1-10 - Julius Orion Smith - Viewpoint on the history of digital synthesis

11-14 - Jean Baptiste Barrière, Francisco Iovino, Mickael Laurson - A new Chant synthesizer in C and its control environment in PATCHWORK
15-18 - Phil Burk - The integration of real-time synthesis into HSML, the hierarchical music specification language
19-22 - Joseph Derek Morrison - Control mechanisms in the MOSAIC synthesis program
23-26 - James Dashow - Music 30 and SCORE

27-36 - Antonio Camurri, Corrado Capena, Marcello Frixione, Carlo innocenti Claudio Massucco, Renato Zaccaria - A high-level system for music composition
37-44 - Larry Polansky - Live interactive intelligent computer music : notes on pieces done in HMSL, 1984-91
45-52 - Wiliam F. Punch - An algorithmic approach to composition based on dynamic hierarchical assembly

53-56 - Alexander R. Brinkman - Computer-graphic tools for music analysis
57-60 - Sevan G. Ficici - Computer analysis of surface ditail in tonal music
61-64 - C. P. Tsang, M. Aitken - Harmoniszing music has a dicipline in constraint logic programming
65. - John Joy - Automated linguistic analysis of musical compositions
66-73 - Ichiro Fujinaga, Bo Alphonce, Bruce Pennycook, Kharin Hogan - Optical music recognition : progress report

74. - John Celona - Studio report : university of Victoria
75-77 - Simon Emmerson - Studio report : electroacoustic and computer studio at city university, London
78-81 - Leonello Tarabella, Graziano Bertini - Studio report : computer music departement of CNUCE/CNR, Pisa, Italy
82-85 - Hugues Vinet, Daniel Terrugi - GRM report

86-89 - Daniel PW Ellis, Barry L. Vercoe - A wavelet based sinuzoid model of sound for auditory signal separation
90-93 - David K. Mellinger, Bernard M. Mont-Reynaud - Sound explorer : A workbench for investigating source separation
94-97 - Massimo Dal Sasso, Giovanni B. Debiassi, Giovanni Spagiari - Method for automatic evaluation of timbre and fluctuation of pipe organ sounds
98-101 - Gregory J. Sandell - A library of orchestral instrument spectra

102-105 - Peter Lunden - Sound models : the representation of knowledge about sound-synthesis in the CPL environment
106-109 - A. I. Katrami, R. Kirk, A. Myatt - A phase vocoder graphical interface for timbral manipulation of cellular automata and fractal landscape mappings
110-113 - Justin R. Shuttleworth - Interactive music composition with a minimum of input states
114-117 - Phil Winsor - PAT-PROC : an interactive, pattern-process, algorithmic composition program

118-121 - John A. Bate - A multiprocessor DSP system for real-time interactive sound processing and synthesis
122. - Louis N. Bélanger - Additive synthesis and resynthesis : a tentative objective evaluation
123-126 - Eric Johnstone - A MIDI foot controller - the podoboard
127-130 - Nil Parent - Parametric spectrumization

131-134 - Alan Belkin - Who’s playing - the computer’s role in musical performance
135-138 - Simon Emmerson - Computers and live electronic music : some solutions, many problems
139-142 - Brad Garton, Mara Helmuth - Composing the output interface
143-149 - Peter Desain, Henkjan Honing - Tempo curves considered harmful

150. - Joseph T. Chung - A development environment for string hyperinstruments
151. - Dr. Neil Gershenfeld - MIT-media lab
152. - Mary Ann Norris - Using state-of-art technologies to investigate the cognitive mapping of musical intention to performance
153-156 - Tom Maglione, Barry Vercoe - A platform for real-time perceptually-based audio data reduction

157-160 - Perry R. Cook - Non linear periodic prediction for on-line identification of oscillator characteristics in woodwind instruments
161-164 - Philippe Depalle, G. Poirot - A modular system for analysis, processing and synthesis of sound signals
165-168 - Richard Orton, Andy Hunt, Ross Kirk - A phase vocoder graphical interface for musical applications of a cellular automata workstation
169-176 - Ralph David Hill - The Cro-magnon advanced additive Analysis/Synthesis system

177. - R. D. Wragget - In, out, but not thru : the current state of electro-acoustic music eduction in Canada
178-181 - Bruce P. Mahin - The computer-assited music classroom : a catalyst for creativity
182-187 - Richard Povall, Neil B. Rolnick - Commonalities in the time-based arts : a new approach to the teaching and practive of the electronic arts

188-191 - Otto E. Laske - Understanding music with AI
192-193 - Hans Lunell - Has structure any meaning in computer music ?
194-197 - Craigs Harris - Found sound, found structure summary
198-201 - Dominique M. Richard - Why simulate when we can get the real thing ?

202-205 - Douglas F. Keislar - The relevance of beating partials for musical intonation
206-209 - Michael Page - The musical expectations of self-organizing neural netwoks
210-213 - Richard Parmcutt - A psychoacoustical model for tonal composition
214-221 - Gregory Kramer, Stephen Ellison - Audification : the use of sound to display multivariate data

222-225 - Cor Jansen - Sine circuitu : 10 000 high quality sine waves without detours
226-228 - Avi Parash, Uri Shimony - An expandable real-time transputer sound generator
229-233 - Bruce Pennycook, Chris Lea - T-MAX : a parallel processing development system for MAX
234-241 - Larry Polansky, Martin McKinney - Morphological mutation functions : applications to motivic transformation and to a new class of time domain cross-synthesis techniques

242-245 - Jonathan Hallstrom, Dale Skien - The composer’s toolbox : a common lisp-based precomposition environment
246-249 - Aluizio Arcela, Geber Ramalho - A formal composition system based on the theory of time trees
250-253 - Robert Rowe - A self-critical compositional algorithm
254-257 - Peter Evarist Beyls - Self-organizing control structures using multiple cellular automata

258-265 - Andreas Mahling - How to feed musical gesture into compositions
266-269 - Francois Pachet - A meta-level architecture for the analysis of jazz chord sequences
270-276 - LM. Chelpa - A fuzzy-set-theoretic frame work towards computer generation of "AALAP" patterns in Hindustani music

277-280 - Michael Lee, Adrian Freed, David Wessel - Real-time neural network processing of gestural and acoustic signals
281-284 - Daniel V. Oppenheim - SHADOW : An object-oriented performance system for the DMIX environment
285-288 - Francois Pachet - Representing knowledge used by jazz musicians
289-292 - Akio Sato, Tsutomu Harada, Shuji Hashimoto, Sadamu Ohteru - Singing and playing in musical virtual space

293-296 - Matti Karjalainen, Unto K. Laine, Timo Laakso and Vesa Valimaki - Transmission-line modeling and real-time synthesis of string and wind instruments
297-299 - Perry R. Cook - Tbone : an interactive waveguide brass instrument synthesis workbench for the NeXT machine
300-303 - Suzanne Hirchman, Perry R. Cook, Julius Orion Smith - Digital waveguide modelling of reed woodwinds : an interactive development
304-307 - Julius Orion Smith - Waveguide simulation of non-cylindrical acoustic tubes

308-310 - Ann Stimson - The script for "Poème électronique" : trace from a pioneer
311-314 - Reynold Weidenaar - The alternators of the Telharmonium, 1906

315-318 - Gunilla Carlsson, Sten Termstrom, Johan Sundberg, Tamas Ungvary - A new digital system for singing synthesis allowing expressive control
319-321 - Perry R. Cook - LECTOR : an ecclesiastical latin control language for the SPASM/singer instrument

