-time program ? (Oldies but Goodies)
350-353 - J. C. Risset - Computer synthesis of sound applied to composition with sonic processes
354-357 - J. Beauchamp - A computer orchestra

358-366 - J. Rogers - Digital simulation of the piano
367-374 - A. De Santis - A microprocessor oriented toward the frequency synthesis
375-385 - M. Battier and T. Lancino - The simulation and extrapolation of instrumental ounds using direct synthesis at IRCAM
386-397 - J. P. Stautner and R. L. Hale - A flexible acoustic ambience simulator
398-408 - X. Rodet, J. B. Barriere, P. Cointe and Y. Potard - The CHANT project : Modelization and production, an environment for composers including the FORMES language for describing and controlling sound and musical processes
409-425 - P. Grossi, G. Bertini and R. Andreoni - Computer music as a permanent service - Toward musical telematics

426-436 - L. Friden, J. Sunberg and A. Askenfeld - A rule system for converting melodies from musical notation into sound
437-465 - J. Strawn - Research on timbre and musical context at CCRMA
466-478 - J. P. Stautner - Analysis and synthesis of music using a model of the auditory transform

479-510 - R. Upitis - A computer assisted instruction approach to music for junior-age children : Using ALF for teaching music composition
511-533 - P. J. Clements - Design considerations for computer-assisted music intruction

534-555 - J. H. Chalmers - Construction and harmonization of microtonal scales in non-twelve-tone equal temperaments
556-562 - E. Gagliardo and M. Ghislandi - Did Beethoven use the enneadecaphonic algorithm ?
563-576 - P. Grossi and G. Bertini - A program of tomographic analysis of musical texts
577-587 - H. Charnasse - The automatic transcription of german lute tablature : Researches concerning algorithms polyphonic structures

588-600 - G. W. Swift and M. Yunik - A microprocessor based keyboard instrument for microtonal music
601-605 - R. Moog - A multiply touch-sensitive clavier for computer music

606-609 - J. Marc - Computer music language Aids interaction between composer and choreographer
610-612 - L. Austin - PHANTASMAGORIA : A chronicle of computer-assisted composition/performance

613-622 - G. M. Koenig - Esthetic integration of computer-composed scores
623-652 - L. Hiller - Stochastic generation of note parameters for music composition
653-681 - W. Branchi - To compose within sound (an introduction)

682-692 - J. S. Dydo - Surface control of computer music
693-702 - A. Belfiore - ALGOMUSIC : An algorithm for the genesis of musical structures
703-718 - C. Roads - Interactive orchestration based on score analysis
719-721 - G. Malzi and V. Ozzola - A neural theory of music and derived composition techniques
722-748 - C. Ames - About GRADIENT

1-6 - Gareth Loy - An experimental music composition language with real-time capabilities
7-30 - Alexander Brinkman - A design for a single pass scanner for the DARMS music coding language
31-54 - Christopher Fry - Flavor band : Beyond computer improvisation. A Meta-composition language
55-56 - John Strawn - eMerge : Toward a knowledge-based improvisation.

57. - John Strawn - Spectre and timbre
58-80 - Julius Smith - Principals of audio digital filter design
81-90 - Roger Dannenberg and Arthur Benade - An automated approach to tuning
91-99 - Manfred Clynes - The code of musicality - incorporated into real computer performance

100-103 - Mark Dolson - Musical applications of the phase vocoder

104-110 - Gary Nelson and John Talbert - The alles machine revisited
111-113 - David Jaffe - A syntheziser debugger
114-127 - John Snell - Sensor for playing compute music with expression
128-137 - M. Yunik, M. Borys and G. W. SWift - A microprocessor based digital flute

138-160 - Mira Balaban - Towards a computer research of tonal music
161-173 - Richard Ashley - Production systems : Three applications in music
174-193 - Paul Dworak - Computer pitch recognition : A new approach

194-235 - Daniel Freed - Waveshaping analysis and implementation
236-252 - Charles Dierbach - Some initial ideas on thecontrol of digital sound synthesis through AI techniques
253-261 - Werner Kaegi - The MIDIM system

262-269 - Bary Truax - The compositional organization of timbre in a binaural space
270-274 - Kaija Saariaho - Using the computer in a search for new aspects of timbre organization and composition

275-298 - Bruce Pennycook - Music languages and preprocessors : A tutorial
299-306 - Joel Chadabe - Interactive composing

1-4 - P. Berg - A procedural control language for a digital signal processor
5-16 - R. B. Dannenberg and P. Avinney - A functional approach to real-time control
17-20 - M. Puckette - The “ M ” orchestra language
21-24 - R. Rowe - Recur : Composition and synthesis
25-34 - F. Azzolini and S. Sapir - Score and/or gesture : The system RTI4I for real-time contyrol of the processor 4I

35-42 - A. Borgonovo and G. Haus - Musical sound synthesis by means of two-variable functions
43-52 - A. Riotte - Un modèle informatique pour la trransformation continue de sons harmoniques
53-64 - I.Wawrynek, C. Mead, L. Tzu-Mu, L. Hsui-Lin and L. Dyer - A VLSI approach to sound synthesis
65-66 - M. Dolson - Refinements in phase-vocoder-based modification of music
67-82 - G. A. Mian and G. Tisato - Sound structuring techniques utilizing parameters derived from a voice analysis/synthesis system
83-86 - J. Zera, J. Gauffin and J. Sundberg - Synthesis of selected VCV-sllables in singing
87-90 - Angeloni, Gabrielli, Giordani and Danti - Research on morphological similarities in sound signals originating from instrumental sounds
91-102 - G. de Poli - Frequency dependent waveshaping
103-110 - J. Smith - An allpass approach to digital phasing and flanging
111-126 - G. S. Kendall and W. L. Martens - Simulating the cues of spacial hearing in natural environments
127-130 - E. Favreau, A. Gerzso and P. Potacsek - Programmation du processeur numérique temps réel, 4X
131-134 - J. P. Stautner - Musical recording, editing and producton using the compusonics DSP-2000

