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␈↓"β␈↓ α∧␈↓␈↓ β⊃␈↓∧Center for Computer Research in Music and Acoustics
␈↓"β␈↓ α∧␈↓∧␈↓ ∧α␈↓αArtificial Intelligence Laboratory, Stanford University
␈↓"β␈↓ α∧␈↓α␈↓ ¬AStanford, California 94305

␈↓"β␈↓ α∧␈↓α␈↓ ε⊂November 1978



␈↓"β␈↓ α∧␈↓α␈↓ εε␈↓∧OVERVIEW



␈↓"β␈↓ α∧␈↓∧␈↓ β(John M. Chowning, John M. Grey, James A. Moorer
␈↓"β␈↓ α∧␈↓∧␈↓ ∧sLoren Rush, Leland C. Smith

␈↓"β␈↓ α∧␈↓A␈α⊂major␈α⊂American␈α⊂contribution␈α⊂to␈α⊂present␈α⊃and␈α⊂future␈α⊂music␈α⊂exists␈α⊂in␈α⊂the␈α⊂application␈α⊃of␈α⊂a
␈↓ α∧␈↓rapidly␈α⊂developing␈α⊂computer␈α∂technology␈α⊂to␈α⊂the␈α∂art␈α⊂and␈α⊂science␈α∂of␈α⊂music.␈α⊂The␈α∂extraordinary
␈↓ α∧␈↓results␈α∂already␈α∞obtained␈α∂have␈α∞occurred␈α∂in␈α∂those␈α∞few␈α∂instances␈α∞where␈α∂scientists␈α∂and␈α∞musicians
␈↓ α∧␈↓have␈α⊂taken␈α∂the␈α⊂opportunity␈α∂to␈α⊂bring␈α∂their␈α⊂respective␈α∂skills␈α⊂to␈α∂bear␈α⊂on␈α∂problems␈α⊂of␈α∂common
␈↓ α∧␈↓interest␈α
in␈α
a␈α
rich␈αinterdisciplinary␈α
environment.␈α
It␈α
is␈α
an␈αexample␈α
of␈α
cooperation,␈α
but␈α
more,␈αan
␈↓ α∧␈↓expression␈α∪of␈α∪the␈α∀freedom␈α∪of␈α∪intellect␈α∪and␈α∀invention,␈α∪where␈α∪creative␈α∪minds␈α∀from␈α∪diverse
␈↓ α∧␈↓disciplines␈α
have␈α∞joined␈α
in␈α∞a␈α
common␈α∞goal␈α
to␈α∞produce␈α
fundamental␈α∞knowledge␈α
which␈α∞must␈α
be
␈↓ α∧␈↓the␈αsource␈αfor␈αnew␈αmusic,␈αand␈αto␈αproduce␈αworks␈αof␈αart␈αwhich␈αreflect␈αthe␈αscientific-technological
␈↓ α∧␈↓riches of the present.

␈↓"β␈↓ α∧␈↓At␈αStanford␈αUniversity,␈α
such␈αcooperation␈αhas␈α
been␈αcommonplace␈αover␈α
the␈αpast␈αtwelve␈αyears.␈α
 In
␈↓ α∧␈↓the␈α
beginning,␈αprogress␈α
was␈α
made␈αin␈α
the␈αanalysis,␈α
synthesis,␈α
and␈αpsychology␈α
of␈αsound␈α
perception
␈↓ α∧␈↓in␈α
largely␈α
unsupported␈α
work␈α
by␈α
professors,␈α∞graduate␈α
students,␈α
and␈α
staff␈α
members.␈α
 In␈α∞June␈α
of
␈↓ α∧␈↓1975,␈α
the␈α
Center␈α
for␈α
Computer␈α
Research␈αin␈α
Music␈α
and␈α
Acoustics␈α
(CCRMA)␈α
was␈α
formed␈αwith
␈↓ α∧␈↓funding␈α⊂provided␈α⊂jointly␈α⊂by␈α⊂the␈α⊂National␈α⊂Science␈α⊂Foundation␈α⊂for␈α⊂research␈α⊂and␈α⊃teaching␈α⊂in
␈↓ α∧␈↓computer␈α∞techniques␈α∞of␈α∞interactive␈α∞sound␈α∞production␈α∞and␈α∞the␈α∞perception␈α∞of␈α∞timbre,␈α∞and␈α∞by␈α
a
␈↓ α∧␈↓one-time␈α∪grant␈α∩from␈α∪the␈α∩National␈α∪Endowment␈α∪for␈α∩the␈α∪Arts␈α∩for␈α∪computing␈α∪equipment␈α∩for
␈↓ α∧␈↓musical␈α∩purposes.␈α∩One␈α∩aim␈α∩of␈α∩the␈α∩Center␈α∩was␈α∩to␈α∩establish␈α∩an␈α∩international␈α∩facility␈α∩where
␈↓ α∧␈↓researchers,␈α∪composers,␈α∀and␈α∪students␈α∀could␈α∪work␈α∀with␈α∪strong␈α∀computer-based␈α∪technological
␈↓ α∧␈↓support.
␈↓ α∧␈↓
␈↓ εl2␈↓ d

␈↓"β␈↓ α∧␈↓The␈αstatus␈αof␈αthe␈α
facility␈αas␈αit␈αnow␈α
stands␈αis␈αa␈αmulti-faceted␈α
topic.␈α As␈αa␈αmusical␈αinstrument,␈α
the
␈↓ α∧␈↓computer␈α⊗system␈α∃is␈α⊗possibly␈α∃the␈α⊗most␈α∃flexible␈α⊗of␈α∃all␈α⊗instruments.␈α∃To␈α⊗speak␈α∃of␈α⊗it␈α⊗as␈α∃a
␈↓ α∧␈↓conventional␈α∃musical␈α∀instrument,␈α∃however,␈α∀is␈α∃somewhat␈α∀misleading␈α∃because␈α∀the␈α∃system␈α∀is
␈↓ α∧␈↓capable␈α∂of␈α∞simultaneously␈α∂producing␈α∞a␈α∂large␈α∞number␈α∂of␈α∞independent␈α∂voices␈α∂having␈α∞arbitrary
␈↓ α∧␈↓timbral␈αcharacteristics.␈α It␈αis␈αmuch␈αmore␈αgeneral␈αthan␈αa␈αconventional␈αmusical␈αinstrument␈αin␈α
that
␈↓ α∧␈↓it␈α∞can␈α∞generate␈α∞any␈α∞sound␈α∞that␈α∞can␈α∞be␈α∞produced␈α∞by␈α∞loudspeakers,␈α∞modify␈α∞and␈α∞transform␈α∞real
␈↓ α∧␈↓sounds␈α∪entered␈α∪into␈α∪the␈α∪system␈α∪by␈α∪means␈α∪of␈α∪microphone␈α∪and␈α∀digital-to-analog␈α∪converters,
␈↓ α∧␈↓remember␈α∞and␈α∂modify␈α∞articulated␈α∞musical␈α∂input,␈α∞and␈α∞simulate␈α∂the␈α∞location␈α∞and␈α∂movement␈α∞of
␈↓ α∧␈↓sounds␈αin␈αa␈αvariety␈αof␈αillusory␈αreverberant␈αspaces.␈α Equally␈αimportant,␈αthe␈αfacility␈αis␈αcapable␈αof
␈↓ α∧␈↓serving␈α⊂a␈α∂number␈α⊂of␈α∂composers␈α⊂and␈α⊂researchers␈α∂simultaneously,␈α⊂providing␈α∂for␈α⊂each␈α⊂a␈α∂direct
␈↓ α∧␈↓control over the medium to a degree which was never before possible.

␈↓"β␈↓ α∧␈↓As␈αa␈αresearch␈αtool,␈αthe␈αcomputer␈αhas␈αshown␈αitself␈αto␈αbe␈αuniquely␈αuseful␈αin␈αgenerating␈αprecisely
␈↓ α∧␈↓controlled␈α⊃stimuli␈α⊃for␈α⊃perceptual␈α⊃research.␈α⊃The␈α⊃analysis-synthesis␈α⊃techniques␈α∩developed␈α⊃here
␈↓ α∧␈↓allow␈α⊂for␈α⊃direct␈α⊂experimentation␈α⊂with␈α⊃the␈α⊂sounds␈α⊂of␈α⊃natural␈α⊂instruments.␈α⊂By␈α⊃modifying␈α⊂the
␈↓ α∧␈↓sounds␈α∪of␈α∩these␈α∪instruments␈α∪in␈α∩systematic␈α∪ways,␈α∩then␈α∪testing␈α∪the␈α∩perceptual␈α∪effects␈α∪of␈α∩the
␈↓ α∧␈↓modifications,␈α∂a␈α∂great␈α∂deal␈α∂of␈α∂information␈α⊂has␈α∂been␈α∂produced␈α∂on␈α∂the␈α∂way␈α∂musical␈α⊂timbre␈α∂is
␈↓ α∧␈↓perceived.␈αSeveral␈α
papers␈αand␈α
technical␈αreports␈α
have␈αbeen␈α
produced␈αdescribing␈α
the␈αtechniques
␈↓ α∧␈↓and results of this research.