322. - Ronald B. Smith - Deriving a quarter-tone harmonic language using harmonic spectra and their formant regions as a model for chord voicings
323. - Myriam Desainte-Catherine - The architecture of a musical composition system based on constraint resolution and graph rewriting
324-327 - Stephen Travis Pope - A tool for manipulating expressive and structural hierarchies in music
328-331 - Fred Lerdahl, Xavier Chabot - A theory of poetry as music and its exploration through a computer aid to composition

332-335 - Stephen David Beck - Strange attractors : a virtual instrument algorithm for acoustic instruments
336-339 - Noel Zahler - Questions about interactive computer performance as a resource for music composition and problems of musicality
340-343 - Bridget Baird - The artificially intelligent computer performer and parallel processing
344-347 - David Wessel - Improvisation with highly interactive real-time performance systems

348-351 - Peter Dessain, Henkjan Honing - Generalized time functions
352-355 - Agostino Di Scipio - Further experiments with non-linear dynamic systems : composition and digital synthesis
356-359 - E. Bryan George, Mark J. T. Smith - An analysis-by-synthesis approach to sinusoidal modeling applied to the analysis and synthesis of musical tones
360-363 - W. Brent Weeks, W. Andrew Schloss, R. Lynn Kirlin - Implementation of the KL synthesis algorithm under real-time control

364-74 - Dr. Gareth Loy - Automatic composition, conectionism and musiconomy
375. - Jean Piché, Stéphane Desmeules - MAXGEN : a graphical MAX object for the generation and editing of complex continuous control functions
376-379 - Jeff Pressing - Some applications of time theory to computer music design
380-387 - Daniel V. Oppenheim - Towards a better software-design for supporting creative musical activity (CMA)

388-391 - Leslie Delehanty, Guy E. Garnett - CNMAT studio report
392. - Francisco Kropfl - LIPM studio report
393-395 - Dave Malha, Richard Orton, Andy Hunt, Ross Kirk - Studio report : university of York, ENgland
396. - Myke Roy - Phase 1 de l’implantation d’un centre d’accès multi-média à PRIM

397-400 - Adrian Freed, David Wessel, David Zicarelli - MAX objects for media integration
401-403 - George W. Logemann - CASCADES : interactive algorithmic performance
404-407 - Pauline Oliveros - The expanded instrument system (EIS)
408-411 - Yann Orlarey - Hierarchical real time interapplication communications

412-415 - Marcio C. P. Brandao, Ricardo S. R. Nascimento - A geometric-concordance device for sound synthesis
416-418 - Richard Orton, Andy Hunt, Ross Kirk - Graphical control of granular synthesis using cellular automata and the Freehand program
419-422 - Vance Maverick - The Arugula computer-music score editor
423-427 - Shahrokh David Yadegari - Using self-similarity for sound/music synthesis

428-432 - Roger B. Dannenberg, Dean Rubine, Tom Neuendorffer - The resource - instance model of music representation
433-436 - Kees de Koning, Shaun Oates - Sound base : phonetic searching in sound archives
437-440 - Barry M. Eaglestone, Albert Verschoor - An intelligent music repository
441-444 - Bernhard Feiten, Roland Frank, Tamas Ungvary - Organization of sound with neural nets

445-446 - Marc Battier - Recent musical creation at IRCAM
447-450 - Adolfo Nunez, Carlos Cester - LIEM CDMC
451-454 - Jack A. Taylor - Computer based experimental research in music perception and cognition at the CMR-FSU
455-458 - Noel Zahler - CEDS TO GROW A CAT : a progress/studio report

459-462 - William F. Punch, Greg Sepesi - Design of a C++ library for MIDI applications
463-466 - Sergi Jorda - A real-time MIDI composer and interactive improviser by means of feedback systems
467-470 - Dave Malham, Richard Orton - Progress in the application of 3-dimentional ambisonic sound systems to computer music
471-474 - Louis-Philippe Demers - A performance instrument for lighting

475-478 - Michael Hamman - Mapping complex using granular synthesis
479-482 - Andrew Horner, David E. Goldberg - Genetic algorithms and computer-assisted music composition
483-486 - Clifton Kussmaul - Applications of the wavelet transform at the level pitch contour
487-490 - Barry Truax - Composition with time-shifted environmental sound using a real-time granulation technique

491-494 - Anthony L. Miele - Patenting your computer music algorithms in the U .S.
495-500 - Deta S. Davis - Recent changes in computer and electronic music subject headings at the library of congress
501-504 - Marcia L. Bauman, Glendon R. Diener, Max V. Mathews - The international digital electroacoustic music archive

505-508 - Carla Scarletti - Lightweight classes without programming
509-512 - Kurt J. Hebel - A framework for developing signal processing and synthesis algorithms for the Motorola 56001
513-516 - Brian Belet - Proportional recursive stochastic composition using COMP2, a Smaltalk-80 composition program within the Kyma digital synthesis system

517-520 - Iannis Xenakis - More thorough stochastic music
521-524 - David A. Jaffe - Musical and extra-musical applications of the NeXT music kit
525-528 - R. Crandell, M. Minnick - Parallel transform method for lossless compression of analog data
529-532 - Rupert C. Nieberle - A fast communication-interface to the CAMP-DSP-subsystem for general purpose sound-synthesis, analysis and processing
533-536 - Cort Lippe, Miller Puckette - Musical performance using the IRCAM workstations

537-540 - Roger B. Dannenberg, Kenneth Bookstein - Practical aspects of a MIDI conducting system
541-544 - David Keane, Kevin Wood - The MIDI baton III
545-548 - Todd Winkler - Interactive signal processing for acoustic intruments
549. - Philippe Ménard - Space at performer’s fingertips

550-553 - Martha Brech - Musical analysis of computer music with sonagrams
554. - Peter Lunden, Tamas Ungvary - "MacSonogram" : a programme to produce large scale sonograms for musical purposes
555-558 - Xavier Rodet, Boris Doval - Fundamental frequency estimation using a new hamonic matching method
559-562 - Andranick Tanguiane - The criterion of data complexity in rhythm recognition

563-566 - Mara Helmuth - Patchmix and StochGran : two graphical interfaces
567-570 - J. M. Raczinski - New UPIC system demonstration
571-572 - Anthony G. Holland - BESSIE : a real time interactive computer tutorial on frequency modulation synthesis for the NeXT computer
573-575 - Alain Pitre - Creaytion of MIDI files for acoustical experiment using the TX81Z
576-577 - Serge de Laubier, Daniel Terrugi - MIDI generation of sound morphologies
578-581 - Anthonie Driesse - Real-time tempo tracking using rules to analyse rhythmic qualities
582-585 - Lippold Haken - Lime music notation software for the macintosh
586-588 - Olivier Koechlin, Hugues Vinet - The acousmographe, a macintosh software for the graphical representation of sounds
589-591 - Olivier Koechlin, Hugues Vinet, Didier Brisson - DSP station, a HyperCard environment for DSP sound processing algorhythms
592-593 - Ralph David Hill - The Cro-Magnon advanced additive analysis/synthesis system

1. - Max Mathews - My view of the future of real-time computer music

2-5 - James Beauchamp, Andrew Horner - Extended nonlinear waveshaping Analysis / Synthesis technique
6-9 - Daniel P. W. Ellis - Timescale modifications and wavelet representations
10-13 - Philippe Guillemain, R. Konland-Martinet - Additive resynthesis of sounds using continuous time-frequency analysis techniques
14-17 - Byan Holloway, Lippold Haken - A sinusoidal synthesis algorithm for generating transitions between notes
18-21 - Andrew Horner, James Beauchamp, Lippold Haken - Wavetable and FM matching synthesis of musical instrument tones
22-25 - Dana C. Massie, Virginia L. Stonick - The musical intrigue of pole-zero pairs
26-29 - Rupert C. Nieberle, Michael Warstat - Implementation of an Analysis / Synthesis system on a DSPG56001 for general purpose sound processing
30-33 - Dave Rossum - Making digital filters sound "analog"
34-37 - Gregory J. Sandell, William L. Martens - Prototyping and interpolation of multiple musical timbres using principle component-based synthesis