135-142 - K. Ebcioglu - An expert system for Schenkerian synthesis in the style of J. S. Bach
143-162 - S. McAdams, S. Gladkoff and J. P. Keller - AISE : Aprototype laboratory for musical research and the development of conceptual tools
163-166 - K. Saariaho - Shaping a compàositional network with computer
167-172 - W. Slawson - Operations on timbre : Perceptives and problems
173-178 - Barry Truax - Models of interactive composition with the DMX-1000 digital signal processor
179-184 - D. Cross - An intelligent-ear training lesson

185-192 - D. A. Jaffe - Ensemble timing in computer music
193-198 - R. B. Dannenberg - An on-line algorithm for real-time accompaniment
199-200 - B. Vercoe - The synthetic performer in the context o live performance
201-202 - P. Jaffrennou, P. Jaubert and L. Champenois - SINFONIE : numerical process command with gestural input control

203-212 - G. Young - Hugh Le Caine’s 1948 sackbut syntheziser : performance mode of electronic instruments
213-216 - R. Teitelbaum - The digital piano and the patch control language system
217-220 - D. J. Collinge - Moxie : A language for computer music performance
221-224 - L. Friden and J. Sundberg - Performance rules for melodies. Origin, functions, purposes
225-232 - M. Clynes - Secrets of live in music

233-242 - A. Brinkman - A data structure for computer analysis of musical scores
243-250 - D. Decker and G. Kendall - A modular approach to sound synthesis software
251-256 - L. Dyer - Toward a device independent representation of music
257-272 - M Minciacchi and D. Minciacchi - Music editing and graphics (MEG 1.00) : a personal computer based operative system for editing and printing musical scores
273-274 - Yann Orlarey - MILOGO : Un langage de programmation orienté composition musicale
275-280 - P. Pruzinkiewicz - Time management in interactive score editing

281-286 - R. B. Dannenberg, P. Mc Avinney and M. T. Thomas - Carnegie-Melln university studio report
287-298 - G. B. Debiasi, G. de Poli, G. Tisato and A. Vidolin - Centro di sonologia computazionale C. S. C. university of Padua
299-302 - L. Del Luca, F. Galante, M. Lupone, G. Nottoli and N. Sani - Societa’ di informatica musicale
303-310 - J. Gerbrich, R. Ruzicka and J. Stehlik - The computer musical composition in Czechoslovakia
311-315 - T. Cary - Quarts in pint pots
265-276 - Jean Marie Adrien, René Causse, Eric Ducasse - Audio Analysis and Synthesis Techniques Digital Signal Processing Dynamic Modeling of Stringed and Wind Instruments, Sound Synthesis by Physical Models

1-4 - Herbert Brun - The Premise Is That There Be Music

5-8 - F. Richard Moore - The CARL Computer Music Workstations : An Overview
9-13 - Gareth D. Loy - Designing an Operating Environment for a Realtime Performance Processing System
15-17 - Andrew Voelkel - A Cost Effective Input Processor-pitch Detector for Electronic Violin
19-23 - Xavier Chabot - User Software for Realtime Input by a Musical Instrument
25-31 - Timothy A. Wilson - Data Reduction of Musical Signals
33-38 - Gary Schwartz - Sound Synthesis by Hierarchic Sampling
39-46 - Erling Henry Wold, Mark A. Z. Dippé - Alias-Free Sound Synthesis by Stochastic Sampling
47-53 - Julius O. Smith - A New Approach to Digital Reverberation using Closed Waveguide Networks
55-60 - Mark Dolson - Recent Adventures in Musique Concrete at CARL
61-67 - James M. Roth, Gary S. Kendall and Shawn L. Decker - A Network Sound System for UNIX
69-77 - Shawn L. Decker, Gary S. Kendall - A Unified Approach to the Editing of Time-Oriented Events
79-84 - Ian Bowler, - The Synthesis of Complex Audio Spectra by Cheating Quite a Lot
85-89 - Jean-Marie Adrien, Xavier Rodet - Physical Models of Instruments : A Modular Approach Application to Strings
91-96 - Xavier Rodet, Philippe Depalle - High Quality Synthesis-by-rule of Consonants
97-102 - Jan Vandenheede, Jonathan Harvey - Identity and Ambiguity : The Construction and Use of Timbral Transitions and Hybrids

103-110 - Stephen, F. Hoge, Anthony Agnello - A Low-Cost Development System for Digital Audio Signal Processing
111-118 - Dana C. Massie - The Emulator II Computer Music Environment
119-124 - Dave Rossum - Some Aspects of Sample Rate Conversion
125-127 - Kurt J. Hebel - A Machine-Independent Sound Conversion/Storage System
129-134 - Andrew Noetzel - The Use of Interpolating Memories for Music Processing by Microcomputer
135-139 - L. Chouinard, L. N. Belanger - A Computer-Based Harmonic Analysis/Additive Synthesis System
141-144 - Mark Lentczner - Sound Kit : A Sound Manipulator
145-151 - Bruce Pennycook, Jeffrey Kulick, Dave Dove - The Image and Audio Systems Audio Workstation
153-153 - M. Rubbazzer, M. Sanoiemma, G. A. Patella - A New Architecture for a Digital Sound Synthesizer
155-158 - John Kitamura, William Buxton, Martin Snelgrove, Kenneth C. Smith - Music Synthesis by Simulation using a General-Purpose Signal Processing System
159-163 - John W. Gordon - Music Applications for the MSSP System
165-168 - John W. Gordon, Julius O. Smith III - A Sine Generation Algorithm for VLSI Applications

