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THIS IS THE REAL THING?
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COMPUTER SIMULATION OF MUSIC INSTRUMENT
TONES IN REVERBERANT SPACES      
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I.  INTRODUCTION ⊗2
    		%5current research ⊗3
    		%5proposed research ⊗5
	    %CAPPLICATIONS ⊗6
		%5scientific research ⊗6
		%5education ⊗8
		%5archetectural acoustics ⊗8
		%5music industry ⊗9
		%5electronic music composition ⊗9
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II. RESEARCH PROPOSAL ⊗11
		%5note to the reader ⊗11
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    A. SIMULATION OF MUSIC INSTRUMENT TONES ⊗11
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	1. ADDITIVE SYNTHESIS BASED ON THE ANALYSIS OF REAL TONES ⊗14
	    %CINTRODUCTION TO SYNTHESIS AND ANALYSIS TECHNIQUES ⊗14
  		%5synthesis ⊗15
		%5analysis for additive synthesis and graphic techniques ⊗16
	    %CCURRENT RESEARCH ⊗17
		%5perceptual evaluation of anaysis-synthesis strategy ⊗18
		%5filtering of signals to localize perceptual cues ⊗19
		%5date reduction ⊗20
	    %CPROPOSED RESEARCH ⊗22
		%5extension of timbral range ⊗22
		%5systematic exploration of data reduction techniques ⊗23
		%5automatic data reduction algorithms ⊗24
		%5higher-order algorithms ⊗24
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  	2. FREQUENCY MODULATION SYNTHESIS ⊗25
	    %CINTRODUCTION TO SYNTHESIS AND ANALYSIS TECHNIQUES ⊗25
		%5synthesis ⊗26
		%5FM predictive analysis and graphic techniques ⊗27
	    %CCURRENT RESEARCH ⊗28
		%5periodicity - ratio of carrier to modulating frequencies ⊗29
		%5bandwidth as a function of time - modulation index ⊗29
		%5resonances - multiple carrier waves ⊗30
	    %CPROPOSED RESEARCH ⊗31
		%5simulation of fixed resonances ⊗32
		%5inharmonicity - multiple modulation waves ⊗33
		%5non-periodic tones ⊗33
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   	3. TOWARDS A GENERAL MODEL FOR SIMULATION ⊗34
	    %CCURRENT RESEARCH ⊗34
		%5interaction between additive and FM syntheses ⊗35
	    %CPROPOSED RESEARCH ⊗36
		%5exploration of subtractive synthesis techniques ⊗37
		%5applications of multidimensional scaling to timbre perception ⊗39
		%5investigation of categorical perception ⊗41
		%5automatic FM mappings and convergence of approaches ⊗42
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    B. SIMULATION OF REVERBERANT SPACES 
       AND LOCALIZED SOUND SOURCES  ⊗44
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	1. SIMULATION OF REVERBERANT SPACES ⊗45
	    %CINTRODUCTION TO ARTIFICIAL REVERBERATION TECHNIQUES ⊗45
		%5the comb filter ⊗45
		%5all-pass unit reverberators ⊗46
	    %CCURRENT RESEARCH ⊗47
		%5colorless reverberation ⊗48
		%5spatially diffuse reverberation ⊗49
	    %CPROPOSED RESEARCH ⊗50
		%5applications of the second order all-pass unit reverberator ⊗51
		%5simulation of real rooms ⊗52
		%5perceptual scaling and testing ⊗53
		%5higher level algorithms ⊗53
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	2. SIMULATION OF LOCALIZED SOUND SOURCES ⊗54
	    %CCURRENT RESEARCH ⊗54
	        %5simulation of azimuth and distance cues ⊗55
	        %5moving sources and velocity cue ⊗57
	    %CPROPOSED RESEARCH ⊗57
		%5azimuth ⊗57
		%5distance ⊗58
		%5location of source as indication of room size ⊗59
		%5altitude ⊗60
		%5perceptual scaling and testing ⊗60
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III. APPENDICES ⊗61
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    A. THE HETERODYNE FILTER ⊗61
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    B. MULTIDIMENSIONAL SCALING TECHNIQUES ⊗66
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    C. SPECTRAL SHAPING FILTERS ⊗69
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    D. UNIT REVERBRATORS ⊗72
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    E. FM TECHNIQUE ⊗74
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    F. LOCALIZATION TECHNIQUE ⊗84
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IV. BIBLIOGRAPHY ⊗89
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V. RESEARCH FACILITIES ⊗94
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     A. EXISTING FACILITIES ⊗94
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	1. HARDWARE FACILITIES AT THE STANFORD AI LAB ⊗94
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	2. EXISTING RESEARCH SUPPORT SOFTWARE ⊗96
	    %CGENERAL-PURPOSE PROGRAMS ⊗96
	    %CPROGRAMS FOR REVERBERATION AND LOCALIZATION RESEARCH ⊗97
	    %CPROGRAMS FOR MUSIC INSTRUMENT RESEARCH ⊗98
	    %CPROGRAMS FOR PERCETUAL EXPERIMENTATION ⊗99
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     B. PROPOSED FACILITY ⊗100
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	1. HARDWARE FACILITY ⊗100
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	2. PROPOSED RESEARCH SUPPORT SOFTWARE ⊗103
	    %CTHE PDP-11 MONITOR ⊗103
	    %CTHE SIGNAL PROCESSOR ⊗104
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VI. BUDGET AND PERSONNEL ⊗106