Serveur © IRCAM - CENTRE POMPIDOU 1996-2005. Tous droits réservés pour tous pays. All rights reserved.

479 textes de l'Ircam (liste par coauteur)
479 IRCAM Texts (by coauthor)
Reproduction, même partielle, soumise à l'autorisation écrite de l'Ircam
All Rights of Reproduction Subject to a Written Authorization of IRCAM

1. An Object Oriented Visual Environment for Musical Composition [1997/Assayag97a]
2. Elementi di teoria matematica della musica e problema della classificazione di canoni regolari complementari di categoria massimale [2000/Andreatta00a]
3. KANT : A Critique of Pure Quantification [1994/Agon94]
4. KANT : Une critique de la quantification pure [1994/Agon94a]
5. Objects, Time and Constraints in OpenMusic [1998/Agon98a]
6. OpenMusic + MusicSpace = OpenSpace [1999/Delerue99a]

1. A One Card 64 Channel Digital Synthesizer [1978/DiGiugno78a]

1. PICO : A calculus of Concurrent Constraint Objects for Musical Applications [1998/Alvarez98a]

1. Elementi di teoria matematica della musica e problema della classificazione di canoni regolari complementari di categoria massimale [2000/Andreatta00a]
2. OpenMusic et le problème de la construction de canons musicaux rythmiques [1999/Andreatta99a]

1. Musique comme marqueur culturel [1987/Arom87a]

1. A framework to integrate environments for computer aided composition and sound synthesis [1997/Hanappe97]
2. A matematica, o numero e o computador [1999/Assayag99a]
3. An Object Oriented Visual Environment for Musical Composition [1997/Assayag97a]
4. Cao: vers la partition potentielle [1993/Assayag93]
5. Computer Assisted Composition Today [1998/Assayag98a]
6. KANT : A Critique of Pure Quantification [1994/Agon94]
7. L'appareil musical [1994/Assayag94a]
8. Problèmes de notation dans la composition assistée par ordinateur, [1997/Assayag97b]
9. The Music Representation Project at IRCAM [1993/Assayag93a]
10. Visual Programming in Music [1995/Assayag95]

1. Sound Signals Decomposition Using a High Resolution Matching Pursuit [1996/Gribonval96a]

1. Le traitement des archives sonores au sein de l'Ircam [1998/Bailly98a]

1. Description technique du projet Studio en Ligne de l'Ircam (SOL) [1997/Ballet97]
2. Deuxieme rapport Studio Online pour le Ministere de l'Industrie [1998/Ballet98b]

1. Travailler avec Boulez [1995/Barrault95a]

1. "CHANT": de la synthèse de la voix chantée à la synthèse en général [1985/Rodet85b]
2. Entretien avec Simha Arom [1994/Barriere94a]
3. Mutations du matériau, mutations de l'écriture [1986/Barriere86]

1. L'instrument, le musicien, la sculpture [1980/Baschet80a]

1. Adaptation de la technique PSOLA aux sons musicaux [1995/Bastien95]

1. Bibliographie [1981/Battier81a]
2. Europe, avis de recherche [1995/Battier95a]
3. Gestural Research at IRCAM: A Progress Report [1998/Wanderley98b]

1. Agora: pourquoi un festival ? [1999/Bayle99a]
2. Editorial: Authenticité ou singularité ? [1991/Bayle91a]
3. Entretien avec Dominique Bozo [1993/Bayle93a]
4. Entretien avec Simha Arom [1994/Barriere94a]

1. Discrimination of musical instrument sounds resynthesized with simplified spectrotemporal parameters [1999/McAdams99c]
2. Perceptual effects of simplifying musical instrument sound time-frequency representations [1997/Beauchamp97a]

1. The effect of tone duration on auditory stream formation [1998/Beauvois98a]

1. Assessment of musical instrument quality criteria: The notion of openness" for a trumpet. [1999/Causse99b]
2. Etude subjective-objective sur le paramètre d'ouverture de la trompette [1998/Begnis98a]

1. The functional anatomy of sound intensity change detection [1997/Belin97a]
2. The functional anatomy of sound intensity discrimination [1998/Belin98a]

1. La recherche à l'Ircam en 1977 [1978/Bennett78a]
2. La recherche à l'Ircam en 1978 [1979/Bennett79a]
3. Real-Time Synthesizer Control [1978/Mathews78a]

