Acoustics of General Interest
- Romain Michon: Embedded Real-Time Audio DSP With the Faust Programming Language
- Li Su: AI and recent developments in music information retrieval
- Chris Buchanan: Singing Synthesis
- Nick Collins: Musical Machine Listening in the Web Browser
- Chris Pike: The Next Generation of Broadcast Audio
- Colin Gough: Violin acoustics – An introduction and recent developments
- David Antony Reid: The Luthier’s Approach Guitar Making
- Claudia Fritz: Stradivarius – Myth or Reality?
- Annalisa Bonfiglio: Large-area, multi-modal sensing platforms based on organic transistors
- Jonathan Hargreaves: Auralising rooms from computer models
- Ivan Linscott: First Results from The New Horizons Encounter at Pluto
- Gadi Sassoon: Advanced Sound Synthesis and Professional Studio Practice: A Working Composer’s Perspective on Usability and Parameter Mapping
- Chris Chafe: From Musifications to Intelligible Data Sonifications
- Chris Watson: In Britten’s Footsteps
Audio Programming
Architectural and Room Acoustics
- Dario D’Orazio: Measuring Room Impulse Responses in Noisy Environments
- Archontis Politis: Reproducing recorded spatial sound scenes – Parametric and non-parametric approaches
- Braxton Boren: Acoustic Simulation of Soundscapes from History
- Jens Ahrens: Current Trends in Binaural Auralization of Microphone Array Recordings
- Jonathan Hargreaves: Auralising rooms from computer models
- Federico Avanzini: A mixed structural modeling approach to personalized 3D binaural sound rendering
- Lauri Savioja: Room Acoustics Modelling and Parallel Computation
- Damian Murphy: Strategies in Acoustic Simulation – Big Rooms and Small Voices
Auditory Modelling
- Bruno Giordano: The perceptual and cerebral processing of natural sounds
- Tobias Reichenbach: From sound waves to brain waves
- Federico Avanzini: A mixed structural modeling approach to personalized 3D binaural sound rendering
- Arturo Moleti: Probing human hearing with otoacoustic emissions
Auditory Neuroscience
- Claudia Fritz: Stradivarius – Myth or Reality?
- Leslie Smith: Exploiting neural spike coding for sound
- Bruno Giordano: The perceptual and cerebral processing of natural sounds
Musical Acoustics
- Jonathan Kemp: Matching the pitch sensitivity of guitar strings
- Colin Gough: Violin acoustics – An introduction and recent developments
- Federico Fontana: What do we play in the piano? (and) What in the piano do we hear?
- David Antony Reid: The Luthier’s Approach Guitar Making
- Claudia Fritz: Stradivarius – Myth or Reality?
- Thomas Hélie: New tools for modelling musical systems and exploring musical sound
- Jim Woodhouse: Why does a lute sound different from a guitar?
- Michele Ducceschi: Sound synthesis of gongs using a modal scheme – development and examples
- Federico Avanzini: A mixed structural modeling approach to personalized 3D binaural sound rendering
- Vesa Valimaki: Virtual Analog Modeling Research at Aalto University
- Stefan Bilbao & colleagues: Next Generation Sound Synthesis (NESS)
- Wilfried Kausel: Musical Acoustics Research at the University of Music and Performing Arts (Vienna)
Musical Acoustics Computational Modelling
- Craig Webb: Developing plugins using physical modelling synthesis and JUCE
- Romain Michon: Embedded Real-Time Audio DSP With the Faust Programming Language
- Chris Buchanan: Singing Synthesis
- Kurt Werner: “Boom Like an 808” – Secrets of the TR-808 Bass Drum’s Circuit
- Augusto Sarti: Plenacoustic Capturing and Rendering – A New Paradigm for Immersive Audio
- Stefania Serafin: Sonic interaction design for cultural heritage
- Colin Gough: Violin acoustics – An introduction and recent developments
- Federico Fontana: What do we play in the piano? (and) What in the piano do we hear?
- Gadi Sassoon: Advanced Sound Synthesis and Professional Studio Practice: A Working Composer’s Perspective on Usability and Parameter Mapping
- Thomas Hélie: New tools for modelling musical systems and exploring musical sound
- Chris Chafe: From Musifications to Intelligible Data Sonifications
- Michele Ducceschi: Sound synthesis of gongs using a modal scheme – development and examples
- Stefan Bilbao & colleagues: Next Generation Sound Synthesis (NESS)
Music Informatics
- Li Su: AI and recent developments in music information retrieval
- Chris Buchanan: Singing Synthesis
- Augusto Sarti: Plenacoustic Capturing and Rendering – A New Paradigm for Immersive Audio
- Nick Collins: Musical Machine Listening in the Web Browser
- Eita Nakamura: Bayesian Learning for Modelling Repeated and Modified Musical Note Patterns
- Rodrigo Schramm: Automatic transcription of a cappella recordings from multiple singers
- Federico Fontana: What do we play in the piano? (and) What in the piano do we hear?
- Leslie Smith: Exploiting neural spike coding for sound
- Bastiaan van der Weij: Modelling meter perception in music with predictive coding and perceptual inference
- Chris Chafe: From Musifications to Intelligible Data Sonifications
- Bob Sturm: Out of the barn and into the yard, and other colourful results from my recent paroxysm about the practice of evaluation in machine music listening
- Simon Dixon: Measuring and Modelling Intonation and Temperament
- Roger B. Dannenberg: Music Understanding and the Future of Music Performance
- Mark Granroth-Wilding: Parsing Jazz: Harmonic Analysis of Music Using Combinatory Categorial Grammar
Music Syntax Theory
- Rodrigo Schramm: Automatic transcription of a cappella recordings from multiple singers
- Bastiaan van der Weij: Modelling meter perception in music with predictive coding and perceptual inference
- Mark Granroth-Wilding: Parsing Jazz: Harmonic Analysis of Music Using Combinatory Categorial Grammar
- Martin Rohrmeier: Musical Syntax and Its Cognitive Implications