1-4 - Vesa Välimäki, Rami Hänninen and Matti Karjalainen - An improved digital waveguide model of flute - Implementation issues
5-8 - Marc-Pierre Verge - Physical modeling of aeroacoustic sources in flute-like instruments
9-16 - Scott van Duyne and Julius Smith - The 3D tetrahedral digital waveguide mesh with musical applications

17-20 - Carola Böhm, Karst De Jong and Christoph Hempel - MusicWeb, new communication and information technologies in the music classroom
21-24 - Stephen Arnold - NetMuse : a very-high-performance wide-area network for music

25-27 - Xavier Rodet, Dominique François and Guillaume Levy - Xspect : A new X/motif signal visualization and editing program

28-31 - Tador Todoroff and Caroline Traube - Graphical NeXTstep objects as FTS clients to control instruments in the new FTS client/server architecture
32-35 - Solvi Ystad, Philippe Guillemain and Richard Kromland-Martinet - Estimation of parameters corresponding to a propagative synthesis model through the analysis of real sounds
36-39 - Bruno Degazio - Evolution of myusical organisms
40-42 - Dominique Fober, Stéphane Letz and Yann Orlarey - Recent developments of Midishare
43-46 - David Rossiter, Andrew Horner and George Baciu - Visualization and manipulation of 3 D digital waveguide structures
47-48 - William Putman and Timothy Stilson - Frankenstein : A low-cost multi-DSP computer engine for the music kit
49-51 - San-Kuen Chan, Jennifer Yuen and Andrew Horner - Discrete summation synthesis and hybrid sampling-wavetable synthesis of acoustic instruments with genetic algorithms
52-54 - DouglasNunn, Alan Purvis and Peter Manning - Aoustic Quanta
55-56 - Ichiro Fujinaga - Exemplar-based learning in adaptive optical music recognition system
57-58 - Lonny Chu - Haptic feedback in a computer music performance interface
59-62 - Dominik Hörnel and Thomas Ragg - Learning musical structure and style by recognition, prediction and evolution

63-66 - Tobias Kunze and Heinrich Taube - SEE - A structured event editor : visualizing compositional data in common music
67-70 - Mark Darks - The graphics environment for Max
71-74 - Daniel Oppenheim and James Wright - Toward a framework for handling musical expressin

75-78 - Thomas Stainby - A system for the separation of simultaneous musical audio signals
79-82 - Tim Brookes, Andy Tyrrell and David Howard - Musical analysis using a real-time model of peripherical hearing
83-86 - Simon Dizon - A dynamic modelling aproach to music recognition

87-88 - Nick Porcaro, Pat Scandalis, David Jaffe and Julius Smith - Using SynthBuilder for the creation of physical models
89-92 - Stuart Favilla - Non-linear controlled mapping for gestural control of gamaka

93-96 - Ville Pulkki, Jyri Huopaniemi, Tommi Huotilainen and Matti Karjalainen - DSP approach to multichannel audio mixing
97-99 - Mark Pearson and David Howard - Recent developments with teh TAO physical modelling system
100-103 - Paul Masri and Andrew Bateman - Improved modelling of attack transcients in music analysis-resynthesis
104-106 - Carola Böhm - Automated music, interdiciplinary aspects of a developmental history
107-110 - Lauri Savioja, Jyri Huopaniemi, Tommi Huotilainen and Tapio Takala - Real-time virtual audio reality
111-113 - Eric Mrozek and Gregory Wakefield - Perceptual matching of low-order models to room transfer functions
114-115 - Kristine Burns - A new electronic genre : the CD-rom
116-117 - Cort Lippe - A look at performer/machine interaction using real-time systems
118-120 - Barbara Becker and Gerhard Eckel - On the use of computer systems in contemporary music
121-123 - Shüji Hashimoto, Hai Qi and Dingding Chang - Sound database retrieved by sound
124-125 - Yohinari Sasahira and Shüji Hashimoto - Adaptive pitch compensation of singing and its application

126-128 - Takebumi Itagaki, Simon Johnson, Peter Manning, Douglas Numm, Desmond Philips, Alan Purvis and Jonathan Spanier - Durban music technology : Activity report

129-132 - David Cope - Composer’s underscoring environment (CUE)
133-140 - Clauia Goldman, Dan Gang, Jeffrey Rosenschein and Daniel Lehmann - NetNeg : a hybrid interactive architecture for composing polyphonic music in real time

141-142 - Barry Vercoe - Extended Csound
143. - Michael Casey and Paris Smaragdis - NetSound : Realtime audio semantic descriptions
144. - Richard Boulanger and ScottVercoe - Csound GM : Designing real-time instruments with Csound’s new MIDI Opcodes

145-148 - Mira Balaban and Stanislav Irish - Automatic Jazz accompaniment computation : An open advice-based approach

149-150 - James wright and Daniel Oppenheim - IBM computer music center - Studio report
151-154 - Jon appleton, Charles Dodge and Larry Polansky - Studio report : The Bregman electronic music studio at Dartmouth college and the MA program in electro-acoustic music
155-157 - Ewan Stefani, Kia Ng and David Cooper - Leeds university electronic studio : studio report
158-160 - Wayne Siegel - DIEM, the Danish Institute of Electroacoustic Music, Studio report
161. - Shlomo Dubnov - Israel computers and music forum - acticities report
162-164 - Yu Ying - Computermusic in Shenzhen, P. R. China
165-168 - Ricardo DalFarra - Electroacoustic and computermusic in latin america

169-172 - Iain Mott and Jim Sosnin - A new method for interactive sound spatialisation
173-176 - Haruhiro Katayose, Tsutomu Kanamori and Seiji Inokushi - An environment for interactive art- sensor integration and applications
177-180 - Greg Schiemer and B. Krishnakumar - Appropriated musical instruments : A4 MIDI tool box and carnatic violin

181-184 - Andrew Choi - A C++ library for computer music programming on real-time mach
185-187 - Enzo Maggi and François Dechelle - The evolution of the graphic editing environment for te ircam musical workstation
188-189 - François Dechelle, Maurizio De Cecco, Enzo Maggi and Norbert Schnell - New DSP applications on FTS

190-193 - Elisabeth Hinke-Tuner - Digital notation representation and online retrieval of musical information : A discussion of current options and practices
194-197 - Arun Chandra - Composing the means with wich I compose waveforms with multiple paths and cycle-lengths

198-201 - Damián Keller - Anitoo : Some analysis tools
202-203 - James Oliverio and Jarrell Pair - Design and implementation of a multimedia opera
204-205 - Gregory Wakefield - The mathematical implications of a pulse-ribbon perceptual orgabisation of pitch
206-209 - Roy Hung, N.H.C. Yung and P. Y. S. Chang - The analysis and resynthesis of sustained musical signals in the time domain
210-211 - Paul Runke and Gregory Wakefield - On the perceptual optimisation of synthetic acoustical systems
212-213 - David Chagman, Michael Clarke, Martin Smith and Paul Archbold - Self-similar grain distribution : A fractal approach to granular synthesis
214-215 - Mathew Padden, Michael Clarke, Alan Diz and Mark Kirby - Towards Synthia II : An assessment of design strategies for computer assisted learning of sound synthesis
216-218 - Michelle Evans and David Howard - Th synthesis of sung vowels in female opera and belt qualities
219-221 - Andrew Sterian and Gregory Wakefield - Robust automated music transcription systems
222-223 - Kay Lassfolk - Simulation of electron tube audio circuits

224-227 - Gary Scavone - Modeling and control of performance expression in digital waveguide models of woodwind instruments
228-231 - Perry Cook - Physically informed sonic modeling (PhISM) : Percussive synthesis
232-239 - Matti Karjalainen and Julius Smith - Body modeling techniques for string instrument synthesis

240-243 - Pierre-Yves Rolland and Jean-Gabriel Ganascia - Automated motive-oriented analysis of musical corpuses : A jazz case study
244-247 - Keiji Hirata - Representation of jazz piano knowledge using a deductive object-orieted approach
248-250 - Yuzuru Hiraga - A cognitive model of pattern matching in music

251-252 - Mara Helmuth - Collage : sound colors installation software
253-256 - Gerhard Behles and Peter Lundén - A distributed object-oriented framework for sound synthesis

257-258 - James McCartney - SuperCollider a new real-time synthesis language
259-262 - Anna Sofie Christinsen - A cognitive model in design of musical interfaces
263-265 - Alistair Riddell and Rose Bencina - Cmix on non-UNIX world
266-269 - Martin Alejandro Fumarola - An approach to a latinAmerican computer music
270-273 - Roger Dannenberg and Eli Brandt - A flexible real-time software synthesis system
274-277 - Kurt Thywissen - GeNotator : An environment for investigating the application of genetic algorithms in computer assisted composition
278-281 - Erez Webman, Uri Shimony, Zohar Poupko, Dalit Caspi and Moty Gerner - Musical effects of cross-vocoding, software implemented
282-284 - David Rossiter and Wai-Yin Ng - A system for the musical investigation and expression of levels of self-similarity in an arbitrry data stream
285-286 - Eric Lyon - POWERpv : A suite of sound processors
287-288 - Takebumi Itagaki, Peter Manning and Alan Purvis - Real-time granular synthesis on a distributed multi-processor platform
289-292 - Takebumi Itagaki, Takako Tanaka, Kunihau Tsuboi - Musical instrument database with multmedia

293-296 - Remi Gribonval, Philippe Depalle, Xavier Rodet, Emmanuel Bacry and Stéphane Mallat - Sound signals decomposition using a high resolution matching pursuit
297-300 - Philippe Depalle and Laurent Tromp - An improved additive analysis method using parametric modelling of the short-time fourier transform
301-304 - Scott Levine - Critically sampled third octave filted banks