1. Computer-Aided Model of Stereophonic Systems [1978/Bernfeld78a]

1. Rapport de stage ouvrier: L'organisation du travail [1998/98a]

1. Organization and discrimination of repeating sound sequences by newborn infants [1997/McAdams97a]

1. Implication des processus descendants dans la formation des flux auditifs [à paraître] [1997/Bey97a]
2. La perception du son [1997/Bey97c]
3. Étude des processus descendants dans la formation des flux auditifs par une méthode objective [1997/Bey97b]

1. Introduction to Auditory Cognition [1993/McAdams93d]
2. Introduction à la cognition auditive [1993/McAdams93b]
3. Nouveaux outils pour la pensée musicale : la psychologie cognitive de la musique [1998/Bigand98a]
4. Quelques considérations psychologiques sur le commentaire d'écoute [1998/Bigand98b]

1. Documentation musicale et outils hypermédia [1999/Bonardi99a]
2. IR for Contemporary Music: What the Musicologist Needs [2000/Bonardi00a]

1. Composition et théorie [1991/Bonnet91a]
2. Ecriture et perception: à propos de Messagesquisse de Pierre Boulez [1988/Bonnet88a]

1. jMax: a new JAVA-based editing and control system for real-time musical applications. [1998/Dechelle98a]
2. jMax: demonstration of an integrated environment for real time musical applications [1998/Dechelle98c]
3. Latest evolutions of the FTS real-time engine: typing, scoping, threading, compiling. [1998/Dechelle98b]

1. Auditory continuity and loudness computation [1998/McAdams98a]
2. Perceptual attenuation of nonfocused auditory streams [1997/Botte97a]
3. Perceptual organization of complex auditory sequences: Effect of number of simultaneous sub-sequences and frequency separation [1999/Brochard99a]

1. Computers in Music [1988/Boulez88c]
2. Entre ordre et chaos [1988/Boulez88a]
3. L'in(dé)fini et l'instant [1981/Boulez81a]
4. La vestale et le voleur de feu [1988/Boulez88b]
5. Le système et l'idée [1986/Boulez86]
6. Rencontre avec George Benjamin [1996/Boulez96a]

1. Marco Stroppa [1996/Bramani96a]

1. Radiation of Musical Instruments and Control of Reproduction with Loudspeakers [1992/Causse92a]

1. Entretien [1996/Breton96a]

1. Portrait de Philippe Manoury [1997/Brindeau97a]

1. Perceptual attenuation of nonfocused auditory streams [1997/Botte97a]
2. Perceptual organization of complex auditory sequences: Effect of number of simultaneous sub-sequences and frequency separation [1999/Brochard99a]

1. Contribution à l'étude du bruit généré par la turbulence dans les instruments à vent [1996/Bru96]

1. Un nouveau système de description instrumentale et vocale pour le catalogage des partitions [1998/Rogers98a]

1. Klaus Huber, un humaniste moderne [1994/Brunner94a]

1. De l'authenticité en art [1991/Buren91b]
2. Le modèle et la transgression [1991/Buren91a]

1. La musique dans le Tanztheater de Pina Bausch [1991/Burkert91a]

1. Gesture-Music [2000/Cadoz00a]

1. modélisation d'un pot d'échappement par synthèse modale [2000/Cahn00a]

1. Etude du système d'altérations de la harpe Pandora [1998/Capiez98a]

1. Estimation robuste de l'enveloppe spectrale d'un signal harmonique bruité [1997/Cappe97b]
2. Spectral Envelope Estimation using a Penalized Likelihood Criterion [1997/Cappe97a]