169-184 - Nicola Bernardini, - Semiotics and Computer Music Composition
185-192 - Claudy Malherbe, Gerard Assayag, Michele Castellengo - Functional Integration of Complex Instrumental Sounds in Musical Writing
193-198 - J. B. Barriere, Y. Potard, P. F. Baisnee - Models of Continuity Between Synthesis and Processing for the Elaboration and Control of Timbre Structures
199-206 - David Keane, - Architecture and Aesthetics : The Construction and the Objectives of “ Elektronikus Mozaik ”
207-212 - alcides lanza - Exploring Language
213-215 - Denis Smalley - Digital Transformations in ‘Tides’
217-224 - G. Grisey, J. B. Barriere, P. F. Baisnee - Les Chants de l’Amour, A Piece for Computer Generated Tape and Mixed Choir
225-232 - Frederick L. Malouf - A System for Interactive Music Composition Through Computer Graphics
233-236 - Theo Goldberg - The Prefiguration of a Musical Composition : Model of a Computer Graphics Program
237-242 - Morris, Stephen - A Personal Computer, Musical Knowledge-Based System Using Active Objects
243-250 - Larry Polansky, David Rosenboom - HMSL (Hierarchical Music Specification Language) A Real-Time Environment for Formal, Perceptual and Compositional Experimentation
251-258 - Charles Ames - Applications of Linked Data Structures to Automated Composition
259-265 - Sever Tepei - "Maiden Voyages" - A Score Produced with MP
267-274 - Marilyn Taft Thomas - Vivace : A Rule Based AI System for Composition

275-278 - Barry Vercoe, Miller Puckette - Synthetic Rehearsal : Training the Synthetic Performer
279-289 - Joshua J. Bloch, Roger B. Dannenberg - Real-Time Computer Accompaniment of Keyboard Performances
291-295 - Eric Johnstone - The ROLKY : A Poly-Touch Controller For Electronic Music
297-302 - Martin Bartlett - The Development of a Practical Live-Performance Music Language
303-306 - John Lifton - Some Technical and Aesthetic Considerations in Software for Live Interactive Performance
307-312 - Scot Gresham-Lancaster - Macintosh as a Live Performance Tool
313-318 - Michel Waisvisz - The HANDS, a Set of Remote MIDI-Controllers
319-324 - Przemyslaw Prusinkiewicz - Graphics Interfaces for MIDI-Equipped Synthesizers
325-328 - Daniel Arfib - Man-Machine Dialog Using MIDI Files
329-330 - Ross Gillett, Kenneth C. Smith, Bob Pritchard - MADDM - Dance-Directed Music
331-335 - Giovanni B. Debiasi - M.I.N.I. (Musical Instruments Numerical Interface)
337-339 - Ron Kuivila - Untitled : An Interactive Installation
341-345 - Brian L. Schmidt, James M. Roth - The Synchronization of Audio Production in Computer Music

347-353 - John Strawn - Orchestral Instruments : Analysis of Performed Transitions
355-365 - William L. Martens - Palette : An Environment for Developing an Individualized Set of Psychophysically Scaled Timbres
367-374 - Stephen McAdams, Kaija Saariaho - Qualities and Functions of Musical Timbre

375-382 - Mira Balaban - Foundations for Artificial Intelligence Research of Western Tonal Music
383-390 - Richard D. Ashley - KSM : An Essay in Knowledge Representation in Music
391-397 - Bernard Mont-Reynaud, Mark Goldstein - On Finding Rhythmic Patterns in Musical Lines
399-405 - Chris Chafe, David Jaffe, Kyle Kashima, Bernard Mont-Reynaud, Julius Smith - Techniques for Note Identification in Polyphonic Music

407-414 - James Beauchamp, Scot Aurenz - New Computer Music Facilities at the University of Illinois at Urbana-Champaign
415-418 - M. Greenhough, I. Bowler, S. Morris - The Electronic Music Studio at University College, Cardiff
419-424 - David Rosenboom, Larry Polansky - Recent Developments at the Center for Contemporary Music (1981-Mills College )
425-428 - Geoffrey Wright - Electronic and Computer Music at the Peabody Conservatory

1-3 - Anders Friberg and Johan Sundberg - A LISP Environment for Creating and Applying Rules for Musical Performance
5-10 - Jan Vandenheede - Musical Experiments with Prolog II
11-16 - Richard D. Ashley - A Knowledge-Based Approach to Assistance in Timbral Design

17-20 - John Free, Paul Vytas and William Buxton - What Ever Happened to SSSP?
21-27 - Christopher Yavelow - The Impact of MIDI upon Compositional Methodology
29-34 - Neil B. Rolnick - A Performance Literature for Computer Music: Some Problems form Personal Experience
35-41 - David P. Anderson and Ron Kuivila - A Model of Real-Time Computation for Computer Music
43-46 - Miller Puckette - Interprocess Communication and Timing in Real-time Computer Music Performance

47-50 - Leo Kupper - Space Perception in the Computer Age: Music and Psycho-Acoustic Experiences in Space Diffusion
51-52 - Patrizio Barbieri and Lindoro Del Duca - Renaissance and Baroque Microtonal Music Research in Computer Real Time Performance
53-56 - Roger B. Dannenberg - The CMU MIDI Toolkit
57-58 - Xavier Chabot, Roger Dannenberg and Georges Bloch - A Workstation in Live Performance : Composed Improvisation
61-62 - P. Barbaud, F. Brown and R. Lengagne - The Biniou Machine