305-307 - Forrest Tobey and Ichiro Fujinaga - Extraction of conducting gesture in 3D space
308-311 - Roel Vertegaal, Tamas Ungary and Michael Kieslinger - Towards a musician’s cockpit : Transducers, feedback and musical function

312-315 - Peter McIlwain and Anthony Pietsh - Spacio-temporal patterning in computer-generated music : A nodal network approach

316-319 - Robert Pringle and Brian Ross - A symbiosis of animation and music
320-323 - Jeremy Leach - Towards a universal algorithmic system for composition of music and audio-visual works

324-327 - Ludger Solbach and Rolf Wöhrmann - Sound onset localization and partial tracking in Gaussian white noise
328-331 - Scott Levine - Effects processing on audio subband data

332-335 - Timothy Stilson and Julius Smith - Alias-free digital synthesis of classic analog waveforms
336-338 - Xavier Rodet and Adrien Lefevre - Macintosh graphical interface and improvements to generalized diphone control and synthesis

339-340 - Gérard Assayag and Carlos Agon - OpenMusic architecture
341-343 - Philippe Depalle and Stephan Tassart - Fractional delay lines using language interpolators
344-345 - Kenzi Noike, Nobuo Inui, TakashiNose and Yohiyuki Kotani - Generating musical symbols to perform expressively by approximate functions
346-349 - Masataka Goto, Isao Hidaka, Hideaki Matsumoto, Yosuke Kuroda and Yoichi Muraoka - A jazz session system for interplay among all players - VirJa session (Virtual Jazz Session System)
350-351 - Rowena Guevara and Gregory Wakefield - A modal distribution approach to piano analysis and synthesis
352-353 - Eric Incerti - Synthesis and analysis tools with physical modeling : an environment for musical sounds production
354-357 - Kia Ng, David Cooper and Roger Boyle - Handwritten music manuscript recognition
358-360 - Gerhard Eckel - Camera musica : Virtual architecture as medium for the exploration of music
361-364 - Michael Kurz and Bernhard Feiten - Physical modelling of a stiff string by numerical integration

365-367 - Matija Marolt - A new approach to HRTF audio spatialization
368-371 - Steven Trautmann - Applying psychoacoustic principles to soundfield reconstitution

372-374 - David Creasey, David Howard and Andy Tyrrell - The timbral object - An alternative route to the control of timbre space
375-377 - Michael Clarke - TIM(br)E : compositional approaches to FOG synthesis
378-385 - Shlomo Dubnov, Naftali Tishby and Dalia Cohen - Influence of frequency modulating Jitter on higher order moments of sound residual with applications to synthesis and classification

386-389 - William Walker and Brian Belet - Applying improvisationBuilder to interactive composition with MIDI piano
390-391 - Andrew Horner and Lydia Ayers - Cooking with Csound : Wavetable synthesis recipes for woodwind and brass instruments

392-395 - Leigh Smith - Modelling rythm perception by continuous time-frequency analysis
396-397 - Bruno Degazio - A computer-based editor for Lerdahl and Jackendoff’s rhythmic structures
398-401 - Timothy Stilson and Julius Smith - Analysing the moog VCF for digital implementation
402-404 - Rami Hänninen, Lauri Savioja and Tapio Takala - Virtual concert performance - Synthetic animated musicians playing in an acoustically simulated room
405-408 - Richard Dobson and John Ffitch - Experiments with non-linear filters
409-412 - Hannah Bosma - Authorship and female voices in electrovocal music
413-414 - Naoyuki Onoe, Shuji Hashimoto and Dingding Chang - Background music generation based on scene analysis
415-418 - Detlev Zimmùermann - Creativity versus determinism : cognitive science and music theory as touchstones of automatic music composition
419-420 - Barry Eaglestoneand Peter Lundén - TEMA : An “ open ” support environment for music composition

421-424 - Hideyuki Sawada, Naoyuki Onoe and Shuji Hashimoto - Acceleration sensor as an input device for musical environment
425-427 - Fernando Lopez-Lezcano - PadMaster : Banging on algorithms with alternative controllers
428-431 - Chris Chafe and Sile O’Modhrain - Musical muscle memory and the Harpic display of performance nuance

432-435 - Todor Todoroff - Areal-time analysis and resynthesis instrument for transformation of sounds in the frequency domain
436-439 - Gregory Wakefield and Mary Simoni - Exploring instrument constancy throught a new method for the design of synthetic instruments
440-443 - Ami Radunskaya - Chaos and non-linear models

444-447 - Hideyuki Sawada and Shuji Hashimoto - Adaptive control of a vocal chord and vocal tract for computerized mechanical singing instruments
448-453 - Xavier Rodet and Christophe Vergez - Physical models of trumpet-like instruments, detailed behavior and model improvements

454-457 - Dan Gang and Jonathan Berger - Modeling the degree of realized expectation in functional tonal music : A study of perceptual and cognitive modeling using neural networks
458-460 - Peter Desain and Henkjan Honing - Physical motion as a metaphor for timing in music : The final ritard
461-464 - Mathew Bellgard and Chi-Ping Tsang - Onthe use of an effective Boltzmann machine for musical style recognition and harmonisation

465-468 - Isidoro Pérez, Javier Arias, Pablo Fernández and Luciano Pérez - Quad Pan, spatialization system of music in live

469-470 - Tony Myatt - An object-oriented approach to the combination of rule-besed and generativze algorithmic composition methods for real-time interactive applications
471-472 - Barry Eaglestone and Peter Lundén - A ‘pick and mix’ approach to the integration of composition tools
473-476 - Mladen Milicevic - The impact of fractals, chaos, and complexity theory on computer usic composition
477-478 - Anna Katrami and Peter Comerford - Musical instrument transient analysis and re-synthesis
479-482 - Edvardo Reck Miranda - Machine learning of sound attributes : Computer-assistance in concept formation and musical invention
483-486 - Rumi Hiraga, Shigeru and Yohei Matsuura - Visualized music expression in an object-oriented environment
487-490 - Frank Pecquet - Music and technology
491-492 - Barry Truax - Time-stretching of hyper-resonated sound using a real-time granulation technique

493-495 - Jonathan Robzert Spanier, Simon Johnson and Alan Purvis - Optimisation of the FOF algorithm for VLSI implementation
496-499 - Desmond Phillips, Alan Purvis and Simon Jonson - Multirate additive synthesis
500-503 - Crawford Tait and William Findlay - Wavelet analysis for onset detection

504-505 - Alex Igourin, Fernando Lopez-Lezcano - Center for computer research in music and acoustics (CCRMA) studio report
506-507 - JoAnn Kuchera-Morin, Stephen Pope and Kenneth Fields - The center for research in electronic art technology (CREATE)
508-511 - Dan Gang - Studio report : The institute of computer science, Hebrew university

1-2 - Isabelle Peretz, Lise Gagnon, Bernard Bouchard - Music and emotion : the brain neglected side
3-6 - Carol Krumhansl - Psychophysiology of musical emotions
7-10 - Jean-Claude Risset - Rhythmic paradoxes and illusions : a musical illustration
11-14 - Thomas Stainsby, Hugh J. McDermott, Colette M. McKay, Graeme M. Clark - Preliminary results on epctral shape perception and discrimination of musical sounds by normal hearing subjects and cochlear implantees
15-18 - Richard Parncutt - Modeling piano performances : physics and cognition of a virtual pianist
19-22 - Eric Clarke - Perception and critique : ecological acoustics, critical theory and music
23-26 - Jonathan Berger, Dan Gang - A neural network model of metric perception and cognition in the audition of functional tonal music
27-30 - Dan Gang, Daniel Lehmann, Naftali Wagner - Harmonizing melodies in real-time : the connectionist approach
31-34 - Daniel Pressnitzer, Stephen McAdams - Influence of phase effects on roughness modeling

35-42 - Yinong Ding, Xiaoshu Qian - Sinusoidal and residual decomposition and residual modeling of musical tones using the QUASAR signal model
43-50 - Shilomo Dubnov, Xavier Rodet - Statistical modeling of sound aperiodicities
51-54 - Gianpaolo Evangelista, Sergio Cavaliere - Analysis and regularization of inharmonic sounds via pitch-synchronous frequency warped wavelets
55-58 - Jean Laroche, Mark Dolson - About this phasiness business

59-61 - Thomas Gerwin - On acoustic ecology and "integral art"
62-65 - Agostino Di Scipio - Towards a critical theory of (music) technology. Computer music and subversive rationalization
66-69 - Alex Lane Igoudin - Impact of MIDI on Electroacoustic art music
70-73 - Karen Eliot-Kahn - Computer music compositional style variation betxeen genders
74-77 - Stephen Pope - http://Web.La.Radia : comments on the social, economic, and political aspects of media art and art technology

78-81 - Bruce Pennycook - Music, media and technology at McGill university : studio reprot
82. - Thomas Gerwin - The current state of the international digital electroacoustic music archive (IDEAMA)
83-85 - Wayne Siegel - DIEM - The danish institute of electroacoustic music : studio report
86-88 - Leonello Tarabella - Studio report of the computer music lab of CNUCE/C.N.R.
89-92 - Gong Zhenxiong, Zou Qingyi, Xu Wenxue - Computer music in China : history, current situation and projects

