ICMC 2001 Preliminary Schedule
note: s=short, l=long, b=10 min break, d=demo, p=panel
TUESDAY SEPT 18TH
Paper# Time Paper# Time
PLENARY PLENARY
1000 s Organizers:  Cuba 101 9:00
1200 s New public-domain realizations of standard pieces for instruments and live electronics [RESEND] 9:20
1388 s Realizing Lucier and Stockhausen: case studies in the performance practice of electroacoustic music 9:40
b DSP 1 10:10 AESTHETICS 1 10:10
1049 s ANTI ALIASING FOR SUBBAND AUTOREGRESSIVE MODELING 10:10 1340 s Do Composition Systems Support Creativity? - An evaluation 10:10
1137 s Time-Frequency Reassignment for Music Analysis 10:30 1283 s The Video-Organ 10:30
1400 s Transient modelling by pruned wavelet trees 10:50 1349 s Measuring Intention against Reception in Electroacoustic Music: a new opportunity for analysis 10:50
b DSP 2 11:20 b AESTHETICS 2 11:20
1379 s Detection and modeling of fast attack transients 11:20 1257 l Improvising with Computers: A Personal Survey (1989-2001) 11:20
1005 l Object-Based Sound Synthesis 11:40 1199 l PHYSICALITY AND FEEDBACK: A Focus on the Body in the Performance of Electronic Music 11:50
12:10 12:20
VR 2:00 MIR (MUSIC INFORMATION RETRIEVAL) 2:00
1289 s Analysis and Synthesis of Room Acoustics Using the MPEG-4 Scene Description 2:00 1125 p Panel: New directions in Music Information Retrieval 2:00
1229 l Enhancing sound description in VRML 2:20
1354 s Evaluating spatial sound with binaural auditory model 2:50
b SPACE 3:20 MIR (CONTINUED)
1230 l Functional specification of a distributed and mobile architecture for virtual sound space systems 3:20
1117 s Composing Outdoor Augmented-Reality Sound Environments 3:50
4:10 4:10
WEDNESDAY SEPT 19TH
PHYSICAL MODELING 1 9:00 LANGUAGE 1 9:00
1172 s Processing non-redundant signals with the Square Waveguide Mesh 9:00 1223 s Implementations of Temporal Type Constructors for Music Programming 9:00
1141 s Controlling Material Properties in Physical Models of Sounding Objects 9:20 1130 s A system to port unit generators between audio DSP systems 9:20
1237 s Note Dependence of a Piano String Model Based on Coupled Digital Waveguides 9:40 1182 s A Fast Data Structure For Disk-Based Audio Editing 9:40
b PHYSICAL MODELING 2 10:10 b LANGUAGE 2 10:10
1272 s From piano string vibrations to the acoustic field radiated by the soundboard 10:10 1013 s Java Music Specification Language, an introduction and overview 10:10
1331 s BOWED STRING SYNTHESIS WITH FORCE FEEDBACK GESTURE INTERACTION 10:30 1088 s PWSynth: A Lisp-based Bridge between Computer Assisted Composition and Model Based Synthesis 10:30
1094 s Model-based synthesis of the ud and the Renaissance lute 10:50 1047 s ENP - Musical Notation Library based on Common Lisp and CLOS 10:50
b PHYSICAL MODELING 3 11:20 b SCORE FOLLOWING 11:20
1104 s Vocal fold and false vocal fold vibrations and synthesis of khoomei 11:20 1087 s Bayesian Real-time Adaptation for Interactive Performance Systems 11:20
1334 l Singing Voice Synthesis combining excitation plus resonances and sinusoidal plus residual models 11:40 1126 s Score Following Using Spectral Analysis and Hidden Markov Models 11:40
12:10 1375 s Alignment of Monophonic and Polyphonic Music to a Score 12:00
PHYSICAL MODELING 4 2:00 b CONDUCTING 2:00