63-64 - Rainer Boesch and Daniel Weiss - An Inexpensive Composer Work Station Featuring High Quality Real-Time Sound Synthesis
65-70 - Jean-Loup Florens, Aime Razafindrakoto, Annie Luciani and Claude Cadoz - Optimized Real Time Simulation of Objects for Musical Synthesis and Animated Image Synthesis
71-72 - Giorgio Nottoli and Lindoro Del Duca - MSYS-7 MIDI Control System
73-74 - Giorgio Nottoli and Francesco Galante - SOFT MACHINE: A Real Time Fully Programmable Computer Music System
75-81 - E. Amiot, G. Assayag, C. Malherbe and A. Riotte - Duration Structure Generation and Recognition in Musical Writing
83-85 - Douglas Keislar - Software for Real-Time Microtonal Control
87-89 - Aluizio Jr.Arcela - Time-Trees: The Inner Organization of Intervals
91-93 - Michael Greenhough - A Microcomputer System for The Real-Time Exploration of Musical Structures
95-97 - Philippe Prevot - Tele-detection and Large Dimension Gestual Control
99-100 - J. C. Radier, Ch. Deforeit and D. Provost - A User Friendly Synthesizer by Means of a Touch Input Wide LCD Graphic Display
101-103 - Itai Shelef, Uri Shimony and Itai Nehoran - A Modular Real-Time Digital Processor of Audio Signals

105-108 - Lee Boynton, Jacques Duthen, Yves Potard and X. Rodet - Adding a Graphical User Interface to FORMES
109-118 - Peter Desain and Henkjan Honing - LOCO: Composition Microworlds in LOGO
119-125 - Brian L. Schmidt - A Natural Language System for Music
127-129 - Adrian Freed - MacMix: Mixing Music with a Mouse
131-144 - Stephen T. Pope - The Development of an Intelligent Composer's Assistant: Interactive Graphics Tools and Knowledge Representation for Music

145-151 - Donald Byrd - User Interfaces in Music-Notation Systems
153-160 - Roger B. Dannenberg - A Structure for Representing, Displaying, and Editing Music
161-166 - Peter Desain - Graphical Programming in Computer Music : A Proposal
167-172 - Lounette M. Dyer - MUSE : An Integrated Software Environment for Computer Music Applications
173-178 - Gerard Assayag and Dan Timis - A Toolbox for Music Notation

179-182 - Aad te Bokkel - De Erratiese Synkretiseur
183-186 - Lee Boynton, Pierre Lavoie, Yann Orlarey, Camilo Rueda and David Wessel - MIDI-LISP : A LISP-Based Music Programming Environment for the Macintosh
187-191 - Birute Sinkeviciute, Saulius Sondeckis and Arturas Medonis - On the Identification of Violin Strokes in a Real-Time Performance System
193-195 - Floris van Manen and Stichting Klankschap - Ringo : A Percussive Installation

197-198 - Gerald Bennett, Rainer Boesch, Antonio Greco and Bruno Spoerri - Studio Report : The Swiss Center for Computer Music
199-201 - Mark Kahrs, Thomas J. Killian and Max V. Mathews - Computer Music Research at Bell Labs : 1986-
203-205 - Louise Gariepy - The Electro-Acoustic Unit of the Faculty of Music of the University of Montreal
207-209 - Noel Zahler - Studio Report : The Impact of Computer Music on the Small Liberal Arts College in the United States

211-213 - Yann Orlarey - MLOGO : A MIDI Composing Environment for the Apple Iie
215-217 - Mohan K. Harihara and Radhakrishna Rao - MRIDANGAM Simulation
219-225 - Martin D. Wilde, William L. Martens, James M. Hillenbrand and Douglas R. Jones - Externalization Mediates Changes in the Perceived Roughness of Sound Signals with Jittered Fundamental Frequency
227-229 - Christoph Lischka and Hans-Werner Gusgen - MvS/C - A Constraint-Based Approach to Musical Knowledge Representation
231-235 - Barry Truax - Real-Time Granular Synthesis with the DMX-1000
237 239 - P.-F. Baisnee, J.B. Barriere, O. Koechlin and R. Rowe - Real-Time Interaction between Musicians and Computer : Live Performance Utilisations of the 4X Musical Workstation

241-247 - Yee-On Lo - Techniques of Timbral Interpolation
249-255 - H.Kaegi, J. Janssen and P. Goodman - MIDIM Sound-Duplications and Their Applications
257-262 - Xavier Serra - A Computer Model for Bar Percussion Instruments
263-267 - Joseph Marks and John Polito - Modeling Piano Tones
269-274 - Y. P.Potard, F. Baisnee and J. B. Barriere - Experimenting with Models of Resonance Produced by a New Technique for the Analysis of Impulsive Sounds
275-280 - Julius O. Smith - Efficient Simulation of the Reed-Bore and Bow-String Mechanisms

281-284 - Francesco Galante - A.A.S. : Acoustic Ambience Simulator System
285-292 - Gary S. Kendall, William L. Martens, Daniel J. Freed, M. Derek Ludwig and Richard W. Karstens - Spatial Processing Software at Northwestern Computer Music
293-297 - S. A. Piccialli Cavaliere - Phase Modulation with Interpolated Time Functions : Synthesis by Formants