38-41 - Richard D. Ashley - Modellçing ensemble performance : dynamic just intonation
42-45 - Peter Desain - Can computer music benefit from cognitive models of rhythm perception ?
46-49 - Keiji Hirata, Tatsuya Aoyagi - Toward inductive learning of jazz harmony theory
50-52 - David Evan Jones - Counterpoint assistant
53-56 - Masako Nishijima, Kazuyuki Watanabe - Interactive music composer based on neural networks
57-60 - Larry Polansky - More on morphological mutation functions : recent techniques and developments
61-64 - Matt Smith, Simon Holland - An Artificial Intelligence tool for the analysis and generation of melodies
65-68 - Peter M. Todd - A connectionist system for exploring melody space
69-72 - David Zicarelli - Music technology as a form of parasite

73-76 - Graziano Bertini, Paolo Carosi - The light baton : a system for conducting computer music performance
77-80 - Brent Gillespie - Dynamical modeling of the grand piano action
81-84 - Lippold Haken, Radi Abdullah, Mark Smart - The continuum : a continuous music keyboard
85-88 - Tsutomu Harada, Akio Sato, Shuji Hashimoto, Sadamu Ohteru - Real time control of 3D sound space by gesture
89-92 - Randy C. Marchany, Joseph G. Tront - A programmable MIDI instrument controller emulating a hammer dulcimer
93-96 - Emile Tobenfeld - A system for computer assisted gestural improvisation

97-100 - Miguel Clazon - A program for the reinterpretation of musical input structures
101-105 - Heinrich Taube - Stella : persistent score representation in common music
106-109 - Stephen Travis Pope - The SmOKE music representation, descriotion language, and interchange format

110-112 - Alex Bulis, Roy Almog, Moti Gerner, Uri Shimony - Computerized recognition of hand-written musical notes
113-116 - Glendon R. Diener - A visual programming environment for music notation
117-120 - Ichiro Fujinaga, Bo Alphonce, Bruce Pennycook, Glendon R. Diener - Interactive optical music recognition
121-124 - Toshiaki Matsushima - Computerized Jananese traditional music processing system
125-127 - Ammon Wolman, James Choi, Shahab Asgharzadesh, Jason Kahana - Recognition of handwritten music notation
128-131 - Orly Yadid-Pecht, Eliyahu Brutman, Lior Dvir, Moti Gerner, Uri Shimony - RAMIT : Neural network for recognition of musical notes

132-135 - Phillipe Depalle, Xavier Rodet - A physical model of lips and trumpet
136-139 - Stanislaw Krupowicz, Bodgan Skalmierski - Towards an explanation of shape of the violin
140-141 - Timo I. Laakso, Vesa Välimäki, Matti Karjalainen, Unto K. Laine - Real-time implementation techniques for a continuously variable digital delay in modeling musical instruments
142-145 - Denis Matignon, Philippe Depalle, Xavier Rodet - State space models for wind-instrument synthesis
146-149 - Andrea Paladin, Davide Rocchesso - A dispersive resonator in real time on MARS workstation
150-153 - Julius O. Smith, Perry R. Cook - The second-order digital waveguide oscillator
154-157 - Scott A. Van Duyne, Juoius O. Smith - Implementation of a variable pick-up point on a waveguide string model with FM / AM applications

158-161 - Brian Belet - Toward a unification of algorithmic composition, real-time software synthesis, and live performance interaction
162-165 - Simon Bolzinger - Dkompose : a package for interactive composition in the Max environment, adapted to the acoustic MIDI disklavier piano
166-169 - Phil Burk, Robert Marsanyi - Iconic programming for HMSL
170-173 - Mark Coniglio - Introduction to the interactor language
174-177 - Roger B. Dannenberg, Cliford W. Mercer - Real-time software synthesis on superscaler architectures
178-181 - Adrian Freed - New tools for rapid prototyping of music sound synthesis algorithms and control strategies
182-185 - Miller Puckette, Cort Lippe - Score following in practice
186-189 - David Rosenboom - Parsing real-time musical inputs and spontaneously generating musical forms : hierarchical form generator (HFG)
190-193 - William Walker, Kurt Hebel, Salvatore Martirano, Carla Scarletti - Improvisation builder : improvisation as conversation

194-197 - Robin Barger - Correlated sound and image in a digital medium
198-201 - Koji Kusu, Masaoki Ino, Donguk Skin, Shuji Hashimoto, Sadama Ohteru - Computer noh system
202-205 - Howard Sandroff - Realizing the spacialisation processing of Dialogue dès l'ombre double bty Pierre Boulez
206. - Marie Helene Serra - Stochastic Music / Xenakis

207-210 - Jeff Bilmes - A model for musical rhythm
211-214 - Roberto Bresin, Giovanni De Poli, Alvise Vidolin - Symbolic and sub-symbolic rules system for real-time score performance
215-218 - Henkjan Honing - Expresso, a strong and small editor for expression
219-222 - Brad Garton - Virtual performance modelling
223-226 - Daniel V. Oppenheim - Compositional tools for adding expression to music in DMIX
227-230 - David Rosenthal - Intelligent rhythm tracking
231-234 - Donald Ruffcorn - Livestep : editing step quantized music from libraries of lives performances

235-238 - Tim M. Anderson, A. Hunt, Ross Kirk, P. McGilly, Richard Orton, Sean Watkinson - From score to unit generator : a hierarchical view of MIDAS
239-242 - Lee Richard Boynton - Music programming in Scheme
243-246 - Richard Orton, Ross Kirk - Tabula vigilans
247-248 - Peter Otto, Rick Bidlack, Stephen Master - MixNet : a comprehensive digital audio production system
249-252 - Carla Scaletti - Polymorphic transformations in Kyma

253-256 - Georges Bloch, Gérard Assayag, Olivier Warusfel, Jean-Pascal Jullien - Spatializer : from room acoustics to virtual acoustics
257-260 - Jan Chomyszyn - Loudness as a cue in distance perception
261-264 - Gary S. Kendall - Directional sound processing in stereo reproduction
265-268 - Gareth Loy, Daniel J. Freed - The Frox digital audio system

269-272 - David A. Jaffe, W. Andrew Schloss - The making of "Wildlife" : species of interaction
273-276 - Perry R. Cook - A meta-wind-instrument physical model, and a meta-controller for real-time performance control
277-280 - Michael Lee, David Wessel - Connectionist models for real-time control of synthesis and compositional algorithms