␈↓"β␈↓ α∧␈↓∧␈↓ ε
RESEARCH

␈↓"β␈↓ α∧␈↓The␈α∞research␈α∂program␈α∞at␈α∞CCRMA␈α∂crosses␈α∞several␈α∞disciplines␈α∂and␈α∞is␈α∞highly␈α∂interactive.␈α∞ The
␈↓ α∧␈↓projects␈α∂involved␈α∞are␈α∂digital␈α∞recording␈α∂and␈α∂mixing,␈α∞analysis␈α∂of␈α∞natural␈α∂tones␈α∂through␈α∞digital
␈↓ α∧␈↓signal␈α⊂processing,␈α⊂psychoacoustic␈α⊂research,␈α⊂advanced␈α⊂synthesis␈α⊂techniques,␈α⊂and␈α⊂the␈α⊂automatic
␈↓ α∧␈↓production␈α
of␈α
musical␈α∞scores.␈α
 The␈α
distinctive␈α
aspect␈α∞of␈α
the␈α
first␈α
four␈α∞of␈α
these␈α
projects␈α∞is␈α
that
␈↓ α∧␈↓they␈αfind␈α
their␈αroots␈α
at␈αa␈α
level␈αof␈αsound␈α
complexity␈αwhich␈α
is␈αof␈α
fundamental␈αinterest␈α
in␈αmusic
␈↓ α∧␈↓composition and performance.

␈↓"β␈↓ α∧␈↓The␈αmain␈αobjectives␈αare␈α1)␈αto␈αrepresent␈αnatural␈αsound␈αthrough␈αhigh-quality␈αrecording␈α-␈α␈↓↓digital
␈↓ α∧␈↓↓recording,␈α→editing␈α→and␈α→processing␈↓,␈α→2)␈α→to␈α→capture␈α→through␈α→analysis␈α→a␈α→complete␈α_physical
␈↓ α∧␈↓representation␈α↔of␈α↔a␈α↔sound␈α↔-␈α↔␈↓↓digital␈α↔signal␈α↔processing␈↓,␈α↔3)␈α↔to␈α↔extract␈α↔from␈α↔the␈α↔physical
␈↓ α∧␈↓representation␈α↔the␈α_information␈α↔which␈α_has␈α↔perceptual␈α↔significance␈α_and␈α↔thereby␈α_create␈α↔a
␈↓ α∧␈↓perceptual␈α∩representation␈α∩-␈α∩␈↓↓psychoacoustic␈α∩research␈↓,␈α∩4)␈α∩to␈α∩use␈α∩the␈α∩perceptual␈α∩information␈α∩in
␈↓ α∧␈↓formulating␈αefficient␈α
generalized␈αmodels␈α
for␈αthe␈α
synthesis␈αof␈α
various␈αclasses␈α
of␈αsound␈α-␈α
␈↓↓advanced
␈↓ α∧␈↓
␈↓ εl3␈↓ d

␈↓"β␈↓ α∧␈↓↓synthesis␈α→techniques␈↓,␈α→5)␈α→the␈α→production␈α→of␈α→musical␈α→scores␈α→by␈α→graphical␈α→definition␈α→and
␈↓ α∧␈↓manipulation␈α
of␈α
music-notational␈α
information␈α
and␈α∞hard␈α
copy␈α
output␈α
-␈α
␈↓↓automatic␈α∞production␈α
of
␈↓ α∧␈↓↓musical manuscripts.

␈↓"β␈↓ α∧␈↓↓Digital␈α⊃recording,␈α⊃editing␈α⊃and␈α⊃processing␈α⊃-␈α⊃research␈α⊃directed␈α⊃by␈α⊃Rush:␈↓␈α⊃Using␈α⊃A/D␈α⊃and␈α⊂D/A
␈↓ α∧␈↓converters␈α⊃designed␈α⊃and␈α⊂built␈α⊃by␈α⊃Moorer,␈α⊂this␈α⊃project␈α⊃is␈α⊂based␈α⊃on␈α⊃a␈α⊂highly␈α⊃flexible␈α⊃set␈α⊂of
␈↓ α∧␈↓programs␈αwhich␈αallow␈αdetailed␈αediting␈αand␈αmixing␈αof␈αdigitized␈αacoustical␈αsignals.␈α Once␈αedited
␈↓ α∧␈↓the␈α
signals␈α
are␈α
analyzed␈α
for␈α
psychoacoustical␈α
research␈α
or␈α
processed␈α
directly␈α
for␈α
the␈α
purpose␈αof
␈↓ α∧␈↓musical␈αcomposition.␈α The␈αimplementation␈αof␈αthis␈αwork␈αrepresents␈αthe␈αfirst␈αall-digital␈αrecording
␈↓ α∧␈↓studio designed for recording musical instruments.

␈↓"β␈↓ α∧␈↓␈↓↓Digital␈αsignal␈α
processing␈α-␈α
research␈αdirected␈αby␈α
Moorer:␈↓␈αPowerful␈α
programs␈αhave␈αbeen␈α
developed
␈↓ α∧␈↓for␈α∞the␈α∂analysis␈α∞of␈α∂acoustical␈α∞signals␈α∂of␈α∞arbitraty␈α∂complexity.␈α∞ The␈α∂programs␈α∞yield␈α∂a␈α∞physical
␈↓ α∧␈↓representation␈αof␈αthe␈αsignals␈αin␈αthree␈αdimensions␈α-␈αtime,␈αamplitude,␈αand␈αfrequency.␈α In␈αthe␈αcase
␈↓ α∧␈↓of␈αquasi-periodic␈αsignals,␈αanalysis␈αis␈αstraight␈α
forward;␈αhowever,␈αin␈αthe␈αcase␈αof␈α
aperiodic␈αsignals
␈↓ α∧␈↓analysis␈αhas␈αbeen␈αelusive.␈α The␈αprogram␈αwhich␈αis␈αinclusive␈αof␈αthe␈αlatter␈αcase,␈αthen,␈αrepresents␈αa
␈↓ α∧␈↓major break-through in signal processing.

␈↓"β␈↓ α∧␈↓␈↓↓Psychoacoustic␈α∨research␈α∨-␈α∨research␈α∨directed␈α∨by␈α∨Grey:␈↓␈α∨The␈α three-dimensional␈α∨physical
␈↓ α∧␈↓representation␈αof␈αa␈αsignal␈αis␈αanalyzed␈αthrough␈αsubjective␈αtesting␈αand␈αscaling␈αfor␈αthe␈αpurpose␈αof
␈↓ α∧␈↓uncovering␈α
a␈α
perceptual␈α
representation.␈α
 The␈α
process␈α
involves,␈α
first,␈α
the␈α
exclusion␈α
of␈α
any␈αdata
␈↓ α∧␈↓in␈α∞the␈α∞physical␈α∞representation␈α∞which␈α∞has␈α∞insignificant␈α∞or␈α∞no␈α∞perceptual␈α∞effect.␈α∞ Inferences␈α
are
␈↓ α∧␈↓then␈α
made␈α∞and␈α
tested␈α
about␈α∞the␈α
classification␈α
of␈α∞a␈α
large␈α
number␈α∞of␈α
different␈α
signals␈α∞with␈α
the
␈↓ α∧␈↓aim of achieving a multi-dimensional perceptual representation.

␈↓"β␈↓ α∧␈↓␈↓↓Advanced␈αsynthesis␈αtechniques␈α-␈αresearch␈αdirected␈αby␈αChowning,␈αGrey␈αand␈αMoorer:␈↓␈αUsing␈αthe␈αmost
␈↓ α∧␈↓powerful␈αsynthesis␈αtechniques␈αand␈αprograms,␈αall␈αdeveloped␈αat␈αCCRMA,␈αfaithful␈αreplications␈αof
␈↓ α∧␈↓natural␈α∞sounds␈α∞are␈α
synthesized␈α∞for␈α∞the␈α
manipulation␈α∞of␈α∞perceptual␈α
data␈α∞in␈α∞the␈α
psychoacoustic
␈↓ α∧␈↓research,␈α∩for␈α⊃musical␈α∩composition␈α⊃based␈α∩on␈α∩the␈α⊃natural␈α∩sound,␈α⊃and␈α∩for␈α∩composition␈α⊃where
␈↓ α∧␈↓natural sound is a rich point of departure for new and novel sounds.

