Tapestrea: techniques and paradigms for expressive synthesis, transformation, and re-composition of environmental audio
暂无分享,去创建一个
[1] Georg Essl. Circle Maps as Simple Oscillators for Complex Behavior: I. Basics , 2006, ICMC.
[2] Dinesh K. Pai,et al. JASS: A JAVA AUDIO SYNTHESIS SYSTEM FOR PROGRAMMERS , 2001 .
[3] Perry R. Cook,et al. Freedom in Tapestrea! Voice-Aware Track Manipulations , 2009, ICMC.
[4] Perry R. Cook,et al. Sndtools: Real-Time audio DSP and 3D Visualization , 2005, ICMC.
[5] Perry R. Cook,et al. TAPESTREA: sound scene modeling by example , 2006, SIGGRAPH '06.
[6] Perry R. Cook,et al. REAL-TIME DISSONANCIZERS: TWO DISSONANCE-AUGMENTING AUDIO EFFECTS , 2008 .
[7] Roger B. Dannenberg. Abstract Time Warping of Compound Events and Signals , 1994, ICMC.
[8] Dinesh K. Pai,et al. Manipulation and Resynthesis with Natural Grains , 2001, ICMC.
[9] Davide Rocchesso,et al. Sound and Music Computing: Research Trends and Some Key Issues , 2007 .
[10] Jonathan Berger,et al. SONART : THE SONIFICATION APPLICATION RESEARCH TOOLBOX , 2002 .
[11] Ge Wang,et al. The chuck audio programming language. a strongly-timed and on-the-fly environ/mentality , 2008 .
[12] Julius O. Smith. Waveguide Simulation of Non-Cylindrical Acoustic Tubes , 1991, ICMC.
[13] Alex Loscos,et al. Emulating Rough And Growl Voice In Spectral Domain , 2004 .
[14] Perry R. Cook,et al. Toward Synthesized Environments: A Survey of Analysis and Synthesis Methods for Sound Designers and Composers , 2009, ICMC.
[15] Kevin Karplus,et al. Digital Synthesis of Plucked-String and Drum Timbers , 1983 .
[16] Teresa H. Y. Meng,et al. An analysis/synthesis tool for transient signals that allows a flexible sines+transients+noise model for audio , 1998, Proceedings of the 1998 IEEE International Conference on Acoustics, Speech and Signal Processing, ICASSP '98 (Cat. No.98CH36181).
[17] Barry Truax. Chaotic Non-linear Systems and Digital Synthesis: An Exploratory Study , 1990, ICMC.
[18] Paul Boersma,et al. Praat: doing phonetics by computer , 2003 .
[19] Barry Vercoe,et al. Structured audio: creation, transmission, and rendering of parametric sound representations , 1998, Proc. IEEE.
[20] Georg Essl. MATHEMATICAL STRUCTURE AND SOUND SYNTHESIS , 2005 .
[21] Julius O. Smith,et al. The Second-Order Digital Waveguide Oscillator , 1992, ICMC.
[22] Deepen Sinha,et al. Low bit rate transparent audio compression using adapted wavelets , 1993, IEEE Trans. Signal Process..
[23] Tapio Takala,et al. Sound rendering , 1992, SIGGRAPH.
[24] Julius O. Smith,et al. Music applications of digital waveguides , 1987 .
[25] James F. O'Brien,et al. Synthesizing Sounds from Physically Based Motion , 2001, SIGGRAPH Video Review on Animation Theater Program.
[26] Yuan Qi,et al. Bayesian spectrum estimation of unevenly sampled nonstationary data , 2002, 2002 IEEE International Conference on Acoustics, Speech, and Signal Processing.
[27] Andy Farnell,et al. Designing Sound , 2008 .
[28] Perry R. Cook,et al. Physically Informed Sonic Modeling (PhISM): Percussive Synthesis , 1996, International Conference on Mathematics and Computing.
[29] R. M. Schafer,et al. The tuning of the world , 1977 .
[30] Gregory Kramer,et al. Auditory Display: Sonification, Audification, And Auditory Interfaces , 1994 .
[31] Matthew Wright,et al. Open SoundControl: A New Protocol for Communicating with Sound Synthesizers , 1997, ICMC.
[32] Perry R. Cook,et al. Real Sound Synthesis for Interactive Applications , 2002 .
[33] L. H. Anauer,et al. Speech Analysis and Synthesis by Linear Prediction of the Speech Wave , 2000 .
[34] David Wessel,et al. Audio Applications of the Sound Description Interchange Format Standard , 1999 .