281-284 - Marcia L. Bauman - The international digital electro-acoustic music archive
285-288 - Richard Boulanger - Making music with Csound for the macintosh
289-291 - Daniel Wyman, Jürgen Bräuninger - Old wold, new wold, third world studios
292-295 - Alessandra De Vitis - The activities of CRM (centro Ricerche Musicali)
296-297 - Gerald Gabel, Jay Upchurch - The Constance J. Upchurch studio for electro-acoustic music
298--301 - Jo Ann Kuchera-Morin, Douglas Scott - The center for computer music research and composition
302-305 - Peter Lundén, Peter Rajka, Tamas Ungvary - Studio report from the KACOR multimedia lab
306-309 - Peter Otto - Studio Report : SUNY, Buffalo
310. - Gerard Pape, Jean-Michel Raczinski, Gerard Marino, Marie Helene Serra - Musical creation at Ateliers UPIC and CEMAMu
311-313 - Russell Pinkston - The university of Texas accelerando project : an update
314-317 - Richard M. Povall - IEAR studio : studio report
318-320 - John Rimmer, John Elmsly - Studio report : composition studios, school of music, university of Auckland, New Zealand
321-324 - David Rosenboom, Mark Coniglio, Morton Subotnick - Center for experiments in art, information and technology (CEAIT) : studio report
325-328 - Joel Ryan - The STEIM studio report
329-332 - Uri Shimony, Moti Gerner, Shlomo Markel - Studio report : a new icon musical notation system - TAL
333-336 - Wayne Slawson - Csound version of the Klatt speech synthesizer : a university of California, Davis studio report
337-339 - Yu Ying - Computer music in China

340-343 - Paolo Andrenacci, E. Favreau, N. Larosa, A. Prestigiacomo, C. Rosati, Silvyane Sapir - MARS : RT20M/EDIT20-development tools and graphical user interface for sound generation board
344-347 - Fabio Armani, L. Bizzarri, E. Favreau, Andrea Paladin - MARS : DSP environment and applications
348-351 - Sergio Cavaliere, Guiseppe Di Giugno, Eugenio Guarino - MARS : the X20 device and SM100 board
352-353 - Giuliano Palmieri, Silvyane Sapir - MARS : musical applications

354-355 - Tim M. Anderson, Ross Kirk - Electroacoustic scoring with phase-vocoding instruments using the E-scape composition system
356-357 - John A. Bate - MAX + Unison - interactive control of a digital signal multiprocessor
358-359 - Peter Beyls - Dynamic models for musical interaction in virtual reality
360-361 - Mark Bolas, Phil Stone - Virtual mutant Theremin
362-363 - M. A. Marks, Nicholas L. Briggs - Resource utilisation for a real-time instrument design language
364-365 - Alexander R. Brinkman, Sevan G. Ficici - Computational tools for the analysis of rhythm
366-367 - Brad Cariou - Designof an alternative controller from an industrial design perspective
368-369 - Carlos Cester, Adolfo Nunez - Megapro : MIDI event generator and processor
370-371 - Marc Chemillier - Automata and music
372-373 - Phillipe Depalle, Denis Matignon, M. Stroppa - Source-filter formulation and analytic control of the skirtwidth of CHANT formant-wave-function
374-375 - Agostino Di Scipio - Sound matter evolving into musical form
376-377 - Barry Eaglestone, Tamas ungvary, Geoff Davies - A musical experiment with Next generation database technology
378. - Daniel P. W. Ellis - DspB : a ubiquitous soundfile examiner / editor
379-380 - Peter W. Farrett - A system for acquiring a composer's actions
381-382 - Kelly Fitz, William Walker, Lippold Haken - Extending the McAulay-Quatiery analysis for synthesis with a limited number of oscillators
383-384 - Richard Foss, Anthony Wilks - The remote MIDI workstation
385-386 - William G. Gardner - Reverb - a reverberator design tool for audiomedia
387-388 - Walter Gish - Mltistage signal analysis
389. - Andrew Hong - Non-linear analysis of cello pitch and timbre
390-391 - Matti Karjalainen, Vesa Välimäki, Toomas Altosaar, Seppo Helle - The quicksig system and its computer music applications
392-393 - Anna I. Katrrami, Ross Kirk, Richard Orton, A. Hunt - Deconstructing the phase vocoder
394-395 - Christopher Kriese, Sever Tipei - A compositional approach to additive synthesis on cupercomputers
396-397 - Brian Link - A real-time waveguide toolkit
398-399 - Dale Millen - Generation of formal patterns for music composition by means of cellular automata
400-401 - Roberto Morales-Manzanares - Non-deterministic automatons controlled by rules for composition
402-403 - Enrique I. Moreno - The existence of unexplored dimensions of pitch : expanded chromas
404-405 - Yoichi Nagashima - Real-time control system for "Pseudo Granulation"
406-407 - Naotoshi Osaka - Otkinshi : asound generation and performance system
408-409 - Michael Pelz-Sherman - Some formalisms for genzerating expression in melodies performed by computers
410-411 - Xavier Rodet, Phillipe Depalle - A new additive synthesis method using inverse Fourrier transform and spectral envelopes
412-413 - Xavier Rodet - Nonlinear oscillator models of musical instrument excitation
414-416 - Oel Ryan - Effort and expression
417-418 - Dale Skrien, Jonathan Hallstrom - CT-Pan and CT-doppler : two fast and friendly signal processing modules for the macintosh common lisp-based composer's toolbox environment
419-420 - Jim Sosnin, David Hirt, Graeme Gerrard - Patching and control of multi-processes in a real-time DSP environment
421-422 - Atau Tanaka - Implementing quadraphonic audio on the NeXT : hardware and software issues
423-424 - Leonello Tarabella - RealTime concurrent PascalMusic
425-426 - Christiane Ten Hoopen - Perceptual dilemmas of new computer music
427-428 - Scott A. Van Duyne - Low piano tones : modeling nearly harmonic spectra with regions of FM
429-430 - Sean Watkinson, Ross Kirk - Soundimation; an integrated sound and image composition system on a multi-processor network
431-432 - Gerhard Widmer - The importance of musicologically meaningful vocabularies for learning
433-434 - Todd Winkler - FollowPlay : a MAX program for interactive composition
435-436 - S. F. Wong, K. R. P. H. Leung - Melody analysis on centre patterns
437-439 - Noel Zahler, Jon Kozzi - Music matrix : a tool for composer / analysts

440-441 - David Anderson, Jeff Bilmes - Mood : a concurrent C++ - based music language
442-443 - Daniel Arfib, Nathalie Delprat - Sound mutations, a program to transform musical sounds
444-445 - Richard Ashley, Arne Eigenfeldt, Gary Kendall, Bill Parod, Peter Webster, Amnon Wolman - Northwestern university software : a demonstration
446. - Timothy Bartoo, Barry Truax - Electro-acoustic composer's workstation project
447-448 - Brent Gillespie - Touch back keyboard
449-450 - Georg Hajdu - 17 tones
451-452 - Cor Jansen - Sine circuitu : real-time analysis, manipulation and (re)synthesis
453. - Gary Kendall - Pinnaworks
454-455 - Michael Lee, Guy Garnett, David Wessel - An adaptive conductor follower
456. - Charles E. H. Lucy - MusicAsEasyAsPi
457-458 - Michael Minnick - An object-oriented interface to the NeXT sound driver
459-460 - Bruce Pennycook, Eric Johnstone - A remote messaging device for interactive performance
461. - Jean-Michel Raczinski - UPIC demonstration
462. - Gregory J. Sandell - An exploratory environment for the orchestral instrument spectra library
463-464 - Zack Settel, Cort Lippe, Miller Puckette, Eric Lindermann - Recent developments : the IRCAM signal processing workstation
465-466 - Bill Thibault, Scott Gresham-Lancaster - Songlines.DEM
467-468 - Anthony Wilks, Richard Foss - An expandable, MIDI controllable, audio mixer

469-472 - Larry Austin, Rodney Waschka II - Composing computer music for compact disc : a practicum
473-476 - Craig Harris - Configurable space X
477. - Nil Parent - The short century
478-481 - David Keane - SOUND LODGE : a touch-sensitive, interactive sound installation
482-485 - Dominique M. Richard - Short circuit : the computer music's edison complex
486-488 - Kojiro Umezaki - The future role of Japanese musicians and composers in music-technology