93-96 - James wright, Thomas White, Todor Fay, Daniel Petkevich - The downloadable sounds level 1 specification
97-100 - Vijay Iyer, Jeff Bilmes, Matthew Wright, David Wessel - A novel representation for rhythmic structure
101-104 - Matthew Wright, Adrian Freed - OpenSound control : a new protocol for communicating with sound synthesizers
105-108 - Hai Qi, Taichi Muramatsu, Shuji Hashimoto - Multimedia environment for sound database system
109-112 - Michael Hamman - Composition of data and process models : a paralogical approach to human/computer interaction

113-120 - Sergio Canazza, Giovanni De Poli, Antonio Roda, Alvise Vidolin - Analysis-by-synthesis of the expressive intentions of music performance
121-124 - Yuichi Uwabu, Haruhiro Katayose, Seiji Inokuchi - A structural analysis tools for expressive performance
125-128 - Hristina Anagnostopoulou, Gert Westermann - Classification in music : a computational model for paradigmatic analysis
129-132 - Yayoi Uno, Michael C. Mozer - Neural net architectures in modeling compositional syntax : prediction and perception of continuity in minimalist work by Phillip Glass & Louis Andriessen

133-140 - Robert Rowe, Eric L. Singer - Two highly integrated real-time music graphics performance systems
141-144 - Nicola Orio - A gesture interface controlled by the oral cavity
145-148 - Chris Chafe - Statistical pattern recognition for prediction of solo piano performance
149-151 - Dominique Richard - The beast's glove : the tactile and the digital in computer music

152-159 - Xavier Serra, Jordi Bonada, Perfecto Herrera, Ramon Loureiro - Integrating complementary spectral models in the design of a musical synthesizer
160-163 - Eric Incerti - Modeling methods for sound synthesi. Network combinations and complex models for physical modeling : applications to modes clustering
164-167 - Tony S. Verma, Scott N. Levine, Teresa H. Y. Meng - Transient modeling synthesis : a flexible analysis/synthesis tools for transient signals
168-171 - Piero Pierucci, Andrea Paladin - Singing voice analysis and synthesis system through glottal excited formant resonators

172-179 - Guiseppe Cuzzucoli, Vincenzo Lombardo - Physical model of the plucking process in the classical guitar
180-187 - Christophe Vergez, Xavier Rodet - Comparison of real trumpet playing, latex model of lips and computer model
188-191 - Cem I. Duruoz - Synthesis of transients in guitar sounds
192-195 - Alvin W. Y. Su - On searching the model parameters of digital waveguide filters by using error backpropagation methods
196-199 - Maarten Van Walstijn, Vesa Valimaki - Digital waveguide modeling of flared acoustic tubes
200-203 - Riitta Vaananen, Vesa Valimaki, Jyri Huopaniemi, Matti Karjalainen - Efficient and parametric reverberator for room acoustics modeling

204-207 - Heinrich Taube, Tobias Kunze - An HTTP interface to common music
208-210 - Stephen Pope - Siren : Software for music composition and performance in squeak
211-214 - Bernhard Wagner - A visual programming environmment for composing interactive performance systems
215-219 - Paolo Andrenacci, Fabio Armani, renato Bessegato, Andrea Paladin, Patrizio Pisani, Angelo Prestigiacomo, Claudio Rosati, Sylviane Sapir, Mauro Vetuschi - The new MARS workstation
220-223 - Mark Danks - Real-time image and video processing in GEM
224-227 - Miller S. Puckette - Pure data

228-229 - Takayuki Rai, Yoshiko Ando - Introduction of computer music studio of sonology department Kunitachi college of music
230-232 - Richard Andrews - Center for new music and audio technologies (CNMAT) : studio report
233-235 - Libor Zajicek - Studio F at the Czech radio in Prague : studio report

236-243 - Jean-Marc Jot - Efficient models for reverberation and distance rendering in computer music and virtual audio reality
244-247 - Vesa Valimaki, Tero Tolonen - Multirate extensions for model-based synthesis of plucked string instruments
248-251 - Scott A. Van Duyne - Coupled mode synthesis
252-255 - Scott A. Van Duyne, David A. Jaffe, Gregory Pat Scandalis, Timothy S. Stilson - A lossless, click-free, pitchbend-able delay line loop interpolation scheme
256-259 - Stephan Tassart, R. Msallam, Ph. Depalle, S. Dequidt - A fractional delay application : time-varying progamation speed in waveguides
260-263 - Gary P. Scavone, Julius O. Smith - Digital waveguide modeling of woodwind toneholes
264-267 - Julius O. Smith - Nonlinear commuted synthesis of bowed strings

268-270 - Joran Rudi - DSP - for children
271-274 - George M. Robertson, Derek McAuley - Sample rate synchronization across an ATM network
275-278 - Stephen Malloch, Stephen Arnold, Torsten Pflicke - Using Java to stream audio over ATM
279-282 - Dimitri Konstantas, Yann Orlarey, Simon Gibbs, Olivier Carbonel - Distributed music rehearsal
283-286 - Dan Gang, Gregory V. Chockler, Tal Anker, Alex Kremer, Tomas Winkler - TransMIDI : a system for MIDI sessionS over the network using transis

287-289 - Fernando Lopez Lezcano - CCRMA studio report
290-292 - Mara Helmuth, Michael Barnhart, Carlos Fernandes, Cheekong Ho, Bonnie Miksch - CCM2 - college-conservatory of music center for computer music, university of Cincinati
293-296 - Naotoshi Osaka, Keiji Hirata, Takafumi Hikichi - Studio report of computer music research group
297-300 - Rumi Hiraga, Shigeru Igarashi - Psyche : university of Tsukuba, computer music project

301-308 - Lorin Grubb, Roger B. Dannenberg - A stockastic method of tracking a vocal preformer
309-312 - Hideyuki Sawada, Naoyuki Onoe, Shuji Hashimoto - Sounds in hands - a sound modifier using datagloves and twiddle interface -
313-316 - Teresa Marrin, Joseph Paradiso - The digital baton : a versatile performance instrument
317-320 - Osamu Takashiro, Takayuki Rai - The interactive multi-media computer system using SGI and NeXT/ISPW computers
321-324 - Maura Sile O'Modhrain - Feel the music : narration in touch and sound
325-328 - Todor Todoroff, Caroline Traube, Jean-Marc Ledent - NeXTSTEP graphical interface to control sound processing and spacialization instruments

329-336 - Josep Lluis Arcos, Ramon Lopez De Mantaras, Xavier Serra - SaxEx : a case-based reasoning system for generating expressive performances
337-340 - Peter Desain, Henkjan Honing, Hank Heijink - Robust score-performance matching : Taking advantage of structural information
341-343 - Aggelos Pikrakis, Sergios Theodoridis, Dimitris Kamarotos - Recognition of isolated musical patterns in the context of greek traditional music using dynamic time warping techniques
344-347 - Roger B. Dannenberg, Belinda Thom, David Watson - A machine learning approach to musical style recognition

348-349 - Andrew Horner, Lydia Ayers - Modeling Chinese musical instruments in Csound
350-353 - Gianpaolo Borin, Davide Rocchesso, Francesco Scalcon - A physical piano model for music performance
354-355 - Lonce Wyse - Flexible sound effects

356-359 - Francisco Iovino, René Causse, Richard Dupas - Recent work around Modalys and modal synthesis
360-363 - Ramon Loureiro, Xavier Serra - A web interface for a sound database and processing system

364-367 - Gerard Assayag, Carlos Agon, Joshua Fineberg, Peter Hanappe - An object oriented environment for musical composition
368-371 - Kurt Thywissen - Evolutionary based algorithmic composition : a demonstration of recent developments in GeNotator
372-374 - Jon Drummond - Integrated development environment for computer music composition

375-378 - Lippold Haken, Kelly Fitz, Ed Tellman, Patrick Wolfe, Paul Christensen - A continous music keyboard controlling polyphonic morphing using bandwidth-enhanced oscillators
379-382 - Peter Beyls - A survey of agents based real-time interactive systems
383-386 - James Wright, Daniel V. Oppenheim, David Jameson, Don Pazel, Robert M. Fuhrer - "CyberBand" : a "Hands-on" music composition program

387-390 - Matthew Wright, David Wessel, Audrain Freed - New musical control structures from standard gestual controllers
391-394 - Yann Orlarey, Dominique Fober, Stephane Letz - Elody : a Java++ Midishare based music composition environment
395-398 - Richard Boulanger, Max Mathews - The 1997 Mathews' radio baton and improvisation modes

399-402 - Brad Garton, Dave Topper - RTcmix - using CMIX in real time
403-407 - Dionysios V. Politis, Ioannis A. Tsoukalas, Panagiotis Linardis, Alexandros Bakalakos - VIDI - a voice instrument digital interface of Byzantine music

408-409 - Steven D. Trautmann - Wavetable acceleration using intermediate buffering and loop trimming
410-413 - Riccardo Di Federico, Gianpaolo Borin - Synthesis of the trumpet tone based on physical models
414-417 - Crysanthy Nathanael, Catherine Lavandier, Jean-Dominique Polack, Olivier Warusfel - Influence of sensory interactions between vision and audition on the perceptual characterization of room acoustics
418-421 - Xavier Rodet, Adrian Lefevre - The Diphone program : new features, new synthesis methods and experience of musical use

422-425 - Pauli Laine - Generating musical patterns using mutually inhibited artificial neurons
426-429 - Yuzuru Hiraga - Structural recognition of music by pattern matching
430-433 - Dominik Hornel, Peter Degenhardt - A neural organist improvising baroque-style melodic variations
434-437 - Seong-Won Yeo, Min-Uk Han, Chong-Ho Lee - A new connectionist model for associative retrieval of harmonic tunes
438-441 - Stella Paraskeva, Stephen McAdams - Influence of timbre, presence/absence of tonal hierarchy and musical training on the perception of musical tension and relaxation shemas

