International Computer Music Conference (La Jolla)
CME Concert
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Pastoral; Requiem
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Loops
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Concert (Mandeville Auditorium)
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Effetti Collaterali (accompaniment only)
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Time Into Pieces for piano & computer generated tape
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Plot
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Travelling Music
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Effeti Collaterali
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SIG: PDP 11 users meeting ; Microprocessors, Hybrid Systems
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Part 1
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Part 2
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Part 3
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Part 4
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Part 5
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Part 6
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Presentations I
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Synthesis Hardware; Design considerations for computer music systems
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Synthesis Hardware; Design considerations for computer music systems (continued); The Carnegie-Mellon computer music system digital hardware; A portable digital sound synthesis system
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A one card 64 channel digital synthesizer; A modular approach to building large digital synthesis systems
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Systems Concepts Digital Synthesizer, technical development and functional characteristics
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Computer music fundamentals, tutorial (beginning)
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Computer music fundamentals, tutorial (continued)
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Computer music fundamentals, tutorial (conclusion); Understanding the behavior of the users of interactive computer music systems. (beginning)
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Understanding the behavior of the users of interactive computer music systems. (beginning)
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Understanding the behavior of the users of interactive computer music systems. (conclusion); Studio Reports I
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Studio Reports I (continued)
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Studio Reports I (conclusion)
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Studio Reports II: The Stanford University Center for Computer Research in Music and Acoustics (CCRMA). (beginning)
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Studio Reports II: The Stanford University Center for Computer Research in Music and Acoustics (CCRMA). (continued)
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Studio Reports II: The Stanford University Center for Computer Research in Music and Acoustics (CCRMA). (continued)
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Studio Reports II: The Stanford University Center for Computer Research in Music and Acoustics (CCRMA). (conclusion)
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Studio Reports II: Herbert Brun's "Mutatis Mulandis" and "Plot", discussion. (beginning)
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Studio Reports II: Herbert Brun's "Mutatis Mulandis" and "Plot", discussion. (conclusion)
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Presentations II
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Software for Sound Synthesis. (beginning)
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Software for sound synthesis. (continued); Synthesis Techniques. (beginning)
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Synthesis Techniques. (continued)
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Synthesis Techniques. (continued)
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Synthesis Techniques. (continued)
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Studio Reports IV: Exhibition Session; A fuzzy hierarchical system model for real time visual interpretation in music experiences
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Studio Reports III. (beginning)
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Studio Reports III. (continued)
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Studio Reports III. (continued)
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Studio Reports III. (continued)
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Compositional Algorithms; Composing grammars; Further studies in interactive computer music (beginning)
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Compositional Algorithms; Composing grammars; Further studies in interactive computer music (continued)
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Compositional Algorithms. (continued); New developments in stochiastic computer music; Real time interaction with computer music systems; Envelope control with an optical keyboard; A microprocessor based live performance instrument; 256 channel performer input device. (beginning)
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Compositional Algorithms. (continued); New developments in stochiastic computer music; Real time interaction with computer music systems; Envelope control with an optical keyboard; A microprocessor based live performance instrument; 256 channel performer input device. (beginning)
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A 256 channel performer input device. (continued); Studio Reports IV: D. Byrd (Indiana University) ; J. Beauchamp (University of Illinois)
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Studio Reports IV: D. Byrd (Indiana University) ; J. Beauchamp (University of Illinois)
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Studio Reports IV: J. Beauchamp (continued) ; J. Melby (University of Illinois) ; Brun
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Studio Reports IV: J. Melby (University of Illinois) ; Brun
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Studio Reports IV: R. Gross (CME)
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Problems in the use and design of comuter music systems, panel discussion with Gross, Chowing, Risset, Knall, Truax, Chadabe. (beginning)
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Problems in the use and design of comuter music systems, panel discussion with Gross, Chowing, Risset, Knall, Truax, Chadabe. (conclusion)
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