2-8 - John Chowning - Computer music : a grand adventure and some thoughs about loudness

9. - Joji Yuasa - Cosmology and technology in music

10-17 - Satosi Simura, Tukitani Tuneko, Taru Seyama and Osamu Yamaguti - Simplicity as complexity - technicalities and aesthetics of Japanese musical instruments and music
18. - Gerard Pape, Didier Rocton - UPIC special session

19-31 - David Cope (chair), Larry Austin, Jean-Baptiste Barrière, Martin Herman, Gareth Loy, Otto Laske, Atau Tanaka - Algorithmic music

32-39 - Vesa Valimaki, Matti Karjalainen and Timo I. Laakso - Modeling of Woodwind Bores with Finger Holes
40-47 - Scott A. Van Duyne and Julius 0. Smith - Physical Modeling with the 2D Digital Waveguide Mesh
48-55 - Xavier Rodet - Flexible Yet Controllable Physical Models: A nonlinear dynamics approach
56-63 - Matti Karjalainen, Vesa Valimaki and Zoltan Janosy - Towards High-Quality Sound Synthesis of the Guitar and String Instruments
64-71 - Julius 0. Smith - Efficient Synthesis of Stringed Musical Instruments
72-75 - Nicolas Szilaz and Claude Cadoz - Physical Models That Learn
76-79 - Chris Chafe - Tactile Audio Feedback

82-85 - Barry Truax - Time-Shifting and Transposition of Sampled Sound with a Real-Time Granulation Technique
86-93 - R. Kronland-Martinet and Ph. Guillemain - Towards Non-linear Resynthesis of Instrumental Sounds
94-97 - Ph. Depalle, G. Garcia and X.Rodet - Analysis of Sound for Additive Synthesis: Tracking of Partials Using Hidden Markov Models
98-101 - A. Freed, X. Rodet and Ph. Depalle - Synthesis and Control of Hundreds of Sinusoidal Partials on a Desktop Computer without Custom Hardware
102-109 - Curtis Roads - Musical Sound Transformation by Convolution
110-113 - Jeff Pressing, Chris Scallan and Neil Dicker - Visualization and Predictive Modelling of Musical Signals using Embedding Techniques
114-117 - Gilbert A. Soulodre, Dale R. Stammen - A Binaural Recording and Playback System for the Reproduction of Virtual Concert Halls
118-121 - Gary Kendall - PinnaWorks: a NeXT Application for Three-Dimensional Sound Processing in Real-Time
122-122 - Theodore Apel - Spectral Transformation and Cross Synthesis of Sinusoidal Analysis Peaks

124-126 - Atau Tanaka - Musical Technical Issues in Using Interactive Instrument Technology with Application to the BioMuse
127-129 - Tsutomu Kanamori, Haruhiro Katayose, Satosi Simura and Seiji Inokuchi - Gesture Sensor in Virtual Performer
130-133 - Perry Cook, Dexter Morrill and Julius 0. Smith - A MIDI Control and Performance System for Brass Instruments
134-137 - Miller Puckette and Zack Settel - Non-obvious roles for electronics in performance enhancement
138-145 - Haruhro Katayose, Tsutomu Kanamori, Katsuyuki Kamei, Yoichi Nagashima, Kosuke Sato, Seiji Inokuchi and Satosi Simura - Virtual Performer
146-149 - Stephen Travis Pope and Lennart E. Fahlen - The Use of 3D Audio in a Synthetic Environment: An Aural Renderer for a Distributed Virtual Reality System
150-153 - Wataru Inoue, Shuji Hashimoto and Sadamu Ohteru - A Computer Music System for Human Singing
154-154 - Robin Bargar - Virtual composition in the CAVE.

156-159 - Zack Settel, Terry Holton, David Zicarelli - Remote Control Applications using 'Smart-Controllers' in Versatile Hardware Configurations
160-163 - Dale Skrien and Jonathan Hallstrom - Krayola - a flexible, robust, and user friendly precompositional sketching environment
164-167 - Kurt J. Hebel and Carla Scaletti - The Software Architecture of the Kyma System
168-171 - Roger B. Dannenberg - The Implementation of Nyquist, A Sound Synthesis Language
172-175 - Michael A. Lee and David Wessel - Real-Time Neuro-Fuzzy Systems for Adaptive Control of Musical Processes
176-179 - Kevin Elliott - A Behavioral or Actor-Based Paradigm of Sound Production and Studio Composition
180-183 - Tapio Takala, James Hahn, Larry Gritz, Joe Geigel and Jong Won Lee - Using Physically-Based Models and Genetic Algorithms for Functional Composition of Sound Signals, Synchronized to Animated Motion
184-187 - Ph. Depalle, X. Rodet, Th. Galas and G. Eckel - Generalized Diphone Control

190-193 - Cort Lippe - A Musical Application of Real-time Granular Sampling Using the IRCAM Signal Processing Workstation
194-197 - Martin Herman - Deterministic Chaos, Iterative Models, Dynamical Systems and Their Application in Algorithmic Composition
198-201 - Larry Austin - Modeling a Hypermedia Composition/Performance System
202-205 - Linda A. Seltzer - A Confluence of Computer Music and Ancient Chinese Aesthetics
206-209 - Gerard Assayag and Camilo Rueda - The Music Representation Project at IRCAM
210-213 - Xavier Chabot, Kajia Saariaho and Jean Baptiste Barrière - On the realization of NoaNoa and Près, two pieces for solo instruments and Ircam signal processing workstation
214-217 - J.B. Barriere and X. Chabot - Chambers Integration of Aid to Composition and Performance Environments: Experiences of Interactions between Patchwork and Max-ISPW
218-221 - Peter Desain and Henkjan Honing - On continuous musical control of discrete musical objects
222-225 - Charles Bestor - MAX as an Overall Control Mechanism for Multi-Discipline Installation Art

228-231 - Bruce Pennycook, Dale R. Stammen and Debbie Reynolds - Toward a Computer Model of a Jazz Improviser
232-235 - Dale R. Stammen and Bruce Pennycook - Real-time Recognition of Melodic FragmentsUsing the Dynamic Timewarp Algorithm
236-239 - Johannes Feulner - Neural Networks that Learn and Reproduce Various Styles of Harmonization
240-243 - Michael A. Casey - Distal Learning of Musical Instrument Control Parameters
244-247 - Ian Taylor and Mike Greenhough - An Object Oriented ARTMAP System for Classifying Pitch
248-255 - Kunio Kashino and Hidehiko Tanaka - A Sound Source Separation System with the Ability of Automatic Tone Modeling
256-259 - Steve Berkley - A Neural Network Model for Sound Localization in Binaural Fusion
260-263 - Giovanni De Poli and Paolo Tonella - Self-organizing Neural Network and Grey's Timbre Space
264-267 - Todd McAngus and P.Neil - Wavelet Analysis of Rhythm in Expressive Musical Performance
268-275 - Gerhard Widmer - Understanding and Learning Musical Expression
276-283 - Jeff A. Bilmes - Techniques to Foster Drum Machine Expressivity
284-291 - Andranick Tanguiane - An Artificial Perception Model and Its Application to Music Recognition
292-295 - Yuzuru Hiraga - A Computational Model of Music Cognition Based on Interacting Primitive Agents
296-299 - Michael Bridger - Narrativisation in Electroacoustic and Computer Music - Reflections on Empirical Research into Listeners' Response