442-445 - Yuri Bekhtin - Musical informatics : curriculum or a new area of musicology ?
446-449 - Masataka Goto, Ryo Neyama, Yoichi Muraoka - RMCP : Remote Music Control Protocol - design and applications -
450-453 - Lauri Vakeva, Juha Ojala - Networking music education. WWW applications in music teacher training : a praxial perspective

454-457 - Kostas Tsaxalinas, Katerina Tzedaki, Perry R. Cook, Stelios Psaroudakes, Dimitris Kamarotos, Thanassis Rikakis - Physical modeling simulation of the ancient greek Elgin Avloi
458-461 - Corey I. Cheng - High-frequency compensation of low sample-rate audio files : a wavelet-based spectral excitation algorithm
462-464 - Timothy S. Stilson - Applying root-locus techniques to the analysis of coupled-modes in piano strings

465-468 - M aureen Mellody, Gregory H. Wakefield - A modal distribution study of violin vibrato
469-472 - Alex Bakalakos - Towards the identification of the noise source in the vocal tract - obtaining data from the electropalatograph
473-475 - Marc Alexander Bromwich - The metabone : an interactive sensory control mechanism for virtuoso trombone

476-478 - Haruhiro Katayose, Hirotsugu Shirakabe, Tsutomu Kanamori, Seiji Inokuchi - A toolkit for interactive digital art
479-481 - Adrian Freed, Amar Chauddhary, Brian Davila - Operating systems latency mesurement and analysis for sound synthesis and processing applications
482-484 - Colby N. Leider - A realtime MIDI library for an inexpensive general-purpose microcontroller-based interactive performance system
485-486 - Eric Lyon - Rhythmic rendering

1-8 - Jonathan Berger, Dan Gang - A computational model of meter cognitiopn during the audition of functional tonal music : modeling a-priori Bbias in meter cognition
9-16 - Dan Gang, Daniel Lehmann, Naftali Wagner - Tuning a neural network for harmonizing melodies in real-time
17-20 - Masataka Goto, Yoichi Muraoka - An audio-based real-time beat tracking system and its applications
21-24 - Barry Moon - Score following in open form compositions
25-32 - Satoshi Usa, Yasunori Mochida - A multi-modal conducting simulator

33-36 - Giovanni Costantini, Nottoli Giorgio - A new interactive performance system for real-time sound synthesis
37-44 - Lorin Grubb, Roger Dannenberg - Enhanced vocal performance tracking using multiple information sources
45-48 - Karen Eliot-Kahn - Voice and speech in computer music composition

49-52 - Rafael Irizarry - Tha additive sinusoidal plus residual mosel : a statictical analysis
53-56 - Davide Rocchesso, Francesco scalcon, Gianpaolo Borin - Subjective evaluation of the inharmocity of synthetic piano tones
57-61 - Roger Dannenberg, Istvan Derenyi, Hank Pellerin - A study of trumpet envelopes
62-65 - David Wessel, Cyril Drame, Matthew Wright - Removing the time axis from spectral model analysis-based additive synthesis : neural networks versus memory-based machine learning
66-73 - Bernd Schoner, Charles Cooper, Christopher Douglas - Data-driven modeling and synthesis of acoustical instruments

74-79 - Martin Alejandro Fumarola - Report of the COMDASUAR : a significant and unknown chilean contribution in the history of computer music
80-83 - Martin Alejandro Fumarola - Change and permanence in latinamerican electroacoustic and computer music, a compositional approach
84-87 - Dale Millen - The first Buchla 300 series electric music box
88-91 - Nicola Orio, Carlo De Pirro - Controlled refractions : a two-level coding of musical gestures for interactive live performance
92-95 - Tang-chun Li - Substructure discovery of symbolic musical information using minimum description length principe
96-97 - Elizabeth Hoffman - Animated scores for electro-acoustic tape/live performer composition
98-101 - Wolfgang Chico-Toepfer - AVA : an experimental, grammar/case-based composition system to variable music automatically through the generation of scheme series

102-108 - Shlomo Dubnov, Xavier Rodet - Timbre recognition with combined stationary and temporal features
109-112 - Miller Puckette, Ted Appel, David Zicarelli - Real-time audio analysis tools for Pd and MSP
113-116 - Amar Chaudhary, Adrian Freed - OpenSoundEdit : an interactive visualisation and editing framework for timbral ressources
117-120 - Damian Keller, Barry Truax - Ecologically-based granular synthesis
121-124 - Richard Boulanger, John Ffitch - Teaching software synthesis through Csound's new modelling Opcodes

125-128 - Matthew Wright, David Wessel - An improvisation environment for generating rhythmic structures based on north indian "Tal" patterns
129-132 - Yoichi Nagashima - BioSensorFusion : new interfaces for interactive multimedia art
133-136 - James McCartney - Continued evolution of the SuperCollider real time synthesis environment

137-141 - Eli Brant, Roger Dannenberg - Low-latency music software using off-the-shelf operating systems
142-149 - Zack Settel, Cort Lippe - Real-time frequency-domain digital signal processing on the desktop
150-157 - Robert Hoeldrich - Real-time broadband noise reduction
158-162 - Camille Goudeseune, Michael Hamman - A real-time audio scheduler for Pentium PCs

163-170 - S. Canazza, G. De Poli, G. Di Sanzo - A model to add expressiveness to automatic musical performance
171-174 - Satoshi Nishimura - PMML : a music description language supporting algorithmic representation of musical expression
175-178 - Riccardo Di Federico, Carlo Drioli, Gianpaolo Borin - Toward an integrated sound analysis and processing framework for expressiveness rendering
179-186 - Joachim Stange-Elbe - "Cooking a canon with RUBATO" performance aspects of J.S.Bach's "Kunst des fuge"

187-190 - Timothy Stilson, Scott A. Van Duyne - Implementing efficient frequency variation in coupled-mode synthesis and other cosine-frequency systems
191-194 - Timothy Stilson, Harvey Thornburg - Examples of using amplitude control systems in music synthesis
195-198 - Erik M. Gottesman - The psycho-adaptive listening machine : an application of perceptuaal control theory
199-202 - Stéphane Rossignol, Philippe Depalle, Xavier Rodet - Feature extraction and temporal segmentation of acoustic signals
203-206 - Stéphan Tassart - Infinite length windows for short-time Fourrier transform
207-210 - Ichiro Fujinaga - Machine recognition of timbre using steady-state tone of acoustic musical instruments

211-214 - Haruhiro Katayose, Shigeyuki Hirai, Tsutomu Kanamoni - Physiological measurement of performer's tension and its utilization for media control
215-219 - Teresa Marrin, Rosalind Picard - The "conductor's Jacket" : a device for recording expressive musical gestures
220-223 - Adrian Freed, David Wessel - Communication of musical gesture using the AES/EBU digital audio standard
224-227 - Matthew Wright - Implementation and performance issues with OpenSound control

228-231 - Angelo Bello - An application of interactive computation and the concrete situated approach to real-time composition and performance
232-235 - John A. Biles - Interactive GenJam : Integrating real-time preformance with a genetic algorithm
236-239 - Yushi Aono, Haruhiro Katayose, Seiji Inokuchi - A real-time session composer with acoustic polyphonic instruments

240-243 - Roger Dannenberg - Interpolation error in waveform table lookup
244-247 - Adrian Freed - Music programming with the new features of standard C++
248-251 - Francois Dechelle, Riccardo Borghesi, Maurizio De Cecco - Latest evolution of the jMax real-time engine : typing, scoping, threading, compiling
252-255 - Phil Burk - Jsyn : real-time synthesis API for Java
256-259 - Francois Dechelle, Riccardo Borghesi, Maurizio DeCecco - Jmax : a new JAVA-based editing and control system for real-time musical application

260-263 - Federico Fontana, Davide Rochesso - Signal-theoretic characterisation of waveguide mesh geometries for membrane simulation
264-267 - Vesa Valimaki, Matti Karjalainen, Tero Tolonen - Signal-dependent nonlineatities for physical models using time-varying fractional delay filters
268-271 - Richard Dudas - NVM - a modular real-time physical modelling synthesis system for MPS

272-275 - Kai Renz, Holger H. Hoos - An HTTP interface to SALIERI
276-279 - Matthew Wright, Adrian Freed, Xavier Rodet - New applications of the sound description interchange format
280-283 - Ken'ichi Ohya - Sound variations by recurrent neural network synthesis
284-287 - Elizabeth Hinke-turner - Full circle : composing the cathartic experience with digital technology
288-291 - Leonello Tarabella, Massimo Magrini - A system for recognizing shape, position and rotation of the hands
292-295 - Mark Bromwich, Julie Wilson-Bokowiec - Bodycoder's : a sensor suit and vocal performance mechanism for real-time performance

296-299 - Neil B. Rolnick, Curtis Bahn - Teaching more students : rethinking studios & classrooms at Rensselaer's iEAR studios
300-303 - Richard S. Andrew - Center for new music and audio technologies (CNMAT) : studio report
304-307 - David Cooper, Kia Ng - Studio report of the university of Leeds department of music
308-311 - Fernando Lopez-Lezcano - Center for computer research in music and acoustics (CCRMA) : studio report
312-314 - Wayne Siegel - DIEM - the Danish institute of electroacoustic music : studio report
315-319 - McGregor Boyle, Ichiro Fujinaga, Geoffrey Wright - The computer music department of the Peabody conservatory of music : studio report