␈↓"β␈↓ α∧␈↓␈↓↓Automatic␈α
production␈α
of␈α∞musical␈α
manuscripts␈α
-␈α
research␈α∞directed␈α
by␈α
Smith:␈↓␈α
A␈α∞highly␈α
interactive
␈↓ α∧␈↓program␈α⊗is␈α⊗well␈α⊗under␈α⊗development␈α⊗for␈α⊗the␈α⊗specification,␈α⊗storage,␈α⊗and␈α↔manipulation␈α⊗of
␈↓ α∧␈↓notational␈α∪information␈α∩required␈α∪for␈α∩the␈α∪production␈α∩of␈α∪musical␈α∩scores.␈α∪ The␈α∩output␈α∪of␈α∩the
␈↓ α∧␈↓program␈αis␈αa␈αlarge␈αscale␈αpage␈αof␈αmusic␈αproduced␈αby␈αthe␈αcomputer␈αcontrolled␈αplotter.␈α This␈αpage
␈↓ α∧␈↓is␈α
then␈α
photo-reduced␈α
for␈α
the␈α
final␈α
high␈α
quality␈α
copy.␈α
 The␈α
format␈α
of␈α
the␈α
output␈α
page␈α
can␈α
range
␈↓ α∧␈↓from␈αa␈αsingle␈α
line␈αin␈α15th␈α
century␈αnotation␈αto␈α
a␈αfull␈αorchestral␈α
score␈αin␈αmodern␈α
notation.␈α The
␈↓ α∧␈↓
␈↓ εl4␈↓ d

␈↓"β␈↓ α∧␈↓program␈α⊂will␈α⊂also␈α∂produce␈α⊂performance␈α⊂parts␈α∂including␈α⊂transposition␈α⊂and␈α⊂page␈α∂arrangement
␈↓ α∧␈↓optimized␈α∀for␈α∀page␈α∀turns.␈α∀ The␈α∀implications␈α∀of␈α∀this␈α∀research␈α∀are␈α∀great␈α∀for␈α∀future␈α∀music
␈↓ α∧␈↓publishing.



␈↓"β␈↓ α∧␈↓∧␈↓ ¬aPUBLICATIONS

␈↓"β␈↓ α∧␈↓CCRMA␈α
publishes␈αtechnical␈α
papers␈α
describing␈αthe␈α
results␈αof␈α
the␈α
most␈αrecent␈α
research␈α
done␈αat
␈↓ α∧␈↓Stanford.␈αSome␈α
of␈αthese␈α
papers␈αhave␈αor␈α
will␈αbe␈α
published␈αin␈α
national␈αjournals.␈α The␈α
usefullness
␈↓ α∧␈↓of␈α∂CCRMA's␈α∂internal␈α∂publications␈α∂is␈α∂that␈α∂research␈α∂results␈α∂can␈α∂be␈α∂obtained␈α∂quickly␈α∂by␈α∂other
␈↓ α∧␈↓researchers␈αhaving␈αa␈αspecial␈αinterest.␈α The␈αCenter␈αhas␈αso␈αfar␈αfilled␈αmore␈αthan␈α1000␈αrequests␈αfor
␈↓ α∧␈↓these␈αpublications␈αfrom␈αthis␈αcountry␈αand␈αabroad␈αat␈αan␈αaverage␈αcost␈αof␈α$5.00␈αper␈αpaper␈αto␈αcover
␈↓ α∧␈↓publication costs and mailing.

␈↓ α∧␈↓βCCRMA PUBLICATIONS
␈↓ α∧␈↓π␈↓ αDChowning,␈α∃J.M.,␈α∃Grey,␈α∃J.M.,␈α∃Moorer,␈α⊗J.A.,␈α∃and␈α∃Rush,␈α∃L.,␈α∃␈↓Computer␈α∃Simulation␈α⊗of␈α∃Music
␈↓"α␈↓ α∧␈↓␈↓ β∧Instrument Tones in Reverberant Environments␈↓π. STAN-M-1, 99pp, 1974.
␈↓ α∧␈↓π␈↓ αDGrey, J.M., ␈↓An Exploration of Musical Timbre␈↓π. STAN-M-2, 133pp, 1975.
␈↓ α∧␈↓π␈↓ αDLoy,␈αG.,␈α␈↓Reference␈αManual␈αand␈αTutorial␈αfor␈αthe␈αSystems␈αConcepts␈αDigital␈αSynthesizer␈↓π.␈α
STAN-
␈↓"α␈↓ α∧␈↓π␈↓ β∧M-6, 95pp, 1977.
␈↓ α∧␈↓π␈↓ αDMoore, F.R., ␈↓Real Time Interactive Computer Music Synthesis␈↓π. STAN-M-7, 109pp, 1977.
␈↓ α∧␈↓π␈↓ αDMoorer,␈α∂J.A.,␈α⊂␈↓On␈α∂the␈α⊂Segmentation␈α∂and␈α∂Analysis␈α⊂of␈α∂Continuous␈α⊂Musical␈α∂Sound␈α⊂by␈α∂Digital
␈↓"α␈↓ α∧␈↓␈↓ β∧Computer␈↓π. STAN-M-3, 165pp, 1975.
␈↓ α∧␈↓π␈↓ αDMoorer, J.A., ␈↓On the Loudness of Complex, Time-Variant Tones␈↓π. STAN-M-4, 18pp, 1975.
␈↓ α∧␈↓π␈↓ αDMoorer,␈α⊂J.A.,␈α⊂␈↓The␈α⊂Synthesis␈α⊂of␈α⊂Complex␈α⊂Audio␈α⊂Spectra␈α⊂by␈α⊂Means␈α⊂of␈α⊃Discrete␈α⊂Summation
␈↓"α␈↓ α∧␈↓␈↓ β∧Formulae␈↓π. STAN-M-5, 23pp, 1975.

␈↓ α∧␈↓βPAPERS PUBLISHED
␈↓ α∧␈↓π␈↓ αDChowning,␈α⊂J.M.,␈α⊂␈↓The␈α∂Simulation␈α⊂of␈α⊂Moving␈α∂Sound␈α⊂Sources␈↓π.␈α⊂J.␈α∂Audio␈α⊂Eng.␈α⊂ Soc.,␈α⊂2-6,␈α∂1971.
␈↓"α␈↓ α∧␈↓π␈↓ β∧Reprinted in Computer Music Journal, Vol. 1, #3, 1977.
␈↓ α∧␈↓π␈↓ αDChowning,␈α
J.M.,␈α␈↓The␈α
Synthesis␈αof␈α
Complex␈α
Audio␈αSpectra␈α
by␈αMeans␈α
of␈αFrequency␈α
Modulation␈↓π.
␈↓"α␈↓ α∧␈↓π␈↓ β∧J.␈α∞Audio␈α
Eng.␈α∞Soc.␈α
21,␈α∞526-534,␈α∞1973.␈α
 Reprinted␈α∞in␈α
Computer␈α∞Music␈α
Journal,␈α∞Vol␈α∞1,␈α
#2,
␈↓"α␈↓ α∧␈↓π␈↓ β∧1977.
␈↓ α∧␈↓π␈↓ αDGordon,␈α
J.W.,␈α
and␈α
Grey,␈α
J.M.,␈α
␈↓Perception␈α
of␈α
Spectral␈α
Modifications␈α
on␈α∞Orchestral␈α
Instrument
␈↓"α␈↓ α∧␈↓␈↓ β∧Tones␈↓π. Computer Music Journ. July, 1978.
␈↓ α∧␈↓π␈↓ αDGrey,␈α⊗J.M.,␈α⊗␈↓Multidimensional␈α⊗Perceptual␈α⊗Scaling␈α⊗of␈α⊗Musical␈α⊗Timbres␈↓π.␈α⊗ Journal␈α↔of␈α⊗the
␈↓"α␈↓ α∧␈↓π␈↓ β∧Acoustical Society of America, May 1977.
␈↓ α∧␈↓π␈↓ αDGrey,␈αJ.M.,␈α
and␈αMoorer,␈α
J.A.,␈α␈↓Perceptual␈α
Evaluation␈αof␈α
Synthesized␈αMusical␈αInstrument␈α
Tones␈↓π.
␈↓"α␈↓ α∧␈↓π␈↓ β∧Journal of the Acoustical Society of America, August 1977.
␈↓ α∧␈↓π␈↓ αDGrey,␈α∪J.M.,␈α∀and␈α∪Gordon,␈α∀J.W.,␈α∪␈↓Perceptual␈α∀Effects␈α∪of␈α∀Spectral␈α∪Modifications␈α∀on␈α∪Musical
␈↓"α␈↓ α∧␈↓␈↓ β∧Timbres␈↓π. Journal of the Acoustical Society of America, May, 1978.
␈↓ α∧␈↓
␈↓ εl5␈↓ d