299 300 - Anthony Holland - Sampling and Composition with the Kurzweil 250 Today’s Aesthetic Choices
301-303 - P. J. Comerford - The Bradford Musical Instrument Simulator
305 307 - Alain Martel - The SS-1 Sound Spatializer : A Real-Time MIDI Spatialization Processor
309-312 - Kevin Jones - Real-Time Stochastic Composition and Performance with AMPLE

313-316 - Johan C. M. den Biggelaar - Hogeschool voor de Kunsten Utrecht Studio Report : Center for Music and Information Technology
317-319 - Cornelia Colyer - Studio Report : Centre D’Etudes de Mathematique et Automatique Musicales

321-326 - Jon Appleton - The Computer and Live Performance
327-329 - Ron Kuivila and David Anderson - Timing Accuracy and Response Time in Interactive Systems
331-336 - Craig Harris and Alexander Brinkman - A Unified Set of Software Tools for Computer-Assisted Set-Theoretic and Serial Analysis of Contemporary Music
337-339 - John Morehen - Computer-Assisted Musical Analysis: A Question Of Validity
341-343 - G. Codeluppi and E. Iannuccelli - Computer and Music Software in an Educative-Formative Role in Italy
345-348 - Marco Ligabue - A System of Rules for Computer Improvisation
349-351 - Gary Greenberg - Computers and Music Education: A Compositional Approach

353-358 - M. Rubbazzer, M. Santoiemma and G.A. Patella - Some Advances in the Development of a New Architecture for a Digital Sound Synthesizer
359-363 - David Blythe, John Kitamura, David Galloway and Martin Snelgrove - Virtual Patch-Cords for the Katosizer
365 368 - Bennett K. Smith and Paul Chervin - Boris: An Application of the Fujitsu MB8764 Chip

369 373 - E.Favreau, M. Fingerhut, O. Koechlin, R. Potascek, M. Puckette and R. Rowe - Software Developments for the 4X Real-Time System
375-380 - Gareth D. Loy - Designing a Computer Music Workstation from Musical Imperatives
381-386 - F. Richard Moore - Applications for an Integrated Computer Music Workstation
387-391 - Roger Reynolds - Musical Production and Related Issues at CARL

393-405 - Daniel Freed, J. William and L. Martens - Deriving Psychophysical Relations for Timbre
407-412 - Robert Cogan - Imaging Sonic Structure

413-421 - Kristi Allik, Shane Dunne and Robert Mulder - ArcoNet : A Proposal for a Standard Network for Communication and Control in Real-Time Performance

423-426 - Michel Starkier and Philippe Prevot - Real-Time Gestural Control
427 429 - Helmut Zander - The APS1000 Series of Digital Audio Processing

431-434 - Chris Chafe, Julius Smith and Patte Wood - Current Work at CCRMA : An Overview

435-442 - Bruno Degazio - Musical Aspects of Fractal Geometry
443-445 - Daniel V. Oppenheim - The Need for Essential Improvements in the Machine-Composer Interface used for the Composition of Electroacoustic Computer Music.
447-449 - Kemal Ebcioglu - An Expert System for Harmonizing Four-Part Chorales
451-453 - G. Nancini, P. Grossi, G. Bertini, C. Camilleri and L. Tarabella - TELETAU : A Computer Music Permanent Service
455-457 - Przemyslaw Prusinkiewicz - Score Generation with L-Systems
459-461 - Peter, J.Clements - A System for the Complete Enharmonic Encoding of Musical Pitches and Intervals

1-8 - Charles Ames - Tutorial on automated composition
9-16 - Julius O. Smith - Waveguide Filter Tutorial

17-24 - Brian Evans - Integration of Music and Graphics through Algorithmic Congruence
25-32 - Gary Greenberg - Procedural Composition
33-39 - Keith Hamel, Bruce Pennycook, Bill Ripley and Eli Blevis - Composition Design System: A Functional Approach to Composition
40-48 - Daniel V. Oppenheim - The P-G-G Environment for Music Composition: A Proposal
49-56 - Carla Scaletti - Kyma: An Object-oriented Language for Music Composition

57 64 - Jean-Baptiste Barriere - Musical Production at IRCAM in 1986-87 A Studio Report
65-72 - Harnden Eric, Ron Massaro and Gary Gibian - The Development of a Computer Music Facility at the American University
73-79 - Craig R. Harris - The Missing Link: A Studio Report
80-83 - JoAnn Kuchera-Morin and Dan Timis - The Computer Music Studio at the University of California, Santa Barbara: A Studio Report

84-88 - Judith C. Brown and Miller S. Puckettte - Musical Information from a Narrowed Autocorrelation Function
89-95 - Guy E. Garnett - Modeling piano sound using Waveguide Digital Filtering Techniques
96-103 - Brad Garton - Elthar: A Signal Processing Expert that Learns
104-107 - Kurt J. Hebel - Javelina: An Environment for the Development of Software for Digital Signal Processing
104-105 - Fernando Lopez-Lezcano - PadMaster: an improvisation environment for real time performance
108-116 - David Wessel, David Bristow and Zack Settel - Control of Phrasing and Articulation in Synthesis

117-124 - D. Gareth Loy - On the scheduling of multiple parallel processors executing synchronously
125-129 - Charlie Q. Robinson - Real Time Synthesis of Bowed String Timbres
130-137 - John M. Snell - General-purpose Hi-fidelity Affordable Real-time Computer Music System
138-145 - Barry Truax - Real-time Granulation of Sampled Sound with the DMX-1000