320-323 - Duane Kent Wise - The recursive allpass as a resonance filter
324-327 - Amar Chaudhary, Adrian Freed, Sami Khoury - A 3-D graphical user interface for resonance modeling
328-331 - Atsuo Takanishi, Manabu Maeda - Development of an anthropomorphic flutist robot WF-3RIV

332-340 - Shlomo Dubnov, Gerard Assayag, Ran El-Yaniv - Universal classification applied to musical sequences
341-348 - Kjell Lemstrom, Pauli Laine - Musical information retrieval using musical parameters
349-352 - Tomonari Sonoda, Masataka Goto, Yoichi Muraoka - A WWW-based melody retrieval system

353-356 - Perry Cook, Daniel Trueman - NBody : interactive multidirectional musical instrument body radiation simulators, and a database of measured impulse resonses
357-360 - David Gamper, Pauline Oliveros - Expended instrument system : recent development
361-364 - Harry Castle, Scott Walton - On convincing human/machine improvisation

365-368 - Michael Hamman - From symbol to semiotic : computation as interaction
369-376 - Michael Gogins - Music graphs for algorithmic composition and synthesis with extensible implementation in Java
377-384 - Stephane Letz, Dominique Fober - The role of Lambda-abstraction in Elody
385-392 - Holger H. Hoos, Juergen Kilian, Thomas Helbich - SALIERI - a general , interavtive computer music system

393-398 - Matthew Malsky - A composer's amanuensis for the web
399-405 - Sever Tipei, Hans Kaper - Manifold compositions, music visualization, and scientific sonification in an immersive virtual-reality environment
406-415 - Gerard Assayag, Camillo Rueda, Carlos Agon - Objects, time and constraints in OpenMusic

416-419 - Alessandro Ciprianni, Riccardo Bianchini - Three levels of education in electroacoustic music : the virtual sound project
420-423 - Peter Raschke - Music technology as a tool for exploring the creative aspects of music
424-427 - Juan Reyes - Education with commputer music in Colombia
428-431 - Karst De Jong, Carola Boehm - Music web Den Haag - developing new tolls for higher music education, using wide area networks and hypermedia technology

432-438 - Eric D. Scheirer - SAOL : the MPEG-4 structured audio orchestra language
439-442 - Kenji Yasaka - Using Csound as a sound engine for interactive WWW content
443-446 - Iannis Zannos - Designing an audio interaction modeling language : some basic concepts and techniques
447-450 - James R. Lendino - Scoring for the modern computer game
451-454 - Holger H. Hoos, Kai Renz, Keith A. Hamel - The GUIDO notation format - a novel approach for adequately representing score-level music
455-458 - Kai Henz, Holger H. Hoos - A WEB based approach to music notation using GUIDO

459-462 - Gabriel Maldonaro - Using real-time Csound MIDI with Windows
463-466 - David Zicarelli - An extensible real-time signal processing environment for MAX
467-470 - Mara Helmuth - StochGran on Silicon Graphics IRIX

471-474 - Todd Winkler - Motion-sensing music : artistic and technical challenges in two works for dance
475-481 - Niall Griffith, Mikael Fernstrom - LiveFoot - a floor space for recording dance and controlling media

482-489 - Brad Garton, Matthew Suttor - A sense of style
490-496 - Roger Dannenberg, Istvan Derenyi - Synthesizing trumpet performances
497-503 - David Wessel, Matthew Wright, Shafqat Ali Khan - Preparation for improvised performance in collaboration with a Khyal singer

504-505 - Francois Dechelle, Riccardo Borghesi, Maurizio De Cecco - JMax : demontration of an integrated environment for real-time musical applications
506-509 - Keith A. Hamel - NoteAbility - a comprehensive music notation editor
510-513 - Seinoshin Yamagishi, Kohji Setoh - "Variations for WWW" : network music by MAX and the WWW
514-517 - Shigeyuki Hirai, Haruhiro Katayose, Tsutomu Kanamori - Software sensors for interactive digital art

518-526 - Jean-Loup Florens, Claude Cadoz, Annie Lucianni - A real-time workstation for complex physical models of multi-sensorial and gesturally controlled instrumants
527-535 - Insook Choi, Alex Betts - ScoreGraph : dynamically activated connectivity among parallel processes for interactive computer music performance

1-4 - Mikael Laurson, Jarmo Hiipakka, Cumbur Erkut, Vesa Valimaki, Matti Karjalainen, Mika Kuuskankare - From expressive notation to model-based sound synthesis : a case study of the acoustic guitar
5-8 - Tero Rolonen, Cumhur Erkut, Vesa Valimaki, Matti Karjalainen - Simulation of plucked strings exhibiting tension modulation driving force
9-12 - Hua Kheng, James Beauchamp - Analysis and critical-band-based group wavetable synthesis of piano tones

13-16 - Daniel Oppenheim, Steve Abrams, Don Pazel, James Wright - Higher-level compositional control in music sketcher : modifiers and smart harmony
17-19 - Michael Clarke - Composing with multi-channel spatialisation as an aspect of synthesis
20-23 - Mikael Laurson - PWCollider - a visual composition tool for software synthesis

24-27 - Kai-yuh Hsiao, Joseph Paradiso - A new continuous multimodal musical controller using wireless magnetic tags

28-31 - Paul Modler, Ross Kirk - Evaluation of architecture for sound generation systems with respect to interactive gestural control and realtime performance
32-35 - Nagashima Yoichi, Tono-Ito Tamami - "It's SHO time" - an interactive environment for SHO (Sheng) performance
36-39 - Lilit Yoo, Ichiro Fujinaga - A comparative latency study of hardwarre and software pitch-trackers

40-43 - Guillermo Garcia, Juan Pampin - Data compression of sinusoidal modeling parameters based on psychoacoustics masking
44-47 - Juan Pampin - ATS : a Lisp environment for spectral modeling
48-51 - Laurent Daudet, Philippe Guillemain, Richard Kronland-Martinet - Resynthesis of piano string vibrations based on physical modeling

52-55 - Satoshi Nishimura - PIECE : a music language editor synchronized with graphical views
56-59 - Wayne Siegel - Two compositions for interactive dance

60-61 - Shuiling Liu, Junping Gong - How to produce chinese folk music using regular MIDI equipment

62-65 - Louisa Yong - ComeXos : a networked sound manipulation primer
66-69 - Harvey Thornburg - Antialiasing for nonlinearities : acoustic modeling and synthesis applications
70-73 - Ying Yu - Sound of China : computer music

74-77 - Adrian Freed, Todd Hodes - Second-order recursive oscillators for musical additive synthesis applications on SIMD and VLIW processors
78-81 - Adrian Freed - Spectral line broadening with transform domain additive synthesis
82-84 - Patrick Fourcade, Sylvain Mangiarotti, Claude Cadoz - Generating pitches in transients by a percussive excitation

85-88 - Sixin Li - The design and implementation of a processing system of Qin score (Jianzipu) QinS(1.0)
89-91 - Shuiling Liu, Junping Gong - Voice creation and the chinese folk music

92-93 - Steven Trautmann, Ngai-man Cheung, Christopher Poletto - Applications of the processor enhanced memory module for music signal processing

94-96 - Rochey Berry - Feeping creatures
97-99 - Tim Kreger - Creating three-dimentional computer animations using spectral data and OpenGL
100-103 - Leigh Landy - Heightening access and cohesion within the worlds of electroacoustic music : the promotion of triangulation in creativity, development and scholarship

104-107 - Francisco Iovino, Olivier Lartillot, Norbert Schnell - Modalys in jMax : real-time modal synthesis
108-111 - Takafumi Hikichi, Naotoshi Osaka - An approach to sound morphing based on physical modeling
112-115 - Solvi Ystad, Philippe Guillemain, Richard Kromland-Martinet - Sound modeling of transient and sustained musical sounds

116-119 - Alain Bonardi, Francis Rousseaux - Towards digital "musical actions"
120-123 - Massimo Melucci, Nicola Orio - The use of melodic segmentation for content-based retrieval of musical data
124-130 - Stephen Travis Pope, Nicola Orio, Pierre Roy - Content analysis and queries in a sound and music database

131-134 - Fumitake Ohnaka - "SNAP" - sound network agent project - multi agent system using Csound in the internet

135-137 - John Young, Ichiro Fujinaga - Piano master classes via the internet
138-140 - Gerhard Eckel - Kinetis sound sculptures - stele and viola spezzata
141-144 - Ambrose Field - ASPEN / EXPLORE : a multiprocessing assistant for electroacoustic music composers

145-148 - Roger Dannenberg, Minoru Matsunaga - Automatic capture for spectrum-based instrument models
149-152 - Thomas Helie, Christophe Vergez, Jean Levine, Xavier Rodet - Inversion of a physical model of a trumpet
153-156 - Geoffroy Peeters, Xavier Rodet - SINOLA : a new analysis/synthesis method using spectrum peak shape distorsion, phase and reassigned spectrum

157-160 - Zhonggliang Tong - The computer music education in the music composition & engineering department of Wuhan conservatory of music
161-163 - Riccardo Bianchini, Alessandro Cipriani - The virtual sound on line - computer music courses on the internet

164-166 - Perry Cook, Gary Scavone - The synthesis toolkit (STK)

167-170 - Keiji Hirata, Tatsuya Aoyagi - Musically intelligent agent for composition and interactive performance
171-174 - Peter Beyls - Evolutionary strategies for spontaneous man-machine interaction
175-177 - Ichiro Fujinaga, Angela Fraser - Toward real-time recognition of acoustic musical instruments