1. Modification du son par modification d'image temps-fréquence [1995/Caron95]

1. Conception et réalisation d'un prototype d'instrument de musique acoustique [1997/Castelain97a]

1. A Physical Model of Recorder-Like Instruments [1995/Verge95a]
2. Assessment of musical instrument quality criteria: The notion of openness" for a trumpet. [1999/Causse99b]
3. Au sujet d'une flûte paléolithique: En souvenir de Dominique Buisson [1996/Causse96]
4. Auditory categorization of sounds sources [1999/Houix99a]
5. Bifurcation, Period Doublings and Chaos in Clarinetlike Systems [1986/Maganza86a]
6. Caractérisation objective de la qualité d'un instrument de musique [1997/Causse97a]
7. Computation and Modelisation of the Sound Radiation of an Upright Piano Using Modal Formalism and Integral Equations [1995/Derogis95a]
8. Elementary Stability Considerations for Bowed-String Motion [1991/Weinreich91a]
9. Modeling in 3D of directional radiation of curved woodwind instruments [1998/Causse98a]
10. Modèle et simulations numériques de la proparation acoustique non-linéaire dans les conduits [1997/Msallam97]
11. Modélisation physique de la vibration d'une anche d'accordéon [2000/Misdariis00a]
12. Morphologie et acoustique du piano [1993/Causse93a]
13. On the Reproduction of Directivity Patterns Using Multi-Loudspeaker Sources [1995/Derogis95]
14. Physical Model of the Trombone Including Non-Linear Propagation Effects [1997/Msallam97a]
15. Physical Model of the Trombone Including Nonlinear Effects. Application to the Sound Synthesis of Loud Tones. [2000/Msallam00c]
16. Radiation of Musical Instruments and Control of Reproduction with Loudspeakers [1992/Causse92a]
17. Radiation of Musical Instruments and Improvement of the Sound Diffusion Techniques for Synthesized, Recorded or Amplified Sounds (Revisited) [1995/Causse95a]
18. Radiation synthesis with digitally controlled loudspeakers [1997/Warusfel97a]
19. Recent results on unison quality", or finding objective and quantitative criteria to decide that a piano is perfectly tuned. [1999/Causse99c]
20. Recent work around Modalys and Modal Synthesis [1997/Iovino97a]
21. Sound Production in Recorderlike Instruments: II. A Simulation Model [1997/Verge97a]
22. Sound Synthesis by Physical Modelling with Modalys, the Successor of the Modal Synthesis System Mosaïc [1995/Eckel95]
23. Studies of accordion reed vibrations - Applications in sound synthesis. [1999/Causse99a]
24. The representation of auditory source characteristics: Simple geometric form [1997/Lakatos97a]
25. Tuning of Trichords in the Piano [1995/Marandas95]
26. Unité électronique destinée à la transformation du son en temps réel et contrôlable par l'instrumentiste [1978/Causse78a]
27. Étude de la vibration et du rayonnement de la table d'harmonie du piano. Application à la reproduction du rayonnement à l'aide de moyens électroacoustiques et à la synthèse sonore [1997/Causse97b]

1. Analysis and synthesis of room reverberation based on a statistical time-frequency model [1997/Jot97c]
2. Analysis and Synthesis of Room Reverberation in the Time and Frequency Domains: Application to the Restoration of Room Impulse Responses Corrupted by Measurement Noise [1996/Jot96b]

1. Analysis and Computer Reconstruction of a Musical Fragment of György Ligeti's Melodien [1994/Chemillier94]

1. L'appareil musical [1994/Assayag94a]

1. Développement et mise au point de logiciels d'analyse-synthèse sonore [1999/Chose99a]

1. La nouvelle musique et la science: interdépendance des concepts [1981/Chowning81a]

1. L'univers des claviers électroniques [1991/Chuilon91a]

1. Entretien avec Marco Stroppa [1993/CohenLevinas93]
2. Entretien avec Michael Jarrel [1992/CohenLevinas92a]
3. Philippe Manoury: une référence à suivre [1989/CohenLevinas89a]

1. "FORMES": composition et ordonnancement de processus [1985/Rodet85a]

1. Feature extraction and temporal segmentation of acoustic signals [1998/Rossignol98a]

1. Le Cursus de composition et d'informatique musicale à l'Ircam [1998/Corlaix98a]

1. Etude de l'analyse synthèse sinusoidale [1999/Corson99a]

1. Entre le décomposé et l'incomposable [1993/Courtot93]

1. Evaluation des performances d'un environnement informatique d'Acoustique Prévisionnelle [1999/CruzBarney99a]
2. Prediction of the spatial informations for the control of room acoustics auralization [1997/CruzBarney97b]
3. Validation of a Computer Simulation Environment for Room Acoustics Prediction [1995/Warusfel95a]

1. Perception of Timbral Analogies [1992/McAdams92a]

1. Machines à chanter [1995/Depalle95b]

1. Du simple, du beau et du purement beau [1991/Dahlhaus91a]

1. jMax: a new JAVA-based editing and control system for real-time musical applications. [1998/Dechelle98a]
2. jMax: demonstration of an integrated environment for real time musical applications [1998/Dechelle98c]
3. Latest evolutions of the FTS real-time engine: typing, scoping, threading, compiling. [1998/Dechelle98b]
4. New DSP applications on FTS [1996/Dechelle96a]
5. The Ircam Real-Time Platform And Applications [1995/Dechelle95a]
6. The IRCAM «Real-Time Platform» : Evolution and Perspectives [1994/Dechelle94a]