[35] Lawrence A. Rowe,et al. OpenSoundEdit: An Interactive Visualization and Editing Framework for Timbral Resources , 1998, ICMC.
[36] Davide Rocchesso,et al. Physical modeling of membranes for percussion instruments , 1998 .
[37] Myriam Desainte-Catherine,et al. ADAPTING THE OVERLAP-ADD METHOD TO THE SYNTHESIS OF NOISE , 2002 .
[38] X. Rodet. Time — Domain Formant — Wave — Function Synthesis , 1984 .
[39] R. J. McAulay,et al. Speech transformations based on a sinusoidal representation , 1985, ICASSP '85. IEEE International Conference on Acoustics, Speech, and Signal Processing.
[40] Perry R. Cook,et al. Singing Voice Synthesis: History, Current Work, and Future Directions , 1996 .
[41] David M. Blei,et al. FINDING LATENT SOURCES IN RECORDED MUSIC WITH A SHIFT-INVARIANT HDP , 2009 .
[42] Mark B. Sandler,et al. A tutorial on onset detection in music signals , 2005, IEEE Transactions on Speech and Audio Processing.
[43] Jonathan Berger,et al. Application of Image Sonification Methods to Music , 2005, ICMC.
[44] Perry R. Cook,et al. The Laptop Orchestra as Classroom , 2008, Computer Music Journal.
[45] Mark B. Sandler,et al. The Sonic Visualiser: A Visualisation Platform for Semantic Descriptors from Musical Signals , 2006, ISMIR.
[46] Jośe R. Beltŕan,et al. ADDITIVE SYNTHESIS BASED ON THE CONTINUOUS WAVELET TRANSFORM: A SINUSOIDAL PLUS TRANSIENT MODEL , 2003 .
[47] Pierre Ruiz,et al. Synthesizing Musical Sounds by Solving the Wave Equation for Vibrating Objects: Part 2 , 1971 .
[48] Mark Dolson,et al. The Phase Vocoder: A Tutorial , 1986 .
[49] Jean-Francois Cardoso,et al. Blind signal separation: statistical principles , 1998, Proc. IEEE.
[50] Jordi Janer,et al. TRANSFORMING SINGING VOICE EXPRESSION - THE SWEETNESS EFFECT , 2004 .
[51] Davide Rocchesso,et al. Physically-based Sounding Objects, as We Develop Them Today , 2004 .
[52] Andy Hunt,et al. A Toolkit for Interactive Sonification , 2004, ICAD.
[53] Perry R. Cook,et al. Composing for Laptop Orchestra , 2008, Computer Music Journal.
[54] Dan Trueman,et al. Why a laptop orchestra? , 2007, Organised Sound.
[55] George Tzanetakis,et al. Musical genre classification of audio signals , 2002, IEEE Trans. Speech Audio Process..
[56] James D. Johnston,et al. Transform coding of audio signals using perceptual noise criteria , 1988, IEEE J. Sel. Areas Commun..
[57] Fei-Fei Li,et al. ImageNet: A large-scale hierarchical image database , 2009, 2009 IEEE Conference on Computer Vision and Pattern Recognition.
[58] Perry R. Cook,et al. Physically Informed Sonic Modeling (PhISM): Synthesis of percussive sounds , 1997 .
[59] Aniket Kittur,et al. Crowdsourcing user studies with Mechanical Turk , 2008, CHI.
[60] Daniel P. W. Ellis,et al. Sound texture modelling with linear prediction in both time and frequency domains , 2003, 2003 IEEE International Conference on Acoustics, Speech, and Signal Processing, 2003. Proceedings. (ICASSP '03)..
[61] Simon J. Godsill,et al. A Bayesian Approach for Blind Separation of Sparse Sources , 2006, IEEE Transactions on Audio, Speech, and Language Processing.
[62] Michael Klingbeil,et al. Software for spectral Analysis, Editing, and synthesis , 2005, ICMC.
[63] Stefania Serafin,et al. Theory of Banded Waveguides , 2004, Computer Music Journal.
[64] John M. Chowning,et al. The Synthesis of Complex Audio Spectra by Means of Frequency Modulation , 1973 .
[65] Daniel Arfib. Digital Synthesis of Complex Spectra by means of Multiplication of Non-linear Distorted Sine Waves , 1978, ICMC.
[66] K. Steiglitz,et al. Synthesis of timbral families by warped linear prediction , 1981, ICASSP.