146-150 - Martin Atkins, Andrew Bentley, Thomas Endrich and Rajmil Fischman - The Composers' Desktop Project
151-158 - Jacques Duthen and Yves Potard - Le_Loup, an Object-Oriented Extension of Le_Lisp for an Integrated Computer Music Environment
159-165 - Gerhard Eckel, Xavier Rodet and Yves Potard - A Sun-Mercury music workstation
166-173 - Stephen Travis Pope - A Smalltalk-80 based Music Toolkit

174-181 - David Cope - Experiments in Music Intelligence (EMI)
182-189 - Simon Holland - New Cognitive Theories of Harmony Applied to Direct Manipulation Tools for Novices
190-196 - Christoph Lischka - Connectionist Models of Musical Thinking
197-205 - Larry Polansky - Morphological Metrics: An Introduction to a Theory of Formal Distances

206-211 - Larry Austin and Eugene DeLisa - Modeling Processes of Musical Invention
212-219 - Gary Grossman - Instruments, Cybernetics, and Computer Music
220 227 - Larry Polansky, David Rosenboom and Phil Burk - HMSL: Overview (Version 3.1) and Notes on Intelligent Instrument Design
228-229 - Noel Zahler - Isomorphism, Computers, and the Multi-media Work

230-237 - David P. Anderson - Synthesizer Management Based on Note Priorities
238-240 - Jean-Charles Francois, Xavier Chabot and John Silber - MIDI Synthesizers in Performance: Realtime Dynamic Timbre Production
241-248 - Roger Dannenberg and Bernard Mont-Reynaud - Following an Improvisation in Real Time
249-255 - Marc LoCascio - Audio Time Compansion for Studio and Performance Synchronization
256-263 - F. Richard Moore - The Dysfunctions of MIDI

264-269 - Jean Marie Adrien, René Caussé, Xavier Rodet - Sound synthesis by physical models : application to strings
270-274 - L. K. Kitching - From Small Beginnings
274-281 - William L. Martens - Principal Components Analysis and Resynthesis of Spectral Cues to Perceived Direction
282-289 - Russell G. Payne - A Microcomputer Based Analysis/Resynthesis Scheme for Processing Sampled Sounds Using FM.
290-297 - Julius O. Smith and Xavier Serra - PARSHL: An Analysis/Synthesis Program for Non-Harmonic Sounds Based on a Sinusoidal Representation

298-301 - Gerard Assayag and Dan Timis - Computer Printing, Storage, and Transfer of Musical Scores
302-310 - Diane Joyce Cook - Orpheus: A Music Notation Program
311-316 - J. Stephen Dydo - Data Structures in the Note Processor
317-324 - John Free - Towards an Extensible Data Structure for the Representation of Music on Computers
325-332 - Keith A. Hamel - Issues in the Design of Music Notation Systems
333-340 - Giovanni Muller and Raffaello Giulietti - High Quality Music Notation: Interactive Editing and Input by Piano Keyboard

341-348 - Mark Dolson, Abe Singer and David Rivas - Personal-Computer Microworlds for Learning About Signals and Sound
349-355 - Richard Kufrin - PRECOMP/GT - A Graphic Tool for Learning Topics in Computer-Assisted Composition
356-363 - Linda Sorisio - Design of an Intelligent Tutoring System in Harmony

364-371 - David Keane - Computer Music and Human Engineering: The Making of "Labyrinth"

1-12 - Claude Cadoz - Instrumental gesture and musical composition
15-19 - D. J. Collinge and S. M. Parkinson - The Oculus Ranae
20-27 - Barry M. Eagelstone - A Database Environment for Musician-Machine Interaction Experiment
28-40 - Sylvie Gibet and Jean-Loup Florens - Machine Recognition of Music Information Composition Systems and Techniques Instrumental Gesture Modeling by Identification with Time-Varying Mechanical Models
41-48 - Johannes Goebel - Man-Machine Interaction
49-55 - Rubine Dean and Paul McAvinney - The VideoHarp

56-65 - Mira Balaban - A Music Workstation Based on Multiple Hierarchical Views of Music
66-81 - Michael Czeiszperger - A Multiple Workstation Environment for Joint Computer Music/Computer Graphics Production
82-89 - Xavier Rodet and Gerhard Eckel - Dynamic Patches: Implementation and Control in the Sun-Mercury Workstation
90-99 - Jean-Michel Raczinski and Gerard Marino - A Real-Time Synthesis Unit

101-107 - Reginald Bain - Linguistic and musical composition : logical structures
108-118 - Pierre-Francois Baisnée, Jean-Baptiste Barriere, Marc-André Dalbavie, Jacques Duthen, Magnus Lindberg, Yves Potard and Kaija Saariaho - ESQUISSE: A Compositional Environment
119-126 - A. Camurri, M. Giacomini, A.Ponassi and R.Zaccaria - Key-Music: Expert System Environment for Music Composition
127-141 - John Free and Paul Vytas - The CAMP Music Configuration Database: Approaching The Vanilla Synthesizer
142-149 - Gary Greenberg - Composing With Performer Objects
150-157 - Gary Greenberg - Music Learning - Compositional Thinking
158-165 - Bernd Streitberg and Klaus Balzer - The Sound of Mathematics

166-174 - Heinz-Dieter Bocker and Andreas Mahling - What's in a Note ?
175-183 - Marc Chemillier and Dan Timis - Toward a theory of formal musical languages
184-188 - Glendon Diener - TTrees - An Active Data Structure for Computer Music

189-198 - David Rosenthal - A Model of the Process of Listening to Simple Rhythms
199-210 - Andranick S. Tanguiane - An Algorithm For Recognition of Chords
211-217 - Barry Vercoe and David Cumming - Connection Machine Tracking of Polyphonic Audio