␈↓"β␈↓ α∧␈↓π␈↓ αDGrey,␈α∞J.M.,␈α∞␈↓Timbre␈α∞Discrimination␈α∞in␈α∂Musical␈α∞Patterns␈↓π.␈α∞ Journal␈α∞of␈α∞the␈α∞Acoustical␈α∂Society␈α∞of
␈↓"α␈↓ α∧␈↓π␈↓ β∧America, August, 1978.
␈↓ α∧␈↓π␈↓ αDGrey,␈α⊃J.M.,␈α⊃␈↓Experiments␈α⊃in␈α⊃the␈α⊃Perception␈α⊃of␈α⊃Instrumental␈α⊃Timbre␈↓π.␈α⊃invited␈α⊃paper␈α⊃for␈α⊃the
␈↓"α␈↓ α∧␈↓π␈↓ β∧Bulletin of the Council for Research in Music Education, (in press) 1978.
␈↓ α∧␈↓π␈↓ αDLe␈α∂Brun,␈α⊂Marc,␈α∂␈↓A␈α⊂Derivation␈α∂of␈α⊂the␈α∂Spectrum␈α∂of␈α⊂FM␈α∂with␈α⊂a␈α∂Complex␈α⊂Modulating␈α∂Wave␈↓π.
␈↓"α␈↓ α∧␈↓π␈↓ β∧Computer Music Journal, Vol 1, #4, 1977.
␈↓ α∧␈↓π␈↓ αDLe␈α∞Brun,␈α∞Marc,␈α∂␈↓Digital␈α∞Waveshaping␈α∞Synthesis␈↓π.␈α∞Journal␈α∂of␈α∞the␈α∞Audio␈α∞Engineering␈α∂Society,␈α∞to
␈↓"α␈↓ α∧␈↓π␈↓ β∧appear.
␈↓ α∧␈↓π␈↓ αDMoore,␈α
F.R.,␈α␈↓Table␈α
Lookup␈α
Noise␈αfor␈α
Sinusoidal␈α
Digital␈αOscillators␈↓π.␈α
 Computer␈α
Music␈αJournal,
␈↓"α␈↓ α∧␈↓π␈↓ β∧Vol. 1, #2, 1977.
␈↓ α∧␈↓π␈↓ αDMoorer,␈αJ.A.,␈α
␈↓The␈αOptimum␈α
Comb␈αMethod␈αof␈α
Pitch␈αPeriod␈α
Analysis␈αof␈α
Continuous␈αDigitized
␈↓"α␈↓ α∧␈↓␈↓ β∧Speech␈↓π.␈α
IEEE␈α
Trans.␈α
on␈α
Acoustics,␈α
Speech,␈α
and␈α
Signal␈α
Processing,␈α
Vol.␈α
ASSP-22,␈α#5,␈α
October
␈↓"α␈↓ α∧␈↓π␈↓ β∧1974, pp330-338.
␈↓ α∧␈↓π␈↓ αDMoorer,␈α
J.A.,␈α∞␈↓The␈α
Use␈α
of␈α∞the␈α
Phase␈α∞Vocoder␈α
in␈α
Computer␈α∞Music␈α
Applications␈↓π.␈α∞ presented␈α
at
␈↓"α␈↓ α∧␈↓π␈↓ β∧the␈α⊂55th␈α⊂Convention␈α∂of␈α⊂the␈α⊂Audio␈α⊂Engineering␈α∂Society,␈α⊂October␈α⊂29-November␈α⊂1,␈α∂1976,
␈↓"α␈↓ α∧␈↓π␈↓ β∧available as Preprint number 1146 (E-1).
␈↓ α∧␈↓π␈↓ αDMoorer,␈α⊂J.A.,␈α⊂␈↓The␈α⊂Synthesis␈α⊂of␈α⊂Complex␈α⊂Audio␈α⊂Spectra␈α⊂by␈α⊂Means␈α⊂of␈α⊃Discrete␈α⊂Summation
␈↓"α␈↓ α∧␈↓␈↓ β∧Formulae␈↓π. J. Audio Eng. Soc., Vol. 24, #9, November 1976, pp717-727.
␈↓ α∧␈↓π␈↓ αDMoorer,␈α∩J.A.,␈α∩␈↓Signal␈α∩Processing␈α∩Aspects␈α∩of␈α∩Computer␈α∩Music␈α∩-␈α∩A␈α∩Survey␈↓π.␈α∩ Invited␈α⊃Paper,
␈↓"α␈↓ α∧␈↓π␈↓ β∧Proceedings␈α⊂of␈α∂the␈α⊂IEEE,␈α∂July,␈α⊂1977.␈α∂ Reprinted␈α⊂in␈α∂Computer␈α⊂Music␈α∂Journal,␈α⊂Vol.␈α⊂1,␈α∂#1,
␈↓"α␈↓ α∧␈↓π␈↓ β∧1977.
␈↓ α∧␈↓π␈↓ αDMoorer,␈α∞J.A.␈α
and␈α∞Grey,␈α
J.M.,␈α∞␈↓Lexicon␈α∞of␈α
Analyzed␈α∞Tones␈α
(Part␈α∞I:␈α
A␈α∞Violin␈α∞Tone)␈↓π.␈α
 Computer
␈↓"α␈↓ α∧␈↓π␈↓ β∧Music Journal, Vol. 1, #2, 1977.
␈↓ α∧␈↓π␈↓ αDMoorer,␈α
J.A.␈α
and␈α
Grey,␈α
J.M.,␈α
␈↓Lexicon␈α
of␈α
Analyzed␈α
Tones␈α
(Part␈α
II:␈α
Clarinet␈α
and␈α
Oboe␈α
Tones)␈↓π.
␈↓"α␈↓ α∧␈↓π␈↓ β∧Computer Music Journal, Vol. 1, #3, 1977.
␈↓ α∧␈↓π␈↓ αDSchottstaedt,␈αW.G.,␈α␈↓The␈αSimulation␈αof␈αNatural␈αInstrument␈αTones␈αusing␈αFrequency␈α
Modulation
␈↓"α␈↓ α∧␈↓␈↓ β∧with a Complex Modulating Wave␈↓π.  Computer Music Journal, Vol 1, #4, 1977.
␈↓ α∧␈↓π␈↓ αDSmith, L.C., ␈↓Score, A Musician's Approach to Computer Music␈↓π.  J. Audio Eng. Soc., Jan. l972.
␈↓ α∧␈↓π␈↓ αDSmith, L.C., ␈↓Editing and Printing Music by Computer␈↓π.  Journal of Music Theory, Fall, l973.
␈↓ α∧␈↓π␈↓ αDSmith, L.C., ␈↓Henry Cowell's `Rhythmicana.' ␈↓πYearbook for Inter-American Research, l973.

␈↓ α∧␈↓βPAPERS IN PREPARATION
␈↓ α∧␈↓π␈↓ αDGrey,␈α
J.M.,␈α
␈↓Categorical␈α
versus␈α
Continuous␈α
Perception␈αof␈α
Musical␈α
Timbre␈↓π.␈α
 For␈α
the␈α
Journal␈αof
␈↓"α␈↓ α∧␈↓π␈↓ β∧the Acoustical Society of America.
␈↓ α∧␈↓π␈↓ αDRush,␈α⊂L.,␈α∂Moorer,␈α⊂J.A.,␈α∂and␈α⊂Loy,␈α∂G.,␈α⊂␈↓Digital␈α∂Sound␈α⊂Recording␈↓π.␈α∂For␈α⊂the␈α∂Journal␈α⊂of␈α⊂the␈α∂Audio
␈↓"α␈↓ α∧␈↓π␈↓ β∧Engineering Society.
␈↓ α∧␈↓π␈↓ αDRush,␈α
L.,␈α
and␈α
Moorer,␈αJ.A.,␈α
␈↓Editing,␈α
Mixing␈α
and␈αProcessing␈α
Digitized␈α
Audio␈α
Waveforms␈↓π.␈αFor
␈↓"α␈↓ α∧␈↓π␈↓ β∧the Journal of the Audio Engineering Society.
␈↓ α∧␈↓π␈↓ αDRush,␈α⊃L.,␈α⊃Grey,␈α∩J.M.,␈α⊃␈↓Relating␈α⊃Digital␈α⊃Techniques:␈α∩Analysis,␈α⊃Synthesis,␈α⊃and␈α∩Processing␈α⊃of
␈↓"α␈↓ α∧␈↓␈↓ β∧Recorded Sound␈↓π.
␈↓ α∧␈↓
␈↓ εm6␈↓ d