302-305 - Pauli Laine - Sibelius Academy Computer Music Studio
306-308 - Wayne Siegel - DIEM The Danish Institute of Electroacoustic Music
309-309 - Patte Wood, Chris Chafe and Perry Cook - Studio Report : Center for Computer Research in Music and Acoustics
310-310 - Wu Jian - Computer Aided Composition in Chinese Studio
311-313 - Rai Takayuki, K. Matsunuma, K. Takasaki and S. Mokushou - Introduction of Computer Music Studio of Sonology Department, Kunitachi College of Music
314-317 - Stephen Arnold - A Network for Music Research, Composition and Pedagogy in the University of Glasgow
322-323 - Andrew W. Schloss - Studio Report :The University of Victoria's Laboratory for Extended Media
324-327 - Thomas Gerwin - The International Digital ElectroAcoustic Music Archive A new source for research into the history of electroacoustic music
328-330 - Marc Battier - Computer Music Enters the Museum - Recent Developments in Paris
331-333 - Kevin Elliott - The Sound Studios of the Banff Centre for the Arts
334-337 - Dr. Jonty Harrison and Robert Dow - Studio Report: The Electroacoustic Music Studio at The University of Birmingham (UK)

340-342 - Dominik Homel - SYSTHEMA - Analysis and Automatic Synthesis of Classical Themes
343-345 - Jeff Pressing and Peter Lawrence - Transcribe : A Comprehensive Autotranscription Program
346-348 - Curtis Roads - Organization of Clang Tint
349-351 - Tetsuya Kageyama, Kazuhiro Mochizuki and Yosuke Takashima - Melody Retrieval with Humming
352-354 - Jukka-Pekka Kervinen and Kai Lassfolk - Helsinki Music Tools
355-356 - Andrea Szigetvari - MicroTuner : An Interactive Tuning System for the MAX Environment
357-359 - Miguel Calzon - AREM / ARMS - Reinterpretation of musical structures
360-362 - Peter Castine - Whatever Happened to CMAP for Macintosh ? A Status Report
363-365 - Kenzi Noike Nobuo Takiguchi, Takashi Nose, Yoshiyuki Kotani and Hirohiko Nisimura - Automatic Generation of Expressive Performance by using Music Structures
366-368 - Peter Desain - What Ever Happened to Our Beautiful Schematics
369-371 - Peter Lunden - Knowledge Representation of Sounds and Sonic-Structures Based on Constraints and Multiple Inheritance.
372-374 - Rick Bidlack, Kevin Elliott and Peter Otto - MixNet - A Comprehensive Realtime Automated Production System : Progress Report
375-377 - Russell Tincher and Allen Strange - The ICMC 92 CD Stack
378-380 - Yoichi Nagashima, Haruhiro Katayose and Seiji Inokuchi - PEGASUS-2 Real-Time Composing Environment with Chaotic Interaction Model
381-383 - Chen Shihong, Steve Dennis and J. Richard - Linking Different Cultures with Computers : A Study of Computer-Assisted Music Notation Instruction
384-386 - Noam Amir, Giora Rosenhouse and Uri Shimony - Losses in Tubular Acoustic Systems - Theory and Experiment in the Sampled Time and Frequency Domains
387-389 - Perry Cook, Dimitris Kamarotos, Taxiarchis Diamantopoulos and Giorgos Philippis - IGDIS (Instrument for Greek Diction and Singing) : A Modern Greek Text to Speech/Singing Program for the SPASM/Singer Instrument
390-392 - Gordon Monro - Synthesis from attractors
393-395 - Bruno Degazio - Towards a Chaotic Musical Instrument
396-398 - Andrew Horner, James Beauchamp and Norman Packard - Timbre Breeding
399-401 - Chris Scallan and Thomas Stainsby - A New Software Package for Spectral Investigation and Analysis/Synthesis Using FFT and Sinusoidal Modelling Techniques
402-404 - Jarkko Vuori and Vesa Valimaki - Parameter Estimation of Non-Linear Physical Models by Simulated Evolution Application to the Flute Model
405-407 - Toshiaki Matsushima - The Recognition and Editing System for Shakuhachi Score
408-408 - Dennis Thurmond - Developing Jazz Improvisational Skills with the use of Music Sequencing Software
409-411 - Kim Steffensen, Bjarne Slipsager, Mads Folmer and Steffen Brandorff - DIEM Multi DSP box for live performance - The “ FELIX ” Project
412-414 - Kwang Rip Hyun, Raja Banerjea, Munchurl Kim, Haniph Latchman and Subramania I. Sudharsanan - A Real-Time Implementation of MPEG Audio Layer I : Decoding on a Fixed-Point DSP Platform
415-417 - Shigeru Igarashi, Takashi Tsuji and Tetsuya Mizutana - Experiments on Computerized Piano Accompaniment
418-420 - Yasuo Horiuchi and Hozumi Tanaka - A Computer Accompaniment System With Independence
421-424 - Daniel V. Oppenheim, Tim Anderson and Ross Kirk - Perceptual Parameters : Their Specification, Scoring and Control Within Two Software Composition Systems
425-425 - Jonathan Bachrach - A High-Performance Dylan Implementation
426-427 - Eiji Hayashi, Tatuya Ishikawa and Masami Yamane - The Development of a Piano Player
428-429 - Koichi Sekiguchi, Ryoji Amemiya, Hiroshi Kubota and Masami Yamane - The Development of an Automatic Drum Playing Device
430-431 - Hirohisa Ohta, Hiroshi Akita, Motomu Ohtani, Satosi Ishicado, and Masami Yamane - The Development of an Automatic Bagpipe Playing Device
432-434 - Tsutomu Oohashi, Emi Nishina, Yoshitaka Fuwamoto and Norie Kawai - On the Mechanism of “ Hypersonic Effect ”
435-437 - Eliot Handelman - Listening Simulations : Concepts, design and an application to Virtual Reality
438-440 - D. Derrien-Peden - A Knowledge Based System for Recognition and Transcription of XVIth Century Guitar Tablatures

442-445 - Rick Bidlack, Dorota Blaszczak and Gary Kendall - An Implementation of a 3D Binaural Audio System within an Integrated Virtual Environment
446-448 - Cort Lippe, Miller Puckette, Zack Settel, Vincent Puig, and Jean-Pascal Jullien - The IRCAM Signal Processing Workstation and IRCAM Max User Groups : Future Developments and Platforms
449-452 - Mara Helmuth - Granular Synthesis with Cmix and MAX
453-456 - David Zicarelli and Michael Lee - The Max Timeline Object
457-460 - Bernard Mont-Reynaud - SeeMusic : A Tool for Music Visualization
461-463 - Frank Weinstock - Demonstration of Concerto Accompanist, a Program for the Macintosh Computer
464-467 - David A.Jaffe and Julius 0. Smith - Real Time Sound Processing & Synthesis on Multiple DSPs Using the Music Kit and the Ariel QuintProcessor
468-472 - Daniel V. Oppenheim - Slappability : A New Metaphor for Human Computer Interaction
473-476 - Brad Garton and Damon Horowitz - The “ Blues-o-Matic ” Real-time Interactive Performance Model

1. - Stephen Pope - Touched by machine ? composition and performance in the digital age
2. - Miller Puckette - Is there a life after MIDI ?