1361 s Analysis-Synthesis of Flute Sounds Using a Non-Linear Digital Waveguide Model 2:00 1300 s Modeling the Tempo Coupling between an Ensemble and the Conductor 2:00
1156 s Synthesis of an Ensemble of Neolithic Chinese Flutes 2:20 1250 s Technological Advances for Conducting a Virtual Ensemble 2:20
1213 s Applications of Bioacoustics in Physical Modeling and the Creation of New Musical Instruments 2:40 2:40
b PHYSICAL MODELING 5 3:10 b STUDIO REPORTS 1 3:10
1034 s Simple resonators with shape control 3:10 1306 s Music Informatics Laboratory at DIKU 3:10
1165 s New techniques to model reverberant instrument body responses 3:30 1204 s University of Cincinnati College Conservatory of Music Center for Computer Music 3:30
1007 s PHYSICAL MODELING FOR SOUND SYNTHESIS WITH PARTICLE-INTERACTION NETWORKS: STUDY OF THE PERCUSSION .. 3:50 1041 s Centre for Music Technology, University of Glasgow 3:50
4:10 4:10
THURSDAY SEPT 20th
PHYSICAL MODELING 6 9:00 DEMOS 1 9:00
1057 s Automatic Estimation of Control Parameters : An Instance-Based Learning Approach 9:00 1139 d The Accordiatron: A Gestural Interface For Interactive Music 9:00
1024 s Parameter estimation for dual-polarization plucked string models 9:20 1115 d An Interactive Beat Tracking and Visualisation System 9:00
1246 s Data-driven identification of bowed string dynamics using a Bayesian network. 9:40
b PERCEPTUAL SYNTHESIS 10:10 INTERACTIVE SYSTEMS 10:10
1059 l Perceptual Wavetable Matching Synthesis of Musical Instrumental Tones 10:10 1291 s The MATRIX: A New Musical Instrument for Interactive Performance 10:10
1187 s Listener Evaluation of Reduction Strategies for Sinusoidal and Resonance Models 10:40 1366 s New Algorithms and Technology for Analyzing 10:30
1185 s On the importance of phase information in additive analysis/synthesis of binaural sounds 11:00 1214 s Facial Action Driven Musical Controller 10:50
b ICMA MEMBERS MEEETING 11:30 b ICMA MEMBERS MEETING
999 ICMA general meeting 11:30
STUDIO REPORTS 2 2:00 LINUX PANEL Introductory Remarks by Dave Phillips 2:00
1069 s The international Sound art festival in Mexico City 2:00 1189 s Audio Latency Measurements of Desktop Operating Systems 2:20
1268 s Delimitation of compositive constants in the electroacoustic music from the interior of Argentina 2:20 1123 s PortAudio - an Open Source Cross Platform Audio API 2:35
1309 s Studio Report: University of Limerick 2:40
b PERCEPTION 3:10 LINUX PANEL (continued)
1282 s Octave Ambiguous Tones 3:10 1188 s A System Supporting Flexible Distributed Real-Time Music Processing 2:50
1152 s Use of the waveguide mesh in tests of shape recognition 3:30 1070 s Demudi: The Debian Multimedia Distribution 3:05
1108 s Audibility of initial pitch glides in string instrument sounds 3:50 Discussion 3:20
4:10 4:10
FRIDAY SEPT 21st
NETWORKS EXPRESSION
1281 s ARCHITECTURAL OVERVIEW OF A SYSTEM FOR COLLABORATIVE MUSIC COMPOSITION OVER THE WEB 9:00 1109 s Spectral analysis of timing profiles of piano performances 9:00
1208 s Telemusic: Using the Web for Live Interactive Music 9:20 1067 s The Local Boundary Detection Model (LBDM) and its Application in the Study of Expressive Timing 9:20
1008 l A MutaSynth in Parameter Space: Controlling Sound Synthesis by Interactive Evolution 9:40 1170 l Inductive Learning of General and Robust Local Expression Principles 9:40