[67] Kelly Raymond Fitz,et al. The Reassigned Bandwidth-Enhanced Method of Additive Synthesis , 1999 .
[68] Dan Stowell,et al. Adaptive whitening for Improved Real-Time audio onset Detection , 2007, ICMC.
[69] George Tzanetakis,et al. MARSYAS: a framework for audio analysis , 1999, Organised Sound.
[70] Kathy Melih,et al. Source segmentation for structured audio , 2000, 2000 IEEE International Conference on Multimedia and Expo. ICME2000. Proceedings. Latest Advances in the Fast Changing World of Multimedia (Cat. No.00TH8532).
[71] Perry R. Cook,et al. Musical Tapestry: Re-composing Natural Sounds† , 2007, ICMC.
[72] Bob L. Sturm,et al. Analysis, Visualization, and Transformation of Audio Signals Using Dictionary-based Methods , 2009, ICMC.
[73] Matti Karjalainen,et al. Evaluation of Modern Sound Synthesis Methods , 1998 .
[74] Perry R. Cook,et al. Towards Automatic Musical Instrument Timbre Recognition , 2010 .
[75] Lippold Haken,et al. Sound Morphing using Loris and the Reassigned Bandwidth-Enhanced Additive Sound Model: Practice and Applications , 2002, ICMC.
[76] Dani Lischinski,et al. Synthesizing Sound Textures through Wavelet Tree Learning , 2002, IEEE Computer Graphics and Applications.
[77] Barry Truax,et al. Genres and techniques of soundscape composition as developed at Simon Fraser University , 2002, Organised Sound.
[78] Andrew Horner,et al. Fast sound Texture synthesis using Overlap-Add , 2007, ICMC.
[79] Perry R. Cook,et al. Modeling Bill's Gait: Analysis and Parametric Synthesis of Walking Sounds , 2002 .
[80] John M. Chowning. Frequency modulation synthesis of the singing voice , 1989 .
[81] Guy J. Brown,et al. Computational auditory scene analysis , 1994, Comput. Speech Lang..
[82] Julius O. Smith,et al. Efficient Simulation of the Reed-Bore and Bow-String Mechanisms , 1986, ICMC.
[83] J. Makhoul,et al. Linear prediction: A tutorial review , 1975, Proceedings of the IEEE.
[84] D. Schwarz,et al. Corpus-Based Concatenative Synthesis , 2007, IEEE Signal Processing Magazine.
[85] Roger B. Dannenberg,et al. A Taxonomy of Computer Music , 1994 .
[86] L. Wyse,et al. SOUND TEXTURE MODELING AND TIME-FREQUENCY LPC , 2004 .
[87] Paul Rudy. Spectromorphology Hits Hollywood: Black Hawk Down-A Case Study , 2004, ICMC.
[88] Pau Arumí,et al. Developing Cross-Platform audio and Music Applications with the CLAM Framework , 2005, ICMC.
[89] Jon Dattorro,et al. Effect design. Part 3: Oscillators: Sinusoidal and pseudonoise , 2002 .
[90] Daniel P. W. Ellis,et al. A computer implementation of psychoacoustic grouping rules , 1993, Proceedings of the 12th IAPR International Conference on Pattern Recognition, Vol. 2 - Conference B: Computer Vision & Image Processing. (Cat. No.94CH3440-5).
[91] Perry R. Cook,et al. The Audicle: A Context-Sensitive, On-the-fly Audio Programming Environ/mentality , 2004, ICMC.
[92] Leah H. Jamieson,et al. High-quality audio compression using an adaptive wavelet packet decomposition and psychoacoustic modeling , 1998, IEEE Trans. Signal Process..
[93] Julius O. Smith,et al. A Sines+Transients+Noise Audio Representation for Data Compression and Time/Pitch Scale Modifications , 1998 .
[94] Roger B. Dannenberg,et al. An Intelligent Multi-Track audio Editor , 2007, ICMC.
[95] Roger B. Dannenberg,et al. A Fast Data Structure for Disk-Based Audio Editing , 2002, Computer Music Journal.
[96] Perry R. Cook,et al. ChucK: A Concurrent, On-the-fly, Audio Programming Language , 2003, ICMC.
[97] Julius O. Smith,et al. Extensions of the Karplus-Strong Plucked-String Algorithm , 1983 .
[98] Gary P. Scavone. RtAudio: A Cross-Platform C++ Class for Realtime Audio Input/Output , 2002, ICMC.
[99] Phil Clendeninn. The Vocoder , 1940, Nature.