219-230 - Peter Beyls - Introducing Oscar
231-238 - D. J. Collinge and D. J. Scheidt - Moxie for the Atari ST
239-242 - Roger B. Dannenberg - A Real Time Scheduler/Dispatcher
243-249 - Roger Dannenberg and B. Hirofumi Mukaino - New Techniques for Enhanced Quality of Computer Accompaniment
250-257 - Rupert Nieberle, C. Frank, H. Rothkamm, Marcus Verwiebe, Paul Modler, Stefan Koschorreck and Lutz Kosensky - The CAMP System: an approach for integration of realtime, distributed and interactive features in a multiparadigm environment
258-264 - Rupert C. Nieberle and Paul Modler - An Open Multiprocessing Architecture for Realtime Music Performance

265-276 - Jean-Marie Adrien, René Causse and Eric Ducasse - Dynamic Modeling of stringed and wind instruments, sound synthesis by physical models
277-296 - Peter Castine - A Survey of Users' Experience with Digital Audio Synthesis
297-312 - Guy Garnett, E. Bernard and M. Mont-Reynaud - Hierarchical Waveguide Networks
313-321 - Xavier Rodet, P. Depalle and G. Poirot - Diphone Sound Synthesis Based on Spectral Envolopes and Harmonic/Noise Excitation Functions
322-332 - Marie-Hélène Serra, Dean Rubine and Roger B. Dannenberg - The Analysis and Resynthesis of Tones via Spectral Interpolation

333-348 - R. W. Berry - Experiments in Computer Controlled Acoustic Modelling (A Step Backwards ??)
349-356 - Lee Boynton and Dave Cumming - A Real-Time Acoustic Processing Card for the Mac II
357-371 - John Michael Clarke, Peter Manning, Ron Berry and Alan Purvis - VOCEL: New implementations of the FOF synthesis method
372-377 - Mark Lentczner and John Worthington - The Sound Manager: A Software Architecture for Device Independent Sound
378-382 - Miles A. Marks - Resource Allocation In An Additive Synthesis System For Audio Waveform Generation

383-391 - Bruce Pennycook - PRAESCIO-II: "Amnesia": Toward Dynamic Tapeless Performance
392-397 - Curtis Roads - Sound Structure in Message
398. - Rodney Washka and Tózé Ferreira - Rapid Event Deployment in a MIDI Environment

399-402 - A. Chaigne and F. Troxler - SONATE: An analysis/synthesis system of musical sounds based on perceptual data
403-411 - Bruno Degazio - The Development of Context Sensitivity in the Midiforth Computer Music System
412-419 - Francesco Giomi and Marco Ligabue - An Interactive System for Musical Improvisation
420-429 - Miller Puckette - The Patcher
430-436 - Uri Shimony, Shlomo Markel and Josef Tal - Icon Notation for Electroacoustic and Computer Music

