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Virtual environments such as games and animated and \"real\" movies require realistic sound effects that can be integrated by computer synthesis. The book emphasizes physical modeling of sound and focuses on real-world interactive sound effects. It is intended for game developers, graphics programmers, developers of virtual reality systems and training simulators, and others who want to learn about computational sound. It is written at an introductory level with mathematical foundations provided in appendices.

ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-based programming model that allows programmers to flexibly and precisely control the flow of time in code and use the keyword now as a time-aware control construct, and gives programmers the ability to use the timing mechanism to realize sample-accurate concurrent programming. Several case studies are presented that illustrate the workings, properties, and personality of the language. We also discuss applications of ChucK in laptop orchestras, computer music pedagogy, and mobile music instruments. Properties and affordances of the language and its future directions are outlined.

This article is a chronicle of impressions, ideas, methodologies, and challenges relating to the experience of composing for a \"laptop orchestra\"; specifically, the recently formed Princeton Laptop Orchestra (PLOrk). Here we document some of the compositional issues that have been raised by this unique performing force and the different strategies taken by the composers for control, sound design, spatialization, conductor roles, improvisation, and instrument design.

In its inaugural semester (Fall 2005), the Princeton Laptop Orchestra began as a seminar comprising 15 freshmen undergraduates (3 women, 12 men), 15 laptop and six-channel speaker-array stations, and equipment for networking and transportation. The students were selected on the basis of enthusiasm, thoughtfulness, and balance to the class; no explicit technical or musical background was required.

Focuses on natural and expressive synthesis of many sounds in the percussion family, and describes a set of methods for systematically analyzing and parametrically synthesizing many percussion instruments.

Briefly reviews the history of singing voice synthesis and describes current projects studying singing voice synthesis. Discusses the advantages and disadvantages of various techniques and models with emphasis on performance control, composing with vocal models, and possible directions for future research. Includes 72 references and two graphs.

Max Mathews opened the era of digital musical sound: He started computer music and nurtured it through all his life. It was a very important step—most electroacoustic music has gone from analog to digital. And the fact that Max did it was a good fortune for the whole community. Max was a scientist and an engineer of the highest caliber; he was a member of the U.S. National Academy of Science, and he directed important departments of Bell Laboratories when it was the greatest research institution in the world. Max also had a passion for music, and he showed a rare musical empathy: His exceptionally clear mind understood the desires of composers, and he generously worked to help fulfill those desires, even when he did not share them. I myself am very deeply indebted to him for my own work, and many others are, in a direct or indirect way. With the support of John Pierce, Max ensured that computer music benefitted from his unique ability to combine scientific and technical knowledge, to understand the challenges of different types of music, and to realize effective and practical implementations. He was an extraordinary designer. His contributions evidenced a real genius of conception; the tools he forged for music are powerful and sensible, and they favorably influenced the whole domain, facilitating the exchange of knowledge and know-how, as the Computer Music Journal demonstrates. Max also searched for new ways to make musical practice easier, not only for professionals—he wished to help listeners become performers. He developed concepts and devices to provide new ways of expressive control of the music. In his “intelligent instruments,” the computer helps in the literal rendering of the music, leaving the expressive control to the performer. The word computer often evokes dehumanization. In a musical and imaginative way, Max strongly contributed to making our relations with digital tools more harmonious, both in the literal and the figurative sense.

This paper describes a series of investigations into the use of sustainable methods for powering electronic musical instruments and perhaps ultimately a large ensemble such as the Princeton Laptop Orchestra, a collection of 15-25 metainstruments each consisting of a laptop computer, interfacing equipment and a hemispherical speaker. The research discussed includes the development of instruments specifically designed for solar power, as well as the use of solar panels and/or batteries to power more conventional devices such as computers and amplifiers.

This paper questions and examines the validity and future of interactive network performance. The history of research in the area is described as well as experiments with our own system. Our custom-built networked framework, known as GIGAPOPR, transfers high-quality audio, video and MIDI data over a network connection to enable live musical performances to occur in two or more distinct locations. One of our first sensor-augmented Indian instruments, The Electronic Dholak (EDholak) is a multi-player networked percussion controller that is modelled after the traditional Indian Dholak. The EDholaks trigger sound, including samples and physical models, and visualisation, using our custom-built networked visualisation software, known as veldt.