1. Concurrent Vowel Identification: II. Effects of Phase, Harmonicity, and Task [1997/Cheveigne97]
2. Identification of Concurrent Harmonic and Inharmonic Vowels: A Test of the Theory of Harmonic Cancellation and Enhancement [1995/Cheveigne95a]
3. Rôle de la modulation de fréquence sur la séparation de voyelles [1997/Marin97a]

1. Musica, un programme de codage de la musique - manuel d'utilisation (7/78) [1978]

1. Multidimensional scaling with constrained dimensions, CONSCAL [1997/Winsberg97a]
2. Perceptual Scaling of Synthesized Musical Timbres: Common Dimensions, Specificities, and Latent Subject Classes [1995/McAdams95a]

1. Les cités d'invention - A propos de Duo en résonance et Richiamo [1996/DeVisscher96a]

1. L'analyse du passé, probabilité de la création? [1988/Decarsin88a]

1. Musiques yiddish: tradition et formes [1987/Delaistier87a]

1. Etude et réalisation d'opérateurs musicaux pour un environnement de composition assitée par ordinateur [1997/Delerue97a]
2. Etude et réalisation d'opérateurs rythmiques dans OpenMusic, un environnement de programmation appliqué à la composition musicale [1998/Delerue98a]
3. OpenMusic + MusicSpace = OpenSpace [1999/Delerue99a]

1. De Modalys au guide d'ondes numérique [1998/Delmar98a]

1. Le système de traitement de signaux digitaux "junior" [1980/Delatre80a]

1. A Fractional Delay Application: Time-varying Propagation Speed in Waveguides [1997/Tassart97a]
2. A la recherche d'une voix perdue [1995/Depalle95a]
3. A Virtual Castrato (!?) [1994/Depalle94a]
4. Analytical Approximations of Fractional Delays : Lagrange Interpolators and Allpass Filters, [1997/Depalle97c]
5. Extraction of spectral peak parameters using a short-time Fourier transform modeling and no-sidelobe windows, [1997/Depalle97a]
6. Feature extraction and temporal segmentation of acoustic signals [1998/Rossignol98a]
7. Fractional delay lines using Lagrange interpolators [1996/Depalle96a]
8. Fractional Delays using Lagrange Interpolators [1996/Tassart96a]
9. Gestural Research at IRCAM: A Progress Report [1998/Wanderley98b]
10. Instrumental Gestural Mapping Strategies as Expressivity Determinants in Computer Music Performance [1997/Rovan97a]
11. Instruments virtuels [1997/Depalle97b]
12. Machines à chanter [1995/Depalle95b]
13. New Possibilities in Sound Analysis and Synthesis [1995/Rodet95b]
14. Sound Signals Decomposition Using a High Resolution Matching Pursuit [1996/Gribonval96a]
15. State Space Sound Synthesis and a State Space Synthesiser Builder [1995/Depalle95]
16. Synthesis and Control of Hundreds of Sinusoidal Partials on a Desktop Computer without Custom Hardware [1992/Rodet92]

1. A Fractional Delay Application: Time-varying Propagation Speed in Waveguides [1997/Tassart97a]
2. Modèle et simulations numériques de la proparation acoustique non-linéaire dans les conduits [1997/Msallam97]
3. Physical Model of the Trombone Including Non-Linear Propagation Effects [1997/Msallam97a]
4. Physical Model of the Trombone Including Nonlinear Effects. Application to the Sound Synthesis of Loud Tones. [2000/Msallam00c]
5. Propagation non-linéaire dans les conduits cylindriques: Application aux instruments de musique à vent [1996/Dequidt96]

1. Entretien avec Philippe Manoury [1995/Derrien95a]
2. Le compositeur et l'instrument, questions [1980/Derrien80a]

1. A One Card 64 Channel Digital Synthesizer [1978/DiGiugno78a]
2. Système 4X - processeur numérique de signal en temps réel [1981/DiGiugno81a]

1. A calculus for concurrent processes with constraints, [1997/DiazFrias97a]

1. Etude de la composante bruitée d'un son de corde frottée [2000/Dichtel00a]

1. Context Effects in Timbre Space [1994/Donnadieu94]
2. Perceptual Scaling of Synthesized Musical Timbres: Common Dimensions, Specificities, and Latent Subject Classes [1995/