␈↓"β␈↓ α∧␈↓∧␈↓ ελTEACHING

␈↓"β␈↓ α∧␈↓Instruction␈αis␈αcarried␈α
out␈αby␈αthe␈αentire␈α
staff␈αof␈αCCRMA␈αthrough␈α
the␈αacademic␈αyear␈αincluding␈α
a
␈↓ α∧␈↓Summer␈α∞Workshop␈α
in␈α∞Computer␈α
Music.␈α∞The␈α
Computer␈α∞Music␈α
Seminar,␈α∞offered␈α∞during␈α
three
␈↓ α∧␈↓quarters␈α∂of␈α∂the␈α∂year,␈α∂is␈α∂open␈α∂to␈α∂both␈α∂advanced␈α∂undergraduates␈α∂and␈α∂graduates.␈α∂The␈α∞seminar
␈↓ α∧␈↓enrollment␈α∞has␈α∂been␈α∞limited␈α∞to␈α∂15␈α∞and␈α∞the␈α∂summer␈α∞workshop␈α∞to␈α∂20␈α∞because␈α∞of␈α∂the␈α∞restricted
␈↓ α∧␈↓computer␈α∞time.␈α
In␈α∞addition␈α
to␈α∞the␈α
Computer␈α∞Music␈α
Seminar␈α∞students␈α
currently␈α∞enrolled,␈α
there
␈↓ α∧␈↓are 9 graduate students working on advanced projects.

␈↓"β␈↓ α∧␈↓The␈αComputer␈α
Music␈αSeminar␈α
is␈αthe␈α
introductory␈αcourse␈α
to␈αcomputer␈α
applications␈αin␈αmusic␈α
and
␈↓ α∧␈↓assumes␈αcompetence␈αin␈αmusic␈αcomposition␈αor␈αa␈αrelated␈αfield␈αsuch␈αas␈αpsychology␈αor␈αengineering.
␈↓ α∧␈↓The␈α⊗course␈α↔is␈α⊗divided␈α↔into␈α⊗several␈α⊗streams␈α↔including␈α⊗sound-synthesis␈α↔techniques,␈α⊗signal
␈↓ α∧␈↓processing,␈α∩psychoacoustics,␈α⊃and␈α∩programming.␈α⊃ The␈α∩aim␈α⊃is␈α∩to␈α⊃develop␈α∩in␈α⊃the␈α∩students␈α⊃the
␈↓ α∧␈↓required␈α∪skills␈α∪for␈α∪successful␈α∪use␈α∪of␈α∀the␈α∪medium␈α∪in␈α∪composition␈α∪and␈α∪a␈α∪sensitivity␈α∀to␈α∪the
␈↓ α∧␈↓importance of related technical and perceptual issues.

␈↓"β␈↓ α∧␈↓The␈αadvanced␈αgraduate␈αstudents␈αwork␈αdirectly␈αwith␈αthe␈αstaff␈αon␈αthe␈αresearch␈αprojects.␈α Two␈αof
␈↓ α∧␈↓these␈αstudents␈αare␈α
supported␈αby␈αthe␈αNSF␈α
grants.␈α The␈αremaining␈α
are␈αsupported␈αby␈αthe␈α
graduate
␈↓ α∧␈↓support program in the Department of Music.

␈↓"β␈↓ α∧␈↓As␈α∂an␈α∞addition␈α∂to␈α∞the␈α∂normal␈α∂teaching␈α∞and␈α∂research␈α∞function␈α∂during␈α∞the␈α∂academic␈α∂year,␈α∞the
␈↓ α∧␈↓Center␈α
holds␈α
special␈α
summer␈α
workshops␈α
for␈α
musicians␈α
and␈α
scientists␈α
from␈α
outside␈αthe␈α
university.
␈↓ α∧␈↓These␈α
workshops␈α
have␈α
been␈α∞held␈α
every␈α
summer␈α
since␈α∞1969␈α
with␈α
students␈α
attending␈α∞from␈α
this
␈↓ α∧␈↓country␈α∩and␈α∩abroad.␈α∩In␈α∩a␈α∩six-week␈α∩session,␈α∩the␈α∩students␈α∩are␈α∩able␈α∩to␈α∩learn␈α∩basic␈α∩computer
␈↓ α∧␈↓programming,␈α∀fundamentals␈α∀of␈α∪acoustics␈α∀and␈α∀psychoacoustics,␈α∪and␈α∀produce␈α∀a␈α∪composition.
␈↓ α∧␈↓These␈αsummer␈αsessions␈αdraw␈αfrom␈α
20␈αto␈α30␈αpeople␈αeach␈αyear.␈α
One␈αof␈αthe␈αpieces␈αfrom␈αa␈α
summer
␈↓ α∧␈↓session was chosen for performance at the 1976 Computer Music Conference in Boston.

␈↓"β␈↓ α∧␈↓The␈α
Center␈α
can␈α
support␈α
a␈α
limited␈α
number␈α
of␈α
composers␈α
in␈α
residence.␈α
Every␈α
year,␈α
at␈α∞least␈α
two
␈↓ α∧␈↓composers,␈α⊂from␈α⊂Europe␈α⊂and␈α⊂the␈α⊂US,␈α⊂take␈α⊂advantage␈α⊂of␈α⊂this␈α⊂facility␈α⊂and␈α⊂use␈α⊃the␈α⊂computer
␈↓ α∧␈↓system␈α↔over␈α_an␈α↔extended␈α↔period␈α_of␈α↔time␈α↔to␈α_produce␈α↔major␈α↔compositions.␈α_ One␈α↔major
␈↓ α∧␈↓composition␈α⊃resulting␈α⊃from␈α⊃this␈α⊃residence␈α⊃is␈α⊃a␈α⊃piece␈α⊃for␈α⊃computer␈α⊃generated␈α⊃tape␈α⊃with␈α⊂live
␈↓ α∧␈↓orchestra and chorus.  by Irmfried Radauer of Austria.
␈↓ α∧␈↓
␈↓ εm7␈↓ d

␈↓"β␈↓ α∧␈↓∧␈↓ βlASSOCIATIONS WITH OTHER CENTERS

␈↓"β␈↓ α∧␈↓The␈αCenter␈α
has␈αserved␈αas␈α
a␈αprototype␈α
computer␈αmusic␈αsystem.␈α
Several␈αother␈α
installations␈αhave
␈↓ α∧␈↓now␈αchosen␈αto␈αpattern␈αtheir␈αcomputer␈αsystems␈αafter␈αthose␈αof␈αthe␈αcenter,␈αthus␈αallowing␈αextensive
␈↓ α∧␈↓program␈α∩sharing␈α∪so␈α∩that␈α∪the␈α∩results␈α∪of␈α∩the␈α∩research␈α∪done␈α∩at␈α∪Stanford␈α∩can␈α∪be␈α∩distributed
␈↓ α∧␈↓throughout a number of basically compatible sites.

␈↓"β␈↓ α∧␈↓The␈αrelationship␈αwith␈αIRCAM,␈αParis,␈αthe␈αinstitute␈αdirected␈αby␈αPierre␈αBoulez,␈αhas␈αdeveloped␈αas
␈↓ α∧␈↓proposed␈α∩by␈α∩Boulez␈α∪in␈α∩1974:␈α∩␈↓↓the␈α∪two␈α∩centers␈α∩should␈α∩have␈α∪a␈α∩strong␈α∩interaction␈α∪through␈α∩the
␈↓ α∧␈↓↓exchange␈αof␈αresearch␈αideas,␈αresults,␈αand␈αpersonnel␈↓.␈α In␈αa␈αspecial␈αsummer␈αsession␈αin␈αAugust,␈α1975,
␈↓ α∧␈↓a␈αteam␈αof␈αthirteen␈αpeople␈αfrom␈αIRCAM␈αin␈αParis␈αattended␈αa␈αten-day␈αintensive␈αin␈αthe␈αuse␈αof␈αthe
␈↓ α∧␈↓computer.␈α⊂Those␈α⊃attending␈α⊂and␈α⊂using␈α⊃the␈α⊂computer␈α⊂included␈α⊃Pierre␈α⊂Boulez,␈α⊃Luciano␈α⊂Berio,
␈↓ α∧␈↓Jean-Claude␈αRisset,␈αMax␈αMathews.␈α Each␈αvisiting␈αmember␈αmade␈αextensive␈αuse␈αof␈αthe␈αcomputer
␈↓ α∧␈↓in␈αa␈α
"hands-on"␈αenvironment,␈α
receiving␈αinstruction␈α
in␈αthe␈α
usage␈αof␈α
the␈αcomputer.␈α The␈α
members
␈↓ α∧␈↓were␈α∂encouraged␈α∂to␈α∂experiment␈α∂with␈α∂synthesis␈α∂techniques.␈α∂ In␈α∂September␈α∂1976,␈α∂the␈α∂CCRMA
␈↓ α∧␈↓team␈αparticipated␈αin␈αan␈αIRCAM␈αconference␈αin␈αBaden-Baden,␈αGermany.␈α As␈αguest␈αresearcher␈αat
␈↓ α∧␈↓IRCAM␈α⊂during␈α⊂the␈α∂spring␈α⊂and␈α⊂summer␈α∂of␈α⊂1977,␈α⊂Leland␈α∂Smith␈α⊂adapted␈α⊂his␈α⊂music␈α∂printing
␈↓ α∧␈↓program␈α∞to␈α∞the␈α
IRCAM␈α∞computer␈α∞system.␈α
 Currently,␈α∞James␈α∞A.␈α
Moorer␈α∞is␈α∞serving␈α∞a␈α
two-year
␈↓ α∧␈↓appointment,␈α∞begun␈α
in␈α∞the␈α∞fall␈α
of␈α∞1977,␈α
as␈α∞Scientific␈α∞Advisor␈α
to␈α∞IRCAM,␈α
where␈α∞he␈α∞will␈α
help
␈↓ α∧␈↓direct the initial stages of the IRCAM research program.