[100] David Birchfield,et al. Design of a Generative Model for Soundscape Creation , 2005, ICMC.
[101] Georg Essl. CIRCLE MAPS AS A SIMPLE OSCILLATORS FOR COMPLEX BEHAVIOR: II. EXPERIMENTS , 2006 .
[102] Daniel P. W. Ellis,et al. A Perceptual Representation of Sound for Auditory Signal Separation , 1992 .
[103] Perry R. Cook,et al. The Synthesis ToolKit (STK) , 1999, ICMC.
[104] Thomas P. Caudell,et al. A Wavelet Synthesis Technique for Creating Realistic Virtual Environment Sounds , 2002, Presence: Teleoperators & Virtual Environments.
[105] Perry R. Cook,et al. Feature-Based Synthesis: Mapping Acoustic and Perceptual Features onto Synthesis Parameters , 2006, ICMC.
[106] Julius O. Smith,et al. Waveguide Filter Tutorial , 1987, ICMC.
[107] Nick Collins,et al. Errant sound synthesis , 2008, ICMC.
[108] Andrew Horner,et al. Sound Texture Synthesis Using an Overlap–Add/Granular Synthesis Approach , 2009 .
[109] John R. Pierce,et al. A passive nonlinear digital filter design which facilitates physics-based sound synthesis of highly nonlinear musical instruments , 1995 .
[110] Stephen W. Hainsworth,et al. Techniques for the Automated Analysis of Musical Audio , 2004 .
[111] Perry R. Cook,et al. miniAudicle and ChucK Shell: New Interfaces for ChucK Development and Performance , 2006, ICMC.
[112] Marc Le Brun,et al. Digital Waveshaping Synthesis , 1979 .
[113] Diemo Schwarz. Concatenative sound synthesis: The early years , 2006 .
[114] S. Van Duyne,et al. The 2-D digital waveguide mesh , 1993, Proceedings of IEEE Workshop on Applications of Signal Processing to Audio and Acoustics.
[115] Julius O. Smith,et al. Viewpoints on the History of Digital Synthesis , 1991, ICMC.
[116] Perry R. Cook,et al. Don't forget the laptop: using native input capabilities for expressive musical control , 2007, NIME '07.
[117] Dinesh K. Pai,et al. Physically-based Sound Eects for Interactive Simulation and Animation , 2001 .
[118] Marc Leman,et al. Content-Based Music Information Retrieval: Current Directions and Future Challenges , 2008, Proceedings of the IEEE.
[119] Lippold Haken,et al. Sinusoidal Modeling and Manipulation Using Lemur , 1996 .
[120] Barry Truax,et al. Composing with Real-Time Granular Sound , 1990 .
[121] Jonas Beskow,et al. Wavesurfer - an open source speech tool , 2000, INTERSPEECH.
[122] Thomas F. Quatieri,et al. Speech analysis/Synthesis based on a sinusoidal representation , 1986, IEEE Trans. Acoust. Speech Signal Process..
[123] Xavier Serra,et al. A system for sound analysis/transformation/synthesis based on a deterministic plus stochastic decomposition , 1989 .
[124] Agostino Di Scipio. Composition by Exploration of Non-linear Dynamic Systems , 1990, ICMC.
[125] X. Rodet,et al. Sound Analysis and Processing with AudioSculpt 2 , 2004, ICMC.
[126] Perry R. Cook,et al. A NEW PARADIGM FOR SOUND DESIGN , 2006 .
[127] Paul Lansky,et al. Compositional applications of linear predictive coding , 1989 .
[128] Lie Lu,et al. Audio textures: theory and applications , 2004, IEEE Transactions on Speech and Audio Processing.
[129] Julius O. Smith,et al. The 3D Tetrahedral Digital Waveguide Mesh with Musical Applications , 1996, ICMC.
[130] Anssi Klapuri,et al. Signal Processing Methods for the Automatic Transcription of Music , 2004 .
[131] Barry Eaglestone,et al. Are Cognitive Styles an Important Factor in Design of Electroacoustic Music Software?† , 2007, ICMC.
[132] Julius O. Smith,et al. Spectral Modeling Synthesis , 1989, ICMC.
[133] Perry R. Cook,et al. MOSIEVIUS: FEATURE DRIVEN INTERACTIVE AUDIO MOSAICING , 2003 .
[134] Bryan Pardo,et al. Using Pitch, Amplitude Modulation, and Spatial Cues for Separation of Harmonic Instruments from Stereo Music Recordings , 2007, EURASIP J. Adv. Signal Process..