3-6 - Sever Tipei - MP1 revisited : Aga Matter for piano and tape
7-10 - Roland Hÿbscher and Yayoi Uno - Temporal-Gestalt Segmentation Extensions for Compound Monophonic and Simple Polyphonic Musical Contexts : Applications to Works by Boulez, Cage, Xenakis, and Ligeti
11-18 - Claude Cadoz, Annie Lucianni, Jean-Loup Florens - Physical models for music and animated image ; the USE of CORDIS-ANIMA , in “ Esquises ”, a music film by ACROE

19-22 - Evan K. Chambers - The Computer Music World View : Sketch of an Ethnomusicological and Aesthetic Approach
23-26 - John Young - The extended environment
27-30 - Jeff Pressing - Novelty, progress and research method in computer music composition
31-34 - Simon Emmerson - “ Local/field ” : towards a typology of live electroacoustic music

35-37 - Niall Griffith - Modelling the Influence of Pitch Duration on the induction of Tonality from Pitch-Use
38-41 - René Quesnel - Computer-Assisted Training of Timbre Perception Skills
42-45 - Piero Cosi, Giovanni De Poli and Paolo Prandoni - Timbre Characterization with Mel-Cepstrum and Neural Nets
46-49 - Jan Chomyszyn - Loudness of musical sounds in a reverberant environment
50-51 - Enrique Moreno - A Visual Model for Embedded Chroma Spaces

52-59 - Carlos Agon, Gérard Assayag, Joshua Fineberg and Camilo Rueda - Kant : a Critique of Pure Quantification
60-62 - Tang-Chun Li and Robert Rowe - Pattern Processing in Music
63-69 - Roger B. Dannenberg and Lorin Grubb - Automating Ensemble Performance
70-77 - Shuji Hashimoto, Wataru Inoue, Sadamu Ohteru - Adaptive Karaoke System - Human Singing Acconpaniment Based on Speech Recognition

78-79 - Peter Desain , Henkjan Honing - Foot-tapping : a brief introduction to beat induction
80-82 - Peter Desain , Henkjan Honing - Rule-based models of initial-beat induction and an analysis of their behavior
83-84 - Richard Parncutt - A model of beat induction accounting for perceptual ambiguity by continuously variable parameters
85-89 - Masataka Goto , Yoichi Muraoka and David Rosenthal - Rhythm Tracking Using Multiple Hypotheses
88-89 - Chris Lee and Neil Todd - An Auditory-Motor Model of Beat Induction
90-91 - Edward W. Large - The resonant Dynamics of Beat Tracking and Meter Perception
92-94 - Peter Desain and Henkjan Honing - Advanced issues in beat induction modeling : syncopation, tempo and timing

95-101 - Gerhard Widmer - Learning Expression at Multiple Structural Levels
102-108 - Guerino Mazzola , Oliver Zahorka - The RUBATO Performance Workstation on NEXTSTEP
109-113 - G. Battel, U. Bresin, R. G. De Poli, - Neural Networks vs. Rules System : Evaluation test of automatic performance of musical scores

114-120 - Ian Taylor - A VidolinEvaluation of Artificial-Neural-Network Types for the Determination of Pitch
121-124 - Johannes Feulner and Dominik Hšrnel - Greenhough, Mike MELONET : Neural Networks that Learn Harmony=Based Melodic Variations
125-128 - Simon Roberts and Mike Greenhough - The Detection of Rhythmic Repetition Using a Self-Organising Neural Network
129-130 - Ken-ichi Ohya - A rythm perception model by neural rhythm generators

131-137 - John A. Biles - GenJam : A Genetic Algorithm for Generating Jazz Solos
138-141 - Ichiro Fujinaga, Jason Vantomme - Genetic Algorithms as a Method for Granular Synthesis Regulation
142-143 - Damon Horowitz - Generating rythms with genetic algorithms

144-146 - Mon-chu hen - Towarda New Model of Performance
147-150 - Jonathan Impett - A Meta-Trumpet(er)
151-158 - Pitoyo Hartono, Kazumi Asano, Wataru Inoue and Shuji Hashimoto - Adaptive Timbre Control Using Gesture
159-162 - Roel Vertegaal, Barry Eaglestone and Clarke Michael - An Evaluation of Input Devices for Use in the ISEE Human-Synthesizer Interface
163-166 - Brad Cariou - The aXi¯ MIDI Controller
167-170 - Brent Gillespie - The Virtual Piano Action : Design and Implementation
171-174 - Bert Bongers - The Use of Active Tactile and Force Feedback in Timbre Controlling Electronic Instruments
175-176 - Stuart Favilla - Live Performance and Virtuosic Pitch-Bend Technique for the Synthesizer
177-180 - Stuart Favilla - The LDR controler
181-182 - Bruce Pennycook and Dale Stammen - The MIDI Time Clip : A Performer/Machine Synchronization System for Live Performance
183-184 - Tim Anderson and Debbie Hearn - Using Hyper-Instruments for the re-distribution od the performance control interface
185-186 - Roger C. Munck-Fairwood - , Dynamic Intonation for Keyboard Instruments
187-189 - Peter Rajka and Tamas Ungvary - Motographicon : a system for computer choreography
190-191 - Tamas Ungvary, Peter Rajka, Peter Lunden and Magnus Lundin - NUNTIUS : a transmedial communication system for computer music and for computer choreography
192-195 - David A. Jaffe and W. Andrew Schloss - A Virtual Piano Concerto Coupling of the Mathews/Boie Radio Drum and the Yamaha Disklavier Grand Piano in “ The Seven Wonders of the Ancient World ”
196-199 - Haruyose Katayose, Tsutomu Kanamori, Satosi Simura and Seiji Inokuchi - Demonstration of Gesture Sensors for the Shakuhachi
200-201 - Steven Curtin - The SoundLab : a wearable computer music instrument

202-208 - Agostino Di Scipio - Formal Processes of Timbre Composition Challenging the Dualistic Paradigm of Computer Music
209-212 - James Harley - Algorithms Adapted From Chaos Theory : Compositional Considerations
213-215 - Daniel Teruggi - The Morpho Concepts : trends in software for Acousmatic Music composition
216-219 - Thomas Hummel - A CommonLisp interface for dynamic patching with the IRCAM Signal Processing Workstation
220-223 - Philipp Ackermann - Design and implementation of an object-oriented media composition framework
224-227 - Amnon Wolman, Canton Becker - The Communal Groove Machine

228-229 - François Déchelle, Maurizio De Cecco, Miller Puckette and David Zicarelli - The IRCAM “ Real-Time Platform ” : evolution and perspectives
230-236 - Fabio Armani, Andrea Paladin and Claudio Rosati - MARS Applications Using APPLI20 Development Tools : a Case of Study
237-238 - Enzo Maggi and Fabio Armani - The MARS Station : Algorithm Design and Real Time Performance
239-240 - Isidoro Perez - MacMUSIC, the MUSIC N environment for Macintosh, algorithmic synthesis and conposition made easy.
241-242 - Stephen Travis Pope - The Musical Object Development EnvironmentL MOSE (Ten Years of Music Software in Smalltalk)

243-250 - Yann Orlarey, Dominique Fober, Stéphane Letz and Mark Bilton - Lambda Calculus and Music Calculi
251-254 - Roger Dannenberg and B. Belnding - Abstract Time Warping of Compound Events and Signals
255. - Daniel Oppenheim - “ Traditional ” Off-line Algorithmic Textual Input with Real-Time Interaction and Graphics

256-259 - Gerhard Eckel and Ramon Gonzalez-Arroyo - Musically Salient Control Abstractions for Sound Synthesis
260-265 - Ioannis Zannos - Music Space : A Metaphor for Music Representation and Music Generation
266-269 - Heinrich Taube - Complex Musical Pattern Description in Common Music
270-271 - Peter Lundén - SoundModels : A language for description of sound and sonic structures based on a taxonomy

272-275 - David Rossiter and David M. Howard - A graphical environment for electroacoustic music composition
276-279 - Touichi Horry - A Graphical User Interface for MIDI Signal Generation and Sound Synthesis
280-283 - John F. Whitehead - The Audio Browser : An Audio Database Navigation Tool in a Virtual Environment
284-285 - Bernhard Feiten, Spitzer Markus - A Modular Construction Set for Time-Domain Editors

286-292 - Annick Leroy, Giovanni Müller and Guy E.Garnett, - The Design of a Pen-Based Music Notation System
293-296 - Amnon Wolman and Tad Yeager - Optical Music Recognition - progress report.
297-302 - Greg Watkins - A Fuzzy Syntactic Approach to Recognising Handwritten Music
303-306 - Keith A. Hamel - MoteAbility : A Music Notation System That Combines Musical Intelligence With Graphical Flexibility

307-310 - Pablo Fernandez-Cid and Francisco J. Casajœs-Quires - DSP Based Reliable Pitch-To-MIDI Converter by Harmonic Matching
311-318 - Mamoru Ueda and Shuji Hashimoto - Blind Decomposition of Concurrent Sounds
319-326 - Gary S. Kendall - The Effects of Multi-Channel Signal Decorrelation in Audio Reproduction
327-328 - Jon Drummond and Gordon Monro - Geometric Sound Transformations
329-330 - Edwin Tellman, Lippold Haken and BryanHolloway - Timbre Morphing Using The Lemur Representation
331-332 - Charles W. Therrien, Cristi Roberto and Olav E.Kjono - Analysis/Synthesis of Sound Using a Time-Varying Linear Model
333-334 - Michael Goodwin and Xavier Rodet - Efficient Fourier Synthesis of Nonstationary Sinusoids
335-337 - Timothy Bartoo, David Murphy, Russell Ovans and Barry Truax - Granulation and Time-Shifting of Sampled Sound in Real-Time with a Quad DSP Audio Computer System

338-343 - Zack Settel and Cort Lippe - Real-Time Musical Applications using FFT-based Resynthesis
344-347 - Jonathan Berger and Ronald R. Coifman - A Method of Denoising and Reconstructing Audio Signals
348-351 - Xavier Serra - Sound hybridization based on a deterministic plus stochastic decomposition model
352-355 - Jonathan Berger and Charles Nichols - Using Wavelet Based Analysis and Resynthesis to Uncover the Past
356. - Peter Pabon - A real-time singing voice analysis/synthesis system
357-360 - Ph. Depalle, G. Garc’a and X Rodet - A Virtual Castrato ( ! ?)
361. - Peter Pabon - Real-time spectrum/cepstrum games

362-363 - Adrian Freed, Mark Goldstein, Mike Goodwin, Michael Lee, Keith McMillen, Xavier Rodet ,David Wessel and Matt Wright - Real-Time Additive Synthesis Controlled by a Mixture of Neural-networks and Direct Manipulation of Physical and Perceptual Attributes
364-367 - Desmond Phillips, Alan Purvis and Simon Johnson - A Multirate Optimisation for Real-Time Additive Synthesis
368-371 - Roberto Bresin and Alessandro Vedovetto - Neural Networks for Musical Tones Compression, Control, and Synthesis
372-375 - Frode Holm - Control of Frequency and Decay in Oscillating Filters Using Multirate Techniques
376-377 - Julius O. Smith and Davide Rochesso - _____
378-381 - Davide Rocchesso and Julius O. Smith - Circulant Feedback Delay Networks for Sound Synthesis and Processing
382-385 - Takebumi Itagaki, Alan Purvis and Peter D.Manning - Real-time Synthesis on a Multi-processor Network
386-393 - Xavier Rodet - Stability/Instability of Periodic Solutions and Chaos in Physical Models of Musical Instruments
394-397 - Michael Hamman - Dynamically Configurable Feedback/Delay Networks : A Virtual Instrument Composition Model
398-401 - Bernhard Feiten, Gerhard Behles - Organizing the parameter space of physical models with sound feature maps
402-406 - Zoltan Janosy, Matti Karjalainen and VesaValimaki - Intelligent Synthesis Control with Applications to a Physical Model of the Acoustic Guitar
407-410 - Scott A. Van Duyne, Julius O. Smith - A simplified approach to modeling dispersion caused by stiffness in strings and plates
411-418 - Scott A. Van Duyne, John R. Pierce, Julius O. Smith - Traveling wave implementation of a lossless mode-coupling filter and the wave digital hammer
419-422 - David Berners and Julius O. Smith III - On the Use of Schršdinger’s Equation in the Analytic Determination of Horn Reflectance
423-430 - Vesa Valimaki, Matti Karjalainen - Digital waveguide modeling of wind instrument bores constructed of truncated cones
431-432 - Andrew Horner, James Beauchamp - Synthesis of trumpet tones using a fixed wavetable and a centroid-controlled second order filter
433-434 - Gary P. Scavone and Perry R. Cook - Combined Linear and Non-Linear Periodic Prediction in Calibrating Models of Musical Instruments to Recordings

435-442 - Adrian Freed - The rebirth of computer music by analog signal processing
443-446 - Keith McMillen , David Simon, David Wessel and Matthew Wright - A New Network and Communications Protocol for Electronic Musical Devices
447-450 - Dominuque Fober - Real-time MIDI data flow in Ethernet and the software architecture of MidiShare
451-454 - Ole Nielsen - MIDI and Audio via ISDN

455-462 - Jyri Huopaniemi, Matti Karjalainen, Vesa Valimaki and Tommi Huotilainen - Virtual Instruments in Virtual Rooms Ð A Real-Time Binaural Room Simulation Environment for Physicals Models of Musical Instruments
463-466 - Lauri Savioja, Timo J. Rinne and TapioTakala - Simulation of Room Acoustics with a Finite 3D Difference Mesh
467-470 - Gavin R. Starks and Ken Linton - sndSpace : A Graphical 3D Stereo Software Tool
471-474 - Robin Bargar, Insook Choi, Sumit Das and Camille Goudeseune - Model-based interactive sound for an immersive virtual environment
475-476 - Oscar Ballan, Luca Mozzoni and Davide Rocchesso - Sound Spatialization in Real-Time by First-Reflection Simulation
477-478 - Dale Stammen and Gilbert Soulodre - Sound Utiliies 2.0 A Software System for Creating Virtual Acoustic Spaces
479-480 - Fernando Lopez Lezcano - A Dynamic Spatial Sound Movement Toolkit
481-482 - Robert Bell - PITCH : the Percussion Instrument’ Timbral Classification Hierarchy
483-484 - David Rossiter and David M. Howard - Voice source and acoustic output qualities for singing synthesis
485-486 - Laura Bazzanella and Giovanni B. Debiasi - Analysis of “ Touch Effect ” on the Transient of Pipe Organs with Mechanical Transmission.

487. - Antonio Camurri, Giovanni de Poli, Roger Dannenberg, Julius O. Smith, Haruhiro Katayose - Instruction of computer music for computer engineering students and professionals
488-489 - Xavier Serra and Gabriel Brncic - Phonos : Studio Report
490-492 - Fernando Lopez Lezcano and Patte Wood - CCRMA Studio Report
493-494 - Evan K. Chambers - Integrated Arts Technology : New Facilities at the University of Michigan
495-496 - Andre Smirnov - The Theremin Center for Electro-Acoustic Music
497-498 - Mara Helmuth - Computer Music at Texas A & M University
499-500 - Leigh Landy and Paschall de Paor - university College Bretton Hall Ð Studio Report
503-503 - David Jameson - The IBM Computer Music Centre Studio Report
504-505 - kai Lassfolk and Kalev Tiits - University of Helsinki Electronic Music Studio
506. - Johannes Goebel - The making of an all-digital facility for artistic production and research under the label “ avantgarde ”
507-508 - Guiseppe Di Guigno - IRIS studio report