1-4 - Kristi Allik - The Interactive Arts System: Introduction to a Real-Time Performance Tool
5-8 - Richard Ashley - A Computer System for Learning Analytic Listening
9-12 - Richard Ashley - Computer Based Learning: Models and Lessons for Computer Music Systems
13-16 - Bridet Baird, Donald Blevins and Noel Zahler - The Artificially Intelligent Computer Performer on The Macintosh II and a Pattern Matching Algorithm for Real-Time Interactive Peformance
17-20 - Jean-Baptise Barrière, Adrian Freed and Pierre-François Baisnée - A Digital Signal Multiprocessor and its Musical Applications
21-24 - James Beauchamp - The Computer Music Project at the University of Illinois at Urbana-Champaign, 1989
25-28 - Nicola Bernardini and Peter Otto - Studio Report: Tempo Reale
29-33 - Nicola Bernardini and Peter Otto - TRAILS: An Interactive System for Sound Location
34-50 - Peter Beyls - The Musical Universe Of Cellular Automata
51-54 - Frederic Boyer and Richard Kronland-Martinet - Granular Resynthesis and Transformation of Sounds Through Wavelet Transform Analysis
55-57 - Peter Bowcott - Cellular Automation as a Means of High Level Compositional Control of Granular Synthesis
58-61 - Ian Bowler, Peter Manning, Alan Purvis and Nick Bailey - A Transputer-Based Additive Synthesis Implementation
62-64 - Century Michael - The Banff Centre Media Arts Program: Studio Report and Artistic Retrospective
65-68 - Xavier Chabot - Performance with Electronics: Gesture Interfaces and Software Toolkit
69-72 - Perry R. Cook - Synthesis of the Singing Voice Using a Physically Parameterized Model of the Human Vocal Tract
73-75 - Roger B. Dannenberg - Music Representation Issues: A Position Paper
76-79 - Roger B. Dannenberg and Christopher Lee Farley - Fugue: Composition and Sound Synthesis With Lazy Evaluation and Behavioral Abstraction
80-85 - Peter Desain, Henkjan Honing and Klaus de Rijk - A Connectionist Quantizer
86-89 - Glendon R. Diener - Nutation: Structural Organization Versus Graphical Generality in a Common Music Notation Program
90-93 - Charles Dodge and Curtis Bahn - Studio Report for the Centre for Computer Music at Brooklyn College
94-97 - Pierre Dutilleux - Spinnin' the sounds in real-time
98-100 - Lounette M. Dyer - Position Paper for Music Representation Panel
101-104 - Arnie Eigenfeldt - Contour: A Real-Time MIDI System Based on Gestural Input
105-108 - Brian Evans - Ehancing Scientific Animations with Sonic Maps
109-112 - Adrian Freed - New Media for Musicological Research and Education -The Country Blues in HyperMedia
113-116 - Ichiro Fujinaga, Bo Alphonce and Bruce Pennycook - Issues in the Design of an Optical Music Recognition System
119-122 - Harrison, Malcom C. Suzanne Haig Gershon Horowitz - A Shortest-Path Algorithm for Musical Harmony
123-126 - Keiji Hirata and Tatsuya Aoyagi - Music Server
127-130 - Fred Holm - Frequency Scheduling: Real-time Scheduling in Multiprocessing Systems
131-133 - David Huron - Characterizing Musical Textures
135-138 - David A. Jaffe - An Overview of the NeXT Music Kit
139-146 - H. Katayose, H. Kato, M. Imai and S.Inokuchi - An Approach to an Artificial Music Expert
147-150 - H. Katayose, K. Takami, T. Fukuoka and S. Inokuchi - Music Interpreter in the Kansei Music System
151-154 - David Keane and Peter Gross - The Midi Baton
155-159 - Gregory Kramer, Robert Moog and Alan Peevers - The Hybrid: A Music Performance System
160-163 - JoAnn Kuchera-Morin and Dan Timis - Recent Developments at The Center for Computer Music Composition
164-167 - Peter Langston - Six Techniques for Algorithmic Composition (Extended Abstract)
168-171 - Jean Laroche and Xavier Rodet - The Use of Prony's Method for the Analysis of Musical Sounds Applicative to Percussive Sounds
172-175 - Mikael Laurson and Jacques Duthen - PATCHWORK: a Graphic Language in PREFORM
176-179 - Keith Lent - A Real-Time Computer Music Synthesis System Based on the Motorola 56001
180-183 - J.P. Lewis - Algorithms for Music Composition by Neural Nets: Improved CBR Paradigms
184-185 - George W. Logemman - Experiments with a Gestural Controller
186-190 - Tod Machover - Hyperinstruments: Musically Intelligent and Interactive Performance and Creativity Systems
191-198 - Toshiaki Matsushima, Sadamu Ohteru andShuji Hashimoto - An Integrated Music Information Processing System: PSB-er
199-202 - William F. McGee - Real-Time Acoustic Analysis of Polyphonic Music
203-206 - Mark Medovich - Demodulated Vector Quantization (DVQ), and Real Time Music Synthesis via DVQ Code Books
207-210 - H. Morita, S. Ohteru and S. Hashimoto - Computer Music System which Follows a Human Conductor
211-214 - Dexter Morrill and Perry R. Cook - Hardware, Software, and Compositional Tools for Real Time Improvised Solo Trumpet Work
215-218 - Michel Naranjo and Irene Duc - Musical Paste and Geometric Image Modeling
219-222 - Gary Lee Nelson - Algorithmic Approaches to Interactive Composition
223-225 - Adolfo Nœ-ez - The Computer and Electronic Music Studio at the CDCM, Madrid
226-233 - Daniel V. Oppenheim - DMIX: An Environment for Composition
234-237 - Yann Orlarey - MIDI SHARE: A real time multi-tasks software module for MIDI applications
238-241 - Bruce Pennycook - Computer Applications In Music at McGill University
242-245 - Russell F. Pinkston - The Accelerando Project
246-248 - Stephen Travis Pope - Considerations in the Design of a Music Representation Language
249-252 - Stephen Travis Pope - Modeling Musical Structures as Event Generators
253-256 - David Rivas, Steve Watkins and Paul M. Chau - VLSI for a Physical Model of Musical Instrument Oscillations.
257-259 - Curtis Roads - Active Music Representations
260-263 - John Roeder and Keith Hamel - A General-Purpose Object Oriented System for Musical Graphics
264-267 - Mark Rudolph - On the Use of Cepstral Representation in Synthesis from Reduced Performance Information
268-272 - Gregory J. Sandell - Perception of Concurrent Timbres and Implications for Orchestration
273-276 - Brian Schmidt - Designing Sound Tracks for Coin-Op Games or Computer Music for Under $65.00
277-280 - Douglas Scott - A Processor for Locating Stationary and Moving Sound Sources in a Simulated Acoustical Environment
281-284 - Xavier Serra and Julius O. Smith - Spectral Modeling Synthesis
285-288 - Uri Shimony, Noam Elroy and Ehud Hamami - LZW Compression of Musical Files
289-292 - Justin Shuttleworth and Mike Greenhough - Music Processing by Transputer Networks at the Electronic Music Studio in Cardiff
293-295 - Wayne Siegel - DIEM Studio Report
296-302 - Donald Sloan - Precis of the Standard Music Description Language
303-306 - Julius O. Smith - Unit-Generator Implementation On The NeXT DSP Chip
307-311 - Steinberg Daniel and Tim Learmont - The Multimedia File System
312-315 - Tarabella Leonello and Graziano Bertini - A Digital Signal Processing System and a Graphic Editor for Synthesis Algorithms
316-319 - Taube Heinrich - Common Music: A Compositional Language in Common Lisp and CLOS
320-323 - Siddhartha Chatterjee and Mark W. Maimone - Cantabile: A Rule-Based System for Composing Melodies
324-327 - Sever Tipei - Manifold Compositions: A (Super)Computer-Assisted Composition Experiment in Progress
328-331 - William Franklin Walker - KIWI: A Parallel System for Software Sound Synthesis
333-335 - Rodney Waschka and Alexandra Kurepa - Using Fractals in Timbre Composition: An Exploratory Study
336-339 - David Wessel, Richard Felciano, Adrian Freed and John Wawrzynek - The Center for New Music and Audio Technologies