The Musical Communication Chain and its Modeling
暂无分享,去创建一个
[1] Q. Summerfield. Book Review: Auditory Scene Analysis: The Perceptual Organization of Sound , 1992 .
[2] Gareth Loy,et al. Composing with computers: a survey of some compositional formalisms and music programming languages , 1989 .
[3] Anders Friberg. Generative Rules for Music Performance : A Formal Description of a Rule System , 1991 .
[4] Gerhard Widmer,et al. Using AI and machine learning to study expressive music performance: project survey and first report , 2001, AI Commun..
[5] S. W. Beet,et al. Visual representations of speech signals , 1993 .
[6] Xavier Serra,et al. Towards Instrument Segmentation for Music Content Description: a Critical Review of Instrument Classification Techniques , 2000, ISMIR.
[7] Robert Rowe,et al. Interactive Music Systems: Machine Listening and Composing , 1992 .
[8] E. Narmour. The analysis and cognition of basic melodic structures , 1992 .
[9] Eleanor Selfridge-Field,et al. Beyond MIDI: the handbook of musical codes , 1997 .
[10] Richard F. Lyon,et al. A computational model of filtering, detection, and compression in the cochlea , 1982, ICASSP.
[11] Xavier Serra,et al. Musical Sound Modeling with Sinusoids plus Noise , 1997 .
[12] Perry R. Cook,et al. Music, cognition, and computerized sound: an introduction to psychoacoustics , 1999 .
[13] Eugene Narmour,et al. The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model , 1990 .
[14] M. P. Friedman,et al. ACADEMIC PRESS SERIES IN COGNITION AND PERCEPTION , 1982 .
[15] Anna Laura Arpel. Joel Chadabe: Electric Sound: The Past and Promise of Electronic Music , 1997 .
[16] Stephen Travis Pope,et al. Musical Signal Processing , 1997 .
[17] a Christine,et al. Virtual Virtuosity Studies in Automatic Music Performance , 2000 .
[18] Todd Winkler. Composing Interactive Music: Techniques and Ideas Using Max , 1998 .
[19] David Cope,et al. Computers and Musical Style , 1993 .
[20] Robert Rowe,et al. Interactive Music Systems: Machine Listening and Composing , 1992 .
[21] Julius O. Smith,et al. Physical Modeling Using Digital Waveguides , 1992 .
[22] Curtis Roads,et al. The Computer Music Tutorial , 1996 .
[23] Barney Childs,et al. Experimental Music , 1975 .
[24] R. Fay. Auditory Computation , 1996, Springer Handbook of Auditory Research.
[25] Roger B. Dannenberg,et al. Combining Instrument and Performance Models for High-Quality Music Synthesis , 1998 .
[26] Durand R. Begault,et al. 3-D Sound for Virtual Reality and Multimedia Cambridge , 1994 .
[27] N. Rashevsky,et al. The mathematical basis of the arts , 1949 .
[28] S. Schwerman,et al. The Physics of Musical Instruments , 1991 .
[29] A. Gabrielsson. The Performance of Music , 1999 .
[30] Eleanor Selfridge-Field. Computers and Musical Style. The Computer Music and Digital Audio Series, Volume 6 . David Cope . , 1992 .
[31] Stephan M. Schwanauer,et al. Machine Models of Music , 1993 .
[32] Ray Jackendoff,et al. An overview of hierarchical structure in music , 1983 .
[33] F. Richard Moore,et al. Elements of computer music , 1990 .
[34] Richard F. Lyon,et al. On the importance of time—a temporal representation of sound , 1993 .
[35] Charles Dodge,et al. Computer music , 1984 .
[36] Joseph Schillinger. The mathematical basis of the arts , 1948 .
[37] J. Grey. Multidimensional perceptual scaling of musical timbres. , 1977, The Journal of the Acoustical Society of America.
[38] Richard Boulanger. The Csound book: perspectives in software synthesis, sound design, signal processing, and programming , 2000 .
[39] David G. Malham,et al. 3-D Sound Spatialization using Ambisonic Techniques , 1995 .
[40] D. Deutsch,et al. The Psychology of Music , 1983 .
[41] Max V. Mathews,et al. Current directions in computer music research , 1989 .
[42] M. Steriade. The Mind-Brain Continuum edited by Rodolfo Llinás and Patricia S. Churchland, MIT Press, 1996. $50.00 (xi + 315 pages) ISBN 0 262 12198 0 , 1997, Trends in Neurosciences.