␈↓"β␈↓ α∧␈↓CCRMA␈α∀has␈α∀aided␈α∀the␈α∀Hochschule␈α∀fur␈α∃Musik␈α∀and␈α∀the␈α∀University␈α∀of␈α∀Hamburg␈α∃in␈α∀the
␈↓ α∧␈↓equipment␈α∪and␈α∩research␈α∪planning␈α∩for␈α∪a␈α∩major␈α∪computer␈α∩music␈α∪center␈α∩patterned␈α∪after␈α∩the
␈↓ α∧␈↓Stanford␈α⊂center␈α⊃proposed␈α⊂to␈α⊃begin␈α⊂in␈α⊃1978.␈α⊂ The␈α⊃support␈α⊂for␈α⊃this␈α⊂center␈α⊃is␈α⊂expected␈α⊃to␈α⊂be
␈↓ α∧␈↓3,000,000␈α∃DM␈α⊗from␈α∃the␈α∃DFG␈α⊗(German␈α∃national␈α∃research␈α⊗foundation).␈α∃ Members␈α⊗of␈α∃the
␈↓ α∧␈↓CCRMA team have been asked to direct the center in its initial stages.



␈↓"β␈↓ α∧␈↓∧␈↓ α9DEMONSTRATIONS, CONFERENCES, AND PERFORMANCES

␈↓"β␈↓ α∧␈↓Throught␈α∂the␈α∂academic␈α∂year,␈α∂CCRMA␈α∂gives␈α∞a␈α∂monthly␈α∂demonstration␈α∂which␈α∂is␈α∂open␈α∂to␈α∞the
␈↓ α∧␈↓public,␈αbut␈α
not␈αwidely␈αpublicised.␈α
 The␈αaverage␈αattendance␈α
is␈αca.␈α50␈α
people.␈α Each␈αof␈α
the␈αteam
␈↓ α∧␈↓presents␈αhis␈αspecial␈α
research␈αarea␈αexplaining␈α
its␈αrelationship␈αto␈α
the␈αmusical␈αgoals.␈α
 Compositions
␈↓ α∧␈↓utilizing␈α_the␈α→research␈α_results␈α_are␈α→presented␈α_during␈α_the␈α→two␈α_hour␈α→presentation.␈α_ These
␈↓ α∧␈↓demonstrations␈αhave␈αbeen␈αvery␈αsuccessful␈αand␈αare␈αa␈αvery␈αefficient␈αmeans␈αof␈αcommunicating␈αthe
␈↓ α∧␈↓center's work to the outside world.
␈↓ α∧␈↓
␈↓ εl8␈↓ d

␈↓"β␈↓ α∧␈↓Since␈α
1974,␈αmembers␈α
of␈αCCRMA␈α
have␈αgiven␈α
or␈αwill␈α
give␈αpapers␈α
and␈αlectures␈α
at␈αa␈α
number␈αof
␈↓ α∧␈↓conferences and colloquia in the U.S. and abroad.

␈↓"β␈↓ α∧␈↓π␈↓ αDGrey, Lecture, Center for Music Experiment, U.C. San Diego, Apr. 1974.
␈↓"β␈↓ α∧␈↓π␈↓ αDMoorer, Colloquium, Carnegie-Mellon University, Nov. 1974
␈↓"β␈↓ α∧␈↓π␈↓ αDRush, Colloquium, Center for Music Experiment, U.C. San Diego, Mar. 1975.
␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, IRCAM Conference, La Rochelle, France, July 1975.
␈↓"β␈↓ α∧␈↓π␈↓ αDCCRMA group, Course for IRCAM group, Stanford, Aug. 1975.
␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, Grey and Moorer, one week course for DAAD, Berlin, Sept. 1975.
␈↓"β␈↓ α∧␈↓π␈↓ αDMoorer and Grey, Computer Music Conference, Michigan State Univ., Oct. 1975.
␈↓"β␈↓ α∧␈↓π␈↓ αDMoorer, Colloquium, University of Georgia, Feb. 1976.
␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, Physics Colloquium, Calif. Institute of Technology, Feb. 1976.
␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, Computer Music Presentation with Pierre Boulez, New York, Mar. 1976.
␈↓"β␈↓ α∧␈↓π␈↓ αDMoorer, Colloquium, Center for Music Experiment, U.C. San Diego, June 1976.
␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, Grey, Moore, Moorer and Rush, IRCAM Conference, Baden-Baden, Sept. 1976.
␈↓"β␈↓ α∧␈↓π␈↓ αDMoorer and Rush, Audio Engineering Society Convention, New York, Oct. 1976.
␈↓"β␈↓ α∧␈↓π␈↓ αDMoorer and Rush, Computer Music Conference, MIT, Oct. 1976.
␈↓"β␈↓ α∧␈↓π␈↓ αDMoorer, Colloquium, Boston University, Oct. 1976
␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, Colloquium, Calif. Institute of Technology, Nov. 1976.
␈↓"β␈↓ α∧␈↓π␈↓ αDChowning and Smith, Computer Arts Society, Los Angeles, Feb. l977.
␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, Lecture, Columbia University, Feb. l977.
␈↓"β␈↓ α∧␈↓π␈↓ αDMoorer and Rush, Audio Engineering Society Convention, Los Angeles, May. 1977.
␈↓"β␈↓ α∧␈↓π␈↓ αDCCRMA group, IRCAM Psychoacoustic Conference, Paris, July l977.
␈↓"β␈↓ α∧␈↓π␈↓ αDCCRMA group, 1977 International Computer Music Conference, San Diego, Oct. 1977.
␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, lecture and workshop, Tanglewood, Aug. 1978.
␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, lecture and workshop, Wittenberg Univ., Sept. 1978.




␈↓"β␈↓ α∧␈↓Performances of compositions from CCRMA have been numerous in the U.S.  and abroad.

␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, ␈↓Sabelithe␈↓π, a computer-generated quadraphonic tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Apr.␈↓ βt1972␈↓ ∧tStanford␈↓ π$Mar.␈↓ λ$1973␈↓ 	$Marseille
␈↓"β␈↓ α∧␈↓π␈↓ β∧June␈↓ βt␈↓ ∧tVancouver␈↓ π$Mar.␈↓ λ$␈↓ 	$Utrecht
␈↓"β␈↓ α∧␈↓π␈↓ β∧July␈↓ βt␈↓ ∧tBerlin␈↓ π$Sep.␈↓ λ$1974␈↓ 	$Berlin
␈↓"β␈↓ α∧␈↓π␈↓ β∧Aug.␈↓ βt␈↓ ∧tDarmstadt␈↓ π$Apr.␈↓ λ$1975␈↓ 	$Bourges
␈↓"β␈↓ α∧␈↓π␈↓ β∧Nov.␈↓ βt␈↓ ∧tMichigan State␈↓ π$Aug.␈↓ λ$1976␈↓ 	$Stanford
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βt1973␈↓ ∧tStockholm␈↓ π$Feb.␈↓ λ$␈↓ 	$CalTech

␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, ␈↓Stria␈↓π, a computer-generated quadrophonic tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Commissioned by IRCAM for presentation in Luciano Berio's exhibition of electronic
␈↓"β␈↓ α∧␈↓π␈↓ β∧music.  Premiere:  IRCAM, Paris, Oct. 1977.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Oct.␈↓ βt1977␈↓ ∧tIRCAM, Paris␈↓ π$Oct.␈↓ λ$1978␈↓ 	$Urbana-Champagne, Ill.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Oct.␈↓ βt␈↓ ∧tU.C.,San Diego␈↓ π$Nov.␈↓ λ$␈↓ 	$Stanford
␈↓"β␈↓ α∧␈↓π␈↓ β∧Nov.␈↓ βt␈↓ ∧tBerkeley

␈↓"β␈↓ α∧␈↓π␈↓ αDChowning, ␈↓Turenas␈↓π, a computer-generated quadraphonic tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Apr.␈↓ βt1972␈↓ ∧tStanford␈↓ π$Oct.␈↓ λ$␈↓ 	$Metz
␈↓"β␈↓ α∧␈↓π␈↓ β∧June␈↓ βt␈↓ ∧tVancouver␈↓ π$Feb.␈↓ λ$1976␈↓ 	$CalTech
␈↓"β␈↓ α∧␈↓π␈↓ β∧July␈↓ βt␈↓ ∧tBerlin␈↓ π$Feb.␈↓ λ$␈↓ 	$Colgate Univ.
␈↓ α∧␈↓
␈↓ εl9␈↓ d

␈↓"β␈↓ α∧␈↓π␈↓ β∧Aug.␈↓ βt␈↓ ∧tDarmstadt␈↓ π$Feb.␈↓ λ$␈↓ 	$Utica, N.Y.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Nov.␈↓ βt␈↓ ∧tMichigan State␈↓ π$Mar.␈↓ λ$␈↓ 	$Melbourne
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βt1973␈↓ ∧tStockholm␈↓ π$Apr.␈↓ λ$␈↓ 	$Syracuse, N.Y.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Mar.␈↓ βt␈↓ ∧tMarseille␈↓ π$June␈↓ λ$␈↓ 	$Binghampton, N.Y.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Mar.␈↓ βt␈↓ ∧tUtrecht␈↓ π$Aug.␈↓ λ$␈↓ 	$Stanford
␈↓"β␈↓ α∧␈↓π␈↓ β∧Oct.␈↓ βt␈↓ ∧tDe Anza, Ca.␈↓ π$Oct.␈↓ λ$␈↓ 	$Univ. of Las Vegas
␈↓"β␈↓ α∧␈↓π␈↓ β∧Jan.␈↓ βt1974␈↓ ∧tGRM, Paris␈↓ π$Oct.␈↓ λ$␈↓ 	$Univ. of Lousiville
␈↓"β␈↓ α∧␈↓π␈↓ β∧Sep.␈↓ βt␈↓ ∧tBerlin␈↓ π$Oct.␈↓ λ$␈↓ 	$Richmond, Ind.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Oct.␈↓ βt␈↓ ∧tFest. d'Automne, Paris␈↓ π$Oct.␈↓ λ$␈↓ 	$Winchester, Va.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βt1975␈↓ ∧tElec. Mus. Week, Basel␈↓ π$Oct.␈↓ λ$␈↓ 	$Univ. of Virginia
␈↓"β␈↓ α∧␈↓π␈↓ β∧Apr.␈↓ βt␈↓ ∧tBourges␈↓ π$Nov.␈↓ λ$␈↓ 	$Harvard
␈↓"β␈↓ α∧␈↓π␈↓ β∧July␈↓ βt␈↓ ∧tLa Rochelle␈↓ π$Feb.␈↓ λ$1977␈↓ 	$New York
␈↓"β␈↓ α∧␈↓π␈↓ β∧Aug.␈↓ βt␈↓ ∧tAvignon␈↓ π$Apr.␈↓ λ$␈↓ 	$IRCAM, Paris
␈↓"β␈↓ α∧␈↓π␈↓ β∧␈↓ βt␈↓ ∧t␈↓ π$Oct.␈↓ λ$␈↓ 	$U.C.,San Diego
␈↓"β␈↓ α∧␈↓π␈↓ β∧␈↓ βt␈↓ ∧t␈↓ π$Nov.␈↓ λ$␈↓ 	$Berkeley
␈↓"β␈↓ α∧␈↓π␈↓ β∧␈↓ βt␈↓ ∧t␈↓ π$May␈↓ λ$1978␈↓ 	$Glasgow, Scotland

␈↓"β␈↓ α∧␈↓π␈↓ αDCowell/Smith, ␈↓Rhythmicana␈↓π, for orchestra with computer-generated stereo tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Computer realization by Smith of Cowell's part for Rhythmicon (an early electronic
␈↓"β␈↓ α∧␈↓π␈↓ β∧instrument now in the Smithsonian Institution).
␈↓"β␈↓ α∧␈↓π␈↓ β∧Dec.␈↓ βt1971␈↓ ∧tStanford Symphony, Sandor Salgo cond.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Aug.␈↓ βt1974␈↓ ∧tTanglewood Orchestra, Gunther Schuller cond.
␈↓"β␈↓ α∧␈↓π␈↓ β∧May␈↓ βt1975␈↓ ∧tBuffalo Philharmonic, Michael Tilson Thomas cond.

␈↓"β␈↓ α∧␈↓π␈↓ αDErickson/Grey, ␈↓Loops␈↓π, a computer-generated stereo tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Computer realization by Grey of R.E. Erickson's composition for unspecified instruments.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Apr.␈↓ βt1974␈↓ ∧tMich. State Univ.␈↓ π$Oct.␈↓ λ$␈↓ 	$Univ. of Lousiville
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βt1976␈↓ ∧tColgate Univ.␈↓ π$Oct.␈↓ λ$␈↓ 	$Richmond, Ind.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βt␈↓ ∧tUtica, N.Y.␈↓ π$Oct.␈↓ λ$␈↓ 	$Winchester, Va.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Apr.␈↓ βt␈↓ ∧tSyracuse, N.Y.␈↓ π$Oct.␈↓ λ$␈↓ 	$Univ. of Virginia
␈↓"β␈↓ α∧␈↓π␈↓ β∧Jun.␈↓ βt␈↓ ∧tBinghampton, N.Y.␈↓ π$Oct.␈↓ λ$1977␈↓ 	$U.C.,San Diego
␈↓"β␈↓ α∧␈↓π␈↓ β∧␈↓ βt␈↓ ∧t␈↓ π$Nov.␈↓ λ$␈↓ 	$Berkeley

␈↓"β␈↓ α∧␈↓π␈↓ αDKirk, ␈↓Hues in Blue␈↓π, for tape and bassoon.
␈↓"β␈↓ α∧␈↓π␈↓ β∧␈↓ βt1978␈↓ ∧tNew York.
␈↓"β␈↓ α∧␈↓π␈↓ β∧␈↓ βt1979␈↓ ∧tLos Angeles␈↓ π$␈↓ λ$␈↓ 	$Stanford.

␈↓"β␈↓ α∧␈↓π␈↓ αDKirk, ␈↓Desert Dance␈↓π, computer-generated stereo tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βt1979␈↓ ∧tDallas.

␈↓"β␈↓ α∧␈↓π␈↓ αDKirk, ␈↓Passages - Dreams and Nightmares␈↓π, Four-channel computer-generated tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Nov.␈↓ βt1978␈↓ ∧tStanford.␈↓ π$Feb.␈↓ λ$1979␈↓ 	$Stanford.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Dec.␈↓ βt␈↓ ∧tLos Angeles

␈↓"β␈↓ α∧␈↓π␈↓ αDKirk, ␈↓War of the Mellinnium␈↓π, computer-generated stereo tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧This is the soundtrack for an animated film on space exploration,
␈↓"β␈↓ α∧␈↓π␈↓ β∧produced and written by Hommel, an independent film producer.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Dec.␈↓ βt1978.

␈↓"β␈↓ α∧␈↓π␈↓ αDKirk, ␈↓Trident␈↓π, A 4-channel computer tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βt1978␈↓ ∧tNew York.␈↓ π$Jul.␈↓ λ$␈↓ 	$Chicago.
␈↓ α∧␈↓
␈↓ εg10␈↓ d

␈↓"β␈↓ α∧␈↓π␈↓ αDMcNabb, ␈↓Dreamsong␈↓π, computer-generated stereo tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧1978 ISCM Composers Competition winner
␈↓"β␈↓ α∧␈↓π␈↓ β∧Aug.␈↓ βt1978␈↓ ∧tMarin, Ca.␈↓ π$Nov.␈↓ λ$␈↓ 	$Northwestern Univ.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Oct.␈↓ βt␈↓ ∧tUniv. of Iowa␈↓ π$Nov.␈↓ λ$␈↓ 	$Stanford Univ.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Jan.␈↓ βt1979␈↓ ∧tNew York␈↓ π$Apr.␈↓ λ$1979␈↓ 	$Los Angeles.