b INTERACTIVE SYSTEMS 1 10:20 b MISC 10:20
1326 s Preparation for Interactive Live Computer Performance in Collaboration with a Symphony Orchestra 10:20 1001 s Articulation rules for automatic music performance. 10:20
1324 s Managing Complexity with Explicit Mapping of Gestures to Sound Control with OSC 10:40 1303 s Radiation control on multi loudspeaker device 10:40
1232 s System-level MIDI Performance Testing 11:00 1359 s ETNA - a New Advanced Graphical Tree Representation of Music 11:00
b ABSTRACT SYNTHESIS 1 11:30 COMPOSITION TOOLS 11:20
1295 s Frequency Shaping of Audio Signals 11:30 1110 l Visual and Adaptive Constraint Programming in Music 11:20
1193 s Manipulation and Resynthesis with Natural Grains 11:50 1363 l An Environment for Composing Music for Film 11:50
1039 s Temporal Filtering: Framing Sonic Objects 12:10 12:20
ABSTRACT SYNTHESIS 2 2:00 DEMOS 2 2:00
1179 s Synthesizing sounds with specified, time-varying spectra 2:00 1111 d A New Device for Gestural Control of Sound Trajectory 2:00
1222 s Hard Sync Without Aliasing 2:20 1066 d The _Williams [re]Mix[er]: An Interactive, Octophonic, _I Ching_ Composing Program 2:00
1052 s Adaptive additive synthesis using spline based parameter trajectory models 2:40 2:00
b ABSTRACT SYNTHESIS 3 3:10 STUDIO REPORTS 3 3:10
1002 l An Audio-Driven, Perceptually-Meaningful Timbre Synthesizer 3:10 1228 s Center for Computer Research in Music and Acoustics (CCRMA) 3:10
1255 l Rhythm tracking and segmentation with priors: a unified approach 3:40 1327 s Center for New Music and Audio Technologies (CNMAT): Studio Report 3:30
4:10 1033 s Kopavogur Computer Music Center 3:50
4:10
SATURDAY SEPT 22nd
PITCH TRACKING 9:20 DEMOS 3 9:00
1068 s Refined knowledge-based pitch tracking 9:20 1192 d Trumpet and trumpet player: modelisation and simulation in a musical context 9:00
1207 s Efficient Pitch Detection Techniques for Interactive Music 9:40 1014 d Real time extended physical models for the composer and performer 9:00
b TRANSCRIPTION 10:10 VISUALIZATION 10:10
1297 s Harmonic Sound Source Separation using Advanced Statistical Signal Processing Methods 10:10 1043 s Visualizing Musical Structure and Rhythm via Self-Similarity 10:10
1089 s Automatic Bass Line Transcription From Polyphonic Music 10:30 1284 s Constant Q Profiles for Tracking Modulations in Audio Data 10:30
1338 s ESTIMATION OF MULTIPLE FUNDAMENTAL FREQUENCIES IN AUDIO SIGNALS USING A GENETIC ALGORITHM 10:50 1101 l Harmonic Visualizations of Tonal Music 10:50
MACHINE LEARNING 1 11:30 b STUDIO REPORTS 4 11:30
1387 l machine learning techniques for real-time improvisational solo trading 11:30 1134 s Gesture Control Research at Ircam 11:30
1328 l Experiments in Unsupervised Learning of Musical Style 12:00 1362 s Hypermusic and the Sighting of Sound - A nomadic studio report 11:50
12:30 1154 s Princeton Sound Kitchen Software report 12:10
MACHINE LEARNING 2 2:00 ACCREDITATION PANEL 2:00
1146 s Learning-Based Jam Session System for A Guitar Trio 2:00
1003 s Analysis and Synthesis of Palestrina-Style Counterpoint Using Markov Chains 2:20
1360 s Grouping, Smilarity and the Recognition of Rhythmic Structure 2:40
MACHINE LEARNING 3 3:00 panel ends 3:30
1332 l Representation and Discovery of Multiple Viewpoints Patterns 3:00
1260 l A Memory-Based Model for Musical Analysis 3:30
4:00