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6.2.1 Synthesis of Transients in Classical Guitar Sounds 36
6.2.2 Estimation of Multiple Fundamental Frequencies in Audio Signals Using a Genetic
Algorithm 3G
6.2.3 Computation of Reflection Coefficients for an Axisymmetrical Horn by Boundary
Element Method 36
6.2.4 Synthesis of Ecologically-Based Sound Events 37
6.2.5 Modeling the Sound Event at the Micro Level 37
6.2.6 Toward a High-Quality Singing Synthesizer 3S
6.2.7 Scanned Synthesis. A New Svnthesis Technique 38
6.2.8 Perceptual Audio Coding Based on the Sinusoidal Transform 3!)
6.2.9 Sig-—: Musical Signal Processing in the C—+ language 39
6.2.10 Acoustic Research and Synthesis Models of Woodwind Instruments 40
6.2.11 Physical Modeling of Bowed Strings: Analysis. Real-time Synthesis anil Plavabilitv 40
6.2.12 FFT-Based DSP and Spectral Modeling Synthesis 41
6.2.13 Digital Waveguide Modeling of Acoustic Systems 42
6.2.14 Signal Processing Algorithm Design Stressing Efficiency and Simplicity of Control 43
6.2.15 Synthesis and Algorithmic Composition Techniques Derived from the Sonification
of Particle Systems: And a Resultant Meta-Philosophy for Music and Physics . . 44
6.2.16 A Flexible Analysis/Synthesis Method for Transient Phenomena 44
6.2.17 Antialiasing for Nonlinearities: Acoustic Modeling and Synthesis Applications ... 45
6.3 Controllers for Computers and Musical Instruments 45
6.3.1 Updates on the Radio-Baton Program 45
6.3.2 The vBow: A Haptic Musical Controller Human-Computer Interface 46
6.3.3 Haptic User Interfaces for the Blind 46
6.3.4 Incorporating Haptic Feedback into Music Controllers 46
6.3.5 Improv: Computer/Performer Interaction Programming with MIDI in C— .... 47
6.3.6 Alternative Controllers for Physical Model Development (and Fun!) 47
6.4 Psychoacoustics and Cognitive Psychology 48
0.4.1 Neural Network Models of Musical Cognitive Activities 48
6.4.2 Text on Psychoacoustics 49
6.4.3 Categorical Perception of Sound Sources 49
6.4.4 Absolute Pitch. Absolute Tempo. Absolute Loudness 50
6.5 Machine Recognition in Music 50
6.5.1 Optical Recognition of Printed Music: A New Approach 50
6.5.2 Realtime Chord Recognition of Musical Sound: a System Using Common Lisp Music 51
6.5.3 Speaker Normalization for Speech Recognition Based On Maximum-Likelihood
Lineal Transformation 51
6.6 Historical Aspects of Computer Music 52
6.6.1 Impact of MIDI on Electroacoustic Art Music 52
6.7 Computer Assisted Music and Acoustics Research 53
6.7.1 The Center for Computer Assisted Research in the Humanities (CCARH) 53
6 7.2 The Musical Acoustics Research Library 55
6.7.3 Web-Based Infrastructure for Research and Teaching 56
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