␈↓"β␈↓ α∧␈↓π␈↓ αDMoorer, ␈↓Perfect Days␈↓π, computer generated stereo tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Study for first part of 5-part piece using computer techniques for modification
␈↓"β␈↓ α∧␈↓π␈↓ β∧of speech and music.  This study features human speech and flute.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Oct.␈↓ βt1977␈↓ ∧tU.C.,San Diego␈↓ π$Oct.␈↓ λ$1978␈↓ 	$Marin, Ca.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Nov.␈↓ βt␈↓ ∧tBerkeley␈↓ π$Nov.␈↓ λ$␈↓ 	$Stanford

␈↓"β␈↓ α∧␈↓π␈↓ αDMoorer, ␈↓Lions are Growing␈↓π, computer generated stereo tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Study for second part of 5-part piece using computer techniques for modification
␈↓"β␈↓ α∧␈↓π␈↓ β∧of speech and music.  This study features human speech.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Oct.␈↓ βt1978␈↓ ∧tMarin, Ca.␈↓ π$Nov.␈↓ λ$␈↓ 	$Stanford
␈↓ α∧␈↓
␈↓ εi11␈↓ d

␈↓"β␈↓ α∧␈↓π␈↓ αDRush, ␈↓A Little Traveling Music␈↓π, for amplified piano with computer-generated quadraphonic tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Recorded on Serenus Records.  In press, General Music Co., Dobbs Ferry, N.Y.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Dwight Peltzer, pianist:
␈↓"β␈↓ α∧␈↓π␈↓ β∧Apr.␈↓ βtl974␈↓ ∧tNew York␈↓ π$July␈↓ λ$␈↓ 	$Univ. of Indiana
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βtl976␈↓ ∧tUniv. of Utah␈↓ π$Nov.␈↓ λ$␈↓ 	$York Univ., U.K.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βt␈↓ ∧tC.W. Post College␈↓ π$Nov.␈↓ λ$␈↓ 	$Bradford Univ., U.K.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βt␈↓ ∧tWashington, D.C.␈↓ π$Apr.␈↓ λ$1977␈↓ 	$IRCAM, Paris
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βt␈↓ ∧tColgate Univ.␈↓ π$Oct.␈↓ λ$␈↓ 	$U.C.,San Diego

␈↓"β␈↓ α∧␈↓π␈↓ αDRush, ␈↓Song and Dance␈↓π, for orchestra with computer-generated quadraphonic tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Commissioned by Seiji Ozawa and the San Francisco Symphony Orchestra.
␈↓"β␈↓ α∧␈↓π␈↓ β∧San Francisco Symphony Orchestra, Seiji Ozawa cond., San Francisco, December
␈↓"β␈↓ α∧␈↓π␈↓ β∧3-6, 1975; national radio broadcast, National Public Radio, November 1976.
␈↓"β␈↓ α∧␈↓π␈↓ β∧St. Louis Symphony Orchestra, Leonard Slatkin cond., St. Louis, December, 1977.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Minnesota Orchestra, Leonard Slatkin cond., Minneapolis, April, 1978.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Also scheduled for performance by the following orchestras:  Cincinatti,
␈↓"β␈↓ α∧␈↓π␈↓ β∧Detroit (Feb. 1978), Pittsburgh, and National.

␈↓"β␈↓ α∧␈↓π␈↓ αDSchottstaedt, ␈↓Sandcastle␈↓π, computer-generated quadraphonc tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧May␈↓ βt1978␈↓ ∧tBourges, France␈↓ π$Oct.␈↓ λ$␈↓ 	$Urbana-Champagne, Ill.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Aug.␈↓ βt␈↓ ∧tStockholm␈↓ π$Nov.␈↓ λ$␈↓ 	$Stanford
␈↓"β␈↓ α∧␈↓π␈↓ β∧Aug.␈↓ βt␈↓ ∧tSan Francisco, Ca.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Feb.␈↓ βt1979␈↓ ∧tBourges, France

␈↓"β␈↓ α∧␈↓π␈↓ αDSchottstaedt, ␈↓Sinfornia for Computer␈↓π, computer-generated quadraphonc tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Oct.␈↓ βt1977␈↓ ∧tU.C.,San Diego␈↓ π$Sept.␈↓ λ$1978␈↓ 	$E. Lansing, Mich.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Nov.␈↓ βt␈↓ ∧tBerkeley


␈↓"β␈↓ α∧␈↓π␈↓ αDSchottstaedt, ␈↓The Gong-Tormented Sea␈↓π, computer-generated quadraphonc tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Nov␈↓ βt1978␈↓ ∧tStanford

␈↓"β␈↓ α∧␈↓π␈↓ αDSchottstaedt, ␈↓The New Music Liberation Army Computer Chorus and Marching Band␈↓π,
␈↓"β␈↓ α∧␈↓π␈↓ αDcomputer-generated quadraphonic tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Aug.␈↓ βt1978␈↓ ∧tSan Francisco, Ca.␈↓ π$Aug.␈↓ λ$␈↓ 	$Stockholm

␈↓"β␈↓ α∧␈↓π␈↓ αDSchottstaedt and McNabb, Music for ␈↓Mars in 3-d␈↓π, NASA film on Viking project,
␈↓"β␈↓ α∧␈↓π␈↓ αDcomputer generated stereo tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Mar.␈↓ βt1979␈↓ ∧tStanford, Ca.␈↓ π$Apr.␈↓ λ$␈↓ 	$various cities in U.S.

␈↓"β␈↓ α∧␈↓π␈↓ αDSmith, ␈↓Machines of Loving Grace␈↓π, for bassoon and narrator with computer-generated tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Oct.␈↓ βt1970␈↓ ∧tPalo Alto␈↓ π$Nov.␈↓ λ$l973␈↓ 	$New York
␈↓"β␈↓ α∧␈↓π␈↓ β∧Apr.␈↓ βt1971␈↓ ∧tMich. State Univ.␈↓ π$Jan.␈↓ λ$1975␈↓ 	$Philadelphia

␈↓"β␈↓ α∧␈↓π␈↓ αDSmith, ␈↓Rhapsody for Flute and Computer␈↓π, flute and computer-generated stereo tape.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Published in ␈↓Schirmer Scores, a repertory of Western music␈↓π, G. Schirmer & Co., l975.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Apr.␈↓ βt1971␈↓ ∧tPalo Alto␈↓ π$May␈↓ λ$␈↓ 	$Santa Rosa, Ca.
␈↓"β␈↓ α∧␈↓π␈↓ β∧May␈↓ βt␈↓ ∧tU.C.,San Diego␈↓ π$Apr.␈↓ λ$1976␈↓ 	$Las Vegas
␈↓"β␈↓ α∧␈↓π␈↓ β∧May␈↓ βt1972␈↓ ∧tZagreb␈↓ π$Jan.␈↓ λ$␈↓ 	$So. Carolina
␈↓"β␈↓ α∧␈↓π␈↓ β∧June␈↓ βt␈↓ ∧tParis␈↓ π$June␈↓ λ$␈↓ 	$Conn. State College
␈↓"β␈↓ α∧␈↓π␈↓ β∧Nov.␈↓ βt␈↓ ∧tColgate Univ.␈↓ π$July␈↓ λ$␈↓ 	$Peabody Conservatory
␈↓ α∧␈↓
␈↓ εg12␈↓ d

␈↓"β␈↓ α∧␈↓π␈↓ β∧Apr.␈↓ βt1973␈↓ ∧tReno␈↓ π$July␈↓ λ$␈↓ 	$Concordia College
␈↓"β␈↓ α∧␈↓π␈↓ β∧Nov.␈↓ βt1974␈↓ ∧tPhiladelphia␈↓ π$Apr.␈↓ λ$1977␈↓ 	$IRCAM, Paris

␈↓"β␈↓ α∧␈↓π␈↓ αDWieneke, ␈↓Oracle - 4am␈↓π, computer-generated stereo tape
␈↓"β␈↓ α∧␈↓π␈↓ β∧Aug.␈↓ βt1978␈↓ ∧tMarin, Ca.␈↓ π$Nov.␈↓ λ$␈↓ 	$Northwestern Univ.
␈↓"β␈↓ α∧␈↓π␈↓ β∧Oct.␈↓ βt␈↓ ∧tUrbana-Champagne, Ill.␈↓ π$Nov.␈↓ λ$␈↓ 	$Stanford