178-181 - Shlomo Dubnov, Ran El-Yaniv - Granular synthesis of sound textures using statistical learning
182-185 - Matthew Wright, Sami Khoury, Raymond Wang, David Zicarelli, Richard Dudas - Supporting the sound description interchange format in the Max/MSP environment
186-189 - Daniel Arfib, Nathalie Delprat - Alteration of the vibrato of a recorded voice

190-193 - Belinda Thom - Learning models for interactive melodic improvisation
194-196 - Pauli Laine - Motor neuron based virtual drummer

197-200 - Eduard Resina, Xavier Serra - The musician's software mall - a set of composition and performance oriented applications for sound synthesis

201-203 - Rodney Waschka - Avoiding the fitness "bottleneck" : using genetic algorithms to compose orchestral music
204-207 - Tang-Chun Li - Creating music in a machine age : the relations between tools, composer, and music making machines
208-211 - Conrad Berhoerster - Aspects of stochastic music

212-215 - Censong Leng - From timbre modulation method to research the relation between electronic music and chinese musical tradition
216-219 - Stefania Serafin, Xavier Rodet, Christophe Vergez - Friction and application to real-time physical modeling of a violin
220-223 - Vesa Valimaki, Matti Karjalainen, Tero Tolonen, Cumhur Erkut - Nonlinear modeling and synthesis of the kantele - a traditional finnish string instrument

224-227 - Anthony De Ritis - Cathedral : an interactive work for the web
228-231 - Solvi Ystad, Thierry Voinier - Design of a flute interface to control synthesis models
232-239 - Den Trueman, Perry Cook - BoSSA : the deconstructed violin reconstructed

240-243 - Shogo Takahashi, Hideyuki Sawada, Shuji Hashimoto, Kenji Suzuki - Music creation from moving image and environmental sound

244-247 - Dominik Hormel, Joachim Langnickel, Bastian Sandberger, Borje Sieling - Statistical vs. Connectionist models of bebop improvisation
248-251 - Donncha O Maidin - Common practice notation view : a score representation for the construction of algorithms
252-255 - Pauli Laine, Kai Lassfolk - Feedback in musical computer applications

256-259 - Axel Roebel - Adaptive additive synthesis of sound
260-263 - Myriam Desainte-Catherine, Sylvain Marchand - Structured additive synthesis towards a mode of sound timbre and electroacoustic music forms
264-267 - Ye Wang, Milika Vilermo - Audio signal representation and processing in time-frequency domain

268-271 - Guy Garnett, Camille Goudeseume - Performance factors in control of hight-dimentional spaces
272-275 - Francois Pachet, Olivier Delerue - MusicSpace : a constraint-based control system for music spatialization

276-277 - Wayne Siegel, Jens Jacobsen - Composing for the digital dance interface

278-280 - James Harley - Dixieland-Gamelan band ?encounters of an algorithmic kind
281-283 - Alberto De Campo, Marianne Egger-De-Campo - Sonification of social data
284-287 - Carola Boehm, Stephen Arnold - SmaTBaM ! - serving time-based media in the performing arts

288-290 - Daniel Arfib, Jacques Dudon - A digital version of the photosonic instrument
291-294 - Jean-Loup Florens, J. Germond - Reed instruments modular representation and their interactive real time simulation CORDIS-ANIMA
295-298 - Claude Cadoz, Jean-Loup Florens, SylvainGubian - From song of birds to extended virtual reed instruments - physical modelling of birds vocal tracks and application to a new king of sound sustain virtual instruments

299-302 - Yuzuru Hiraga - Content-based retrieval and indexing methods for music databases
303-306 - Jianli Liu, Rumi Hiraga, Shigeru Igarashi - A computer-assisted music analysis system : Daphne

307-310 - Gabriel Maldonado - VMCI, an interface to control Csound in real-time under Windows

311-313 - Dominique Fober, Stephane Letz, Yann Orlarey - MidiShare Joins the open source softwares
314-316 - Matija Marolt - A comparison of feed forward neural network architectures for piano music transcription
317-320 - Kjell Lemström, Pauli Laine, Sami Perttu - Using relative interval slope in music information retrieval

321-324 - Georg Essl, Perry Cook - Banded waveguides : towards physical modeling of bowed bar percussion instruments
325-328 - Marco Palumbi, Lorenzo Seno - Physical modeling by directly solving wave PDE
329-332 - Haruhiro Katayose, Hideki Kawahara - Applying STRAIGHT toward music systems - accurate F0 estimation and application for data-driven synthesis

333-336 - Mary Simoni, Benjamen Broening, Christopher Rozell, Colin Meek, Gregory Wakefield - A theoretical framework for electro-acoustic music
337-340 - John Doerksen - Segmentation and interpretation in atonal music

341-344 - Sylvain Marchand, Robert Strandh - InSpect and reSpect : spectral modeling, analysis ans real-time synthesis software tools for researchers and composers

345-346 - Suzanne Winsberg, Philippe Depalle - Applications of principal differential analysis to data reduction and ectraction of musical features of sound
347-350 - James Beauchamp - Analysis and resynthesis of percussion sounds : two methods compared
351-354 - Diemo Schwarz, Xavier Rodet - Spectral envelope estimation and representation for sound analysis-synthesis

355-358 - Gary Scavone - Modeling wind instrument sound radiation using digital waveguide
359-362 - Hanna Jarvelainen, Vesa Valimaki, Matti Karjalainen - Audibility of inharmonicity in string instrument sounds, and implications to digital sound synthesis

363-366 - Tamas Ungvary, Roel Vertegaal - The sansOrg : time-complexity and the design of a musical cyberinstrument
367-370 - Tommi Ilmonen, Tapio Takala - Conductor following with artificial neural networks
371-374 - Guy Garnett, Fernando Malvar-Ruiz, Fred Stoltzfus - Virtual conducting practice environment

375-378 - Stefania Serafin, Xavier Rodet, Richard Dudas, Marcelo Wanderley - Gestural control of a real-time physical model of a bowed string instrument

379-382 - Sergio Canazza, Antonio Roda, Nicola Orio - A parametric model of expressiveness in musical performance based on perceptual and acoustic analyses
383-386 - Karin Hothker, Dominik Hornel - Modelling the motivic process of melodies with Markov chains
387-390 - Hans Kaper, Sever Tipei - Formalizing the concept of sound

391-394 - Nicola Orio - The timbre space of the classical guitar and its relationship with the plucking techniques
395-398 - Holger Hoos, Keith Hamel, Kai Renz - Using advanced GUIDO as a notation interchange format
399-402 - Juan Pampin, Fernando Lopez-Lezcano - Common Lisp music update report

403-406 - Margaret Schedel - The notation of interactive music : limitations and solutions
407-410 - Kenji Suzuki, Takeshi Ohashi, Shuji Hashimoto - Interactive multimodal mobile robot for musical performance

411-413 - Timothy Madden, James Beauchamp - Armadillo : real time and non-real time analysis of musical sounds on a Power Macintosh

414-417 - Ristoffer Jensen, Jens Arnspang - Binary decision tree classification of musical sounds
418-421 - Marcelo Wanderley, Philippe Depalle, Olivier Warufel - Improving instrumental sound synthesis by modeling the effects of performer gesture
422-424 - Kai Lassfolk - Sound processing kit - an object-oriented signal processing framework

425-428 - Antonio Roda, Giovanni DePoli - Expressive processing of audio and MIDI performances in real time
429-432 - Naotoshi Osaka, Takafumi Hikichi - Visual manipulation environment for sound synthesis, modification and performance

433-436 - Dominik Hornel, Frank Olbrich - Comparative style analysis with neural networks
437-440 - Alex Loscos, Pedro Cano, Jordi Bonada - Low-delay singing voice aligment to text
441-444 - Pedro Cano, Alex Loscos - Score-performance matching using HMMs

445-448 - Francois Dechelle, Maurizio DeCecco, Enzo Maggi, Norbert Schnell - jMax recent developments
449-452 - Lonny Chu - MusiCloth : a design methodology for the development of a performance interface
453-456 - Joseph Paradiso, Eric Hu, Kai-Yuh Hsiao - Interactive music for instrumented dancing shoes

457-459 - Douglas Keislar, Thom Blum, James Wheaton, Erling Wold - A content-Awave sound browser
460-463 - Andrew Sterian, Mary Simoni, Gregory Wakefield - Model-based musical transcription
464-467 - Takuya Fujishima - Realtime chord recognition of musical sound : a system using common Lisp music

468-471 - Lydia Ayers, Andrew Horner - Modeling the woodstock gamelan for synthesis

472-475 - Damian Murphy, David Howard - The waveVerb multi-channel room acoustics modeling system
476-479 - YeeOn Lo, Dan Hitt - Analysis of percussio for timbre measurement and synthesis
480-483 - Huaming Xue - The sounding distance sensation and its significance of artistic representation

484-487 - David Malham - Higher order ambisonic systems for the spatialization of sound
488-491 - Adrian Freed, Arnold Kaup, Sami Khoury, David Wessel - Volumetric modeling of acoustic fields in CNMAT's sound spatialization theatre
492-495 - Joel Laird, Paul Masri, Nishan Canagarajah - Modeling diffusion at the boundary of a digital waveguide mesh

496-499 - Gerard Assayag, Shlomo Dubnov, Olivier Delerue - Guessing the composer's mind : applying universal perdiction to musical style
500-503 - Kia Ng, David Cooper, Ewan Stefani, Roger Boyle, Nick Bailey - Embracing the composer : optical recognition of hand-written manuscripts

504-507 - Adrian Freed, Tristan Jehan - Musical applications of new filter extentions to Max/MSP

508-511 - Christopher Penrose - Extending musical mixing : adaptive composite signal processing
512-514 - Takebumi Itagaki, Donald Knox - Multimedia application of time compress/stretch of sound by granulation
515-518 - Bonnie Miksch, Leon Couch - "Bleep, Buzz, Blurp" : the challenge of teaching new ways to listen

519-522 - Atau Tanaka - Network audio performance and installation
523-526 - Eli Brandt, Roger Dannenberg - Time in distributed real-time systems
527-530 - Ian Gibson, David Howard, Andrew Tyrrell - Composing with the York polyphonic real-time singing synthesizer

531-534 - Kenneth Fields - Postformalism
535-537 - Michael Clarke - Revisiting Kontakte : issues of history, performance and intuition
538-541 - Mladen Milicevic - Aesthetics of designing an adaptive fuzzy system for evaluation of the computer music

542-544 - Victor Abramian - Encyclopedia of classical music

553-556 - Anastasia Georgaki - Proteic voices in the computer music repertory (1972-1997)
557-560 - Alexandra Hettergott - Human voice treatment in various types of electroacoustic music
561-564 - Madelyn Byrne - Speech-based computer music : selected works by Charles Dodge and Paul Lansky

565-568 - Nishan Canagarajah, Paul Masri, Joal Laird - Digital music research group (Bristol, UK) : studio report

569-572 - Richard Andrews - Center for new music and audio technologies (CNMAT) : studio report
573-576 - Gisella Belgeri, Guiseppe DiGiugno - Federazione CEMAT and centres of computer music research and production in Italy
577-580 - Tony Myatt - The design and implementation of an integrated high performance computer music system for research and postgraduate teaching at the university of York, UK

581-584 - Xavier Serra, Perfecto Herrera, Geoffroy Peeters - Audio descriptors and descriptor schemes in the context of MPEG-7
585-588 - Riitta Vaananen, Jyri Huopaniemi - Virtual acoustics rendering in MPEG-4 multimédia standard
589-596 - Matthew Wright, Eric Scheirer - Cross-coding SDIF into MPEG-4 structured audio

597-599 - David Topper - Rtcmix and the open source / free software model
600-601 - Reynold Weidenaar - Magic music from the Telharmonium

602-604 - Mara Helmuth - Patchmix : a Cmix instrument-builder

605-608 - Fernando Lopez-lezcano - CCRMA studio report
609-612 - Maria Christina DeAmicis - GRAMMA : the new music in a old architecture
613-615 - Douglas Nunn - Anglia polytechnic university - studio report

1-4 - Kenneth Fields - The interdisciplining of computer music
5-7 - Dominique M. Richard - Music as handwerk, the middle way between vorhandenheit and zuhandenheit
8-11 - Ingeborg Okkels, Anders Conrad - Bricoleur and engineer in computer music

12-15 - Kostas Giannakis, Matt Smith - Auditory-visual associations for music compositional processes : a survey
16-19 - Denise Garcia - Body representations in the electroacoustic music
20-23 - Natasha Barrett - A compositional methodology based on data extracted from natural phenomena

24-27 - Laura Bianchini - Varèse - Le Corbusier. Scenes from a rebellious thought. Reconstruction of the Poème Electronique
28-31 - Anna Rubin - Forêt Profonde by F. Dhomont - representation of the unconscious
32-37 - Howard Jonathan Fredrics - Lars-Gunnar Bodin's "Anima" : intervallic symmetry as a metaphor for a cybernetic age

38-45 - Pirouz Djoharian - Shape and material design in physical modelling sound synthesis
46-49 - Federico Avanzini - Onthe use of weighted sample methods in digitizing the clarinet equations

50-53 - Vesa Valimaki, Mikael Laurson, Cumhur Erkut, Tero Tolonen - Model-based synthesis of the clavicord
54-57 - Bank Balazs - Nonlinear interaction in the digital waveguide with the application to piano sound synthesis
58-61 - Julien Bensa, Kristoffer Jensen, Richard Kromland-Martinet, Solvi Ystad - Perceptual and analytical analysis of the effect of the hammer impact on the piano tones

62-65 - Christophe Vergez, Xavier Rodet - Air flow related improvements for basic physical models of brass instruments
66-69 - M. Sile O'Modhrain, Stefania Srafin, Chris Chafe, Julius O. Smith - Qualitative and quantitative assessment of a virtual bowed string instrument
70-73 - Tapio Takala, Jarmo Hipakka, Mikael Laurson, Vesa Valimaki - An expressive synthesis model for bowed string instruments
74-77 - Mikael Laurson - Real-time implementation and controlof a classical guitar synthesizer in SuperCollider

78-81 - Federico Fontana, Davide Rocchesso - Online correction of dispersion error in 2D waveguide meshes
82-85 - Marc Aird, Joel Laird, John Ffitch - Modelling a drum by interfacing 2-D and 3-D waveguide meshes
86-89 - Patty Huang, Stefania Serafin, Julius O. Smith - A waveguide mesh model of high-frequency violin body resonances

90-97 - Hui-Ling Lu, Julius O. Smith - Glottal source modeling for singing voice synthesis
98-101 - Maureen Mellody, Gregory H. Wakefield - Signal analysis of the singing voice : low-order representation of singer identity

102-108 - Norbert Schnell, Geoffroy Peeters, Serge Lemouton, Philippe Manoury, Xavier Rodet - Synthesizing a choir in real-time using pitch synchronous overlap add (PSOLA)
109-112 - Pedro Cano, Alex Loscos, Jordi Bonada, Maarten de Boer, Xavier Serra - Voice morphing system for impersonating in Karaoke applications

113-116 - Donald P. Pazel, Steven Abrams, Robert Fuhrer, Daniel V. Oppenheim, James Wright - A distributed interactive music application using harmonic constraint
117-120 - Philip L. Burk - Jammin'on the web - a new client/server architecture for multi-user musical performance
121-124 - Mara Helmuth - Sound exchange and performance on internet2

125-128 - Jaein Hwang, Gerard Jounghyun Kim - Design and analysis of virtual music environment (VME)
129-132 - Stéphane Natkin - Mapping a virtual sound space into a real visual space
133-136 - Francois Pachet, Olivier Delerue, Peter Hanappe - Dynamic audio mixing

137-140 - Todd Winkler - Participation and response in movement-sensing installations
141-144 - Insook Choi, Geoffrey Zheng, Ken Cheng - Embedding a sensory data retrieval system in a movement-sensitive space and a surround sound system
145-148 - M. Sile O'Modhrain, Chris Chafe - The performer-instrument interaction : a sensory motor perspective
149-153 - Robin Bargar, Francois Dechelle, Insook Choi, Alex Betts, Camille Goudeseune, Nobert schnell, Olivier Warusfel - Coney island : combining jMax, Spat and VSS for acoustic integration of spatial and temporal models in a virtual reality installation

154-161 - Michael A. Casey, Alex Westner - Separation of mixed audio sources by independent subspace analysis
162-165 - Massimo Melucci, Nicola Orio, Marco Gambalunga - An evaluation study on music perception for music content-based information retrieval

166-169 - Geoffroy Peeters, Stephen McAdams, Perfecto Herrera - Instrument sound description in the context of MPEG-7
170-173 - Tomonari Sonoda, Yoichi Muraoka - A WWW-based melody-retrieval system - an indexing method for a large melody database
174-177 - Carola Boehm, Donald MacLellan, Cordy Hall - Mu Ta TeD'll : a system for music information retrieval of encoded music

178-181 - Richard W. Dodson - Developments in audio file formats
182-185 - Marek Claussen, Ludger Solbach - Streaming structured audio
186-189 - Matthew Wright, Amar Chaudhary, Adrian Freed, Sami Khoury, Ali Momeni, Diemo Schwarz, David Wessel - An XML-based SDIF stream relationships language
190-193 - Maarten De Boer, Jordi Bonada, Xavier Serra - Using the sound description interchange format within the SMS application

194-200 - Robert J. Frank - Temporal elements : a cgnitive system of analysis for electro-acoustic music
201-204 - Robert J. Frank, Willi Steinke - Bringing the gulf between music and listener : effet of style label and descriptive notes on listeners’ ratings of understanding, liking and artistic merit of computer music

205-208 - Robin Bargar, Alex Betts, Kelly Fitz, Insook Choi - Models and deformations in procedural synchronous sound for animation
209-212 - Andy Hunt, Marcelo M. Wanderley, Ross Kirk - Towards a model for instrumental mapping in expert musical interaction

213-216 - Ian Whalley - Emotion, theme and structure : enhancing computer music through system dynamics modelling
217-220 - Maja Serman, J. L. Griffith Niall, Nikola Serman - Tracking monophonic music for modelling melodic segmentation processes
221-224 - Nico Schüler - Towards a general methodological classification of computer-assisted music analysis

225-228 - Gregory H. Wakefield, Laurie M. Heller, Laurel H. Carney, Maureen Mellody - On the perception of transients : applying psychological constraints to improve audio analysis and synthesis
229-232 - Gregory H. Wakefield - A mathematical/psychometric framework for comparing the perceptual response to different analsis-synthesis techniques : ground rules for a synthesis bake-off
233-236 - Andrea Bari, Sergio Canazza, Giovanni De Poli, Gian Antono Mian - Improving the extended Kalman filter method for the restoration of electro-acoustic music

237-240 - Hanna Jarvelainen, Ton Verma, Vesa Valimaki - The effect of inharmonicity on pitch in string instrument sounds
241-243 - Ichiro Fujinaga, Karl MacMillan - Realtime recogniton of orchestral instruments

244-247 - Marcelo M. Wanderley, Jean-Philippe Viollet Fabrice Isart, Xavier Rodet - On the choice of transducer technologies for specific musical functions
248-251 - Dan Trueman, Curtis Bahn, Perry R. Cook - Alternative voices for electronic sound : spherical speakers and sensor-speaker arrays (SenSAs)

252-257 - Francois Dechelle, Norbert Schnell, Riccardo Borghesi, Nicola Orio - The jMax environment : an overview of new features
258-261 - James McCartney - A new, flexible framework for audio and image synthesis

262-265 - Antonio Camurri, Paolo Coletta, Massimiliano Peri, Matteo Ricchetti, Andrea Ricci, Riccardo Trocca, Gualtiero Volpe - A real-time platform for interactive dance and music systems
266-269 - Yoichiro Taki, Kenji Suzuki, Shuji Hashimoto - Real-time initiative exchange algorithm for interactive music system
270-273 - Antonio Camurri, Paolo Coletta, Matteo Ricchetti, Gualtiero Volpe - Synthesis of expressive movement

274-276 - Charles Nichols - The vBow : a haptic musical controller human-computer interface
277-280 - Joseph A. Paradiso, Kai-Yuh Hsio, Joshua Strickon, Peter Rice - New sensor and music systems for large interactive surfaces
281-283 - Ronald Kuivila - Forests and trees : distinguishing many from few with a video camera
284-287 - Shu Matsuda, Takayuki Rai - DIPS : real-time digital image processing objects for Max environment

288-291 - Riitta Vaananen, Jyri Huopaniemi, Ville Pulkki - Comparison of sound spatialization techniques in MPEG-4 scene description
292-295 - Gordon Moro - In-phase corrections for Ambisonics

296-299 - Harry D. Castle - Fleece : graphical 3-D trajectory specification software for saptialization in live performance
300-303 - Peter Lunden - Snd3D : a 3D sound system for VR and interavtive applications
304-307 - Ville Pulkki - Generic panning tools for MAX/MSP

308-315 - Steven Abrams, Robert Fuhrer, Daniel V. Oppenheim, Donald P. Pazel, James Wright - A framework for representing and manipulating tonal music
316-319 - Francois Pachet - Rhythms as emerging structures
320-323 - Roberto Morales, Eduardo Morales, L. Enrique Sucar - Integrating Bayesian network with logic programs for music

324-327 - Torsten Anders - Arno : constraints programming in common music
328-331 - Eli Brandt - Temporal type constructors for computer music programming
332-335 - Carlos Agon, Marco Stroppa, Gerard Assayag - High level musical control of sound synthesis in open msic

336-339 - Stephane Letz, Dominique Fober, Yann Orlarey - Real-time composition in Elody
340-343 - Hans G. Kaper, Szever Tipei, Jeff M. Wright - Disco : an object-oriented system for msic composition and sound design

344-347 - Gerhard Widmer - Large-scale induction of expressive performance rules : first quantitative results
348-351 - Osamu Ishikawa, Yushi Aono, Harahiro Katayose, Seiji Inokuchi - Extraction of musical performance rules using a modified algorithm of multiple regression analysis
352-355 - Ali Taylan Cemgil, Bert Kappen, Peter Desain, Henkjan Honing - On tempo tracking : Tempogram representation and Kalman Filtering

356-359 - Sergio Canazza, Giovanni De Poli, Carlo Droli, Antonio Roda, Federico Zamperini - Real-time morphing among different expressive intentions in audio playback
360-363 - Keiji Hirata, Rumi iraga, Tatsuya Aoyagi - Next generation performance rendering - exploiting controllability
364-367 - Roberto Bresin, Anders Friberg - Rule-based emotional coloring of music performance

368-371 - Bill Verplank, Max Mathews, Robert Shaw - Scanned synthesis
372-375 - Richard Boulanger, Paris Smaragdis, John Ffitch - Scanned synthesis : an introduction and demonstration of a new synthesis and signal processing technique
376-379 - Bernd Schoner, Chuck Cooper, Neil Gershenfeld - Cluster-weighted sampling for synthesis and cross-synthesis of violin family instruments

380-383 - Gianpaolo Evangelsta - The short-time Laguerre transform : a new method for real-time frequency warping of sounds
384-387 - Kelly Fitz, Lippold Haken, Paul Christensen - A new algorithm for bandwidth association in bandwidth-enhanced additive sound modeling
388-391 - Pietro Polotti - Time-special modeling of sound by means of harmonic-band wavelets

392-395 - Kelly Fitz, Lippold Haken, Paul Christensen - Transient preservation under transformation in an additive sound model
396-399 - Jordi Bonada - Automatic technique in freqency domain for near-lossless time-scale modification of audio
400-403 - Harvey Thornburg, Fabien Gouyon - A flexible analysis-synthesis method for transients

404-405 - Eric Lyon - The Bregman electronic music studio at Dartmouth College
406-409 - Laura Bianchini - Designing a virtual theatrical listening space
410-413 - Richard Boulanger - Two new courses in computer musc performance @ Berklee : alternate controllers and the techno/rave ensemble

414-416 - Christopher Dobrian - The Gassman electronic music studio - university of California at Irvine
417-420 - Richard ndrews - Center for new music and audio technologies (CNMAT) studio report
421-423 - Richard Karpen, Jan Pampin, Brett Batey, Chad Kirby - CARTAH/SMCC studio report

424-427 - John Young - Victoria university of Wellington - electroaoustic music studios
428-431 - Kathryn Alexander, Matthew Suttor - Current work at YalMust, Yale university’s music and technology center
432-435 - Andrew Hugill, Leigh Landy - The music, technology and innovation research group (MTIRG) at De Montfort university - studio report

436-438 - JoAnn Kuchera-Morin, Curtis Roads, Alberto De Campo, Anne Deane, Stephen T. Pope - CREATE studio report 2000
439-442 - Curtis Bahn - IEAR studios : integrated electronic arts at Rensselaer polytechnic institute
443-446 - Xavier Serra - Musical activities at the audiovisual institute of the Pompeu Fabra university

447-450 - Matija Marolt - Adaptive oscillator networks for partial tracking and piano music transcription
451-453 - David Topper - SLING1.0 : a GUI for controling synthesis and linking instruments in Rtcmix
454-457 - Jurgen Kilian, Holger H. Hoos - VISCO - visual Salieri components

458-460 - Colby N. Leider - CurvePainter : a new compositional tool
461-464 - Sita Popat, Kia Ng, Kris Popat, Jacqueline Smith-Autard - Interactive composition : sharing the creative process on the internet
465-468 - Maarten Van Walstijn, Gary Scavone - The wave digital tonehole model

469-472 - Kai Renz - Design and implementation of a platform independent GUIDO notation engine
473-476 - Stefania Serafin, Julius O. Smith - Influence of attack parameters on the playability of a virtual bowed string instrument
477-480 - Jian-Li Liu, Rumi Hiraga, Shigeru Igarashi - Musical analysis of a computer music project, by computer-assistance, for computer music applications

481-484 - Diemo Schwarz, Matthew Wright - Extentions and applications of the SDIF description interchange format
485-488 - Kia Ng, Sita Popat, Bee Ong, Ewan Stefani, Kris Ppat, David Cooper - Trans-domain mapping : areal-time interactive system for motion acquisition and musical mapping
489-491 - Kristine H. Burns - WOW’EM : encouraging an integrated generation

492-495 - Amar Chaudhary, Adrian Freed, Matthew Wright - An open architecture for real-time music software
496-498 - Christopher Penrose, Eric Lyon - FFTease : a collection of spectral signal processors for Max/MSP
499-502 - Roberto Bresin, Anders Friberg - Software tools for musical expression
503-506 - Stephen Brandon, Leigh M. Smith - Next steps from NeXTSTEP : music kit and sound kit in a new world
507-510 - Kostas A. Tsahalinas - “ Aulos ” : an Rtcmix interfaced software application for modeling cylindrical pipes with tone holes, with emphasis on the simulation of the ancient greek Auloi
511-514 - Andrei Smirnov - Music and gesture : sensor technologies in interactive music and the Theremin based space control systems
515-516 - Adrian Freed, Rimas Avizienis - A new music Keyboard with continous key-position sensing and high-speed communication
517-518 - David Topper - Pawn & spawn : portable and semi portable audio workstation
519-522 - Perry R. Cook, Colby N. Leider - SqueezeVox : a new controller for vocal synthesis models
523-526 - Rimas Avizienis, Adrian Freed, Takaniko Suzuki, Davd Wessel - Scalable connectivity processor for computer music performance systems
527-530 - Karin Hothker, Dominik Hornel - Harmonizing in real-time with neural networks
531-534 - Klaus C. Wassermann, Mark Blanchard, Ulysses Bernardet, Jonatas Manzolli, Paul F.M.J. Verschure - Roboser - an autonomous interactive musical composition system
535-538 - Maarten de Boer, Jordi Bonada, Pedro Cano, Alex Loscos, Xavier Serra - Singing voice impersonator application for PC
539-542 - Kenji Suzuki, Keishiro Tabe, Shuji Hashimoto - A mobile robot platform for music and dance performance
543-546 - Adran Freed, Osman Isvan - Musical applications of new, multi-axis guitar string sensors
547-550 - Richard Boulanger, Young Jun Choi, Luigi Castelli - Developing a Windows and Macintosh graphical user interface for the mathews radio-baton system
551-554 - Tomoko Yonezawa, Kenji Mase - Tangible sound : musical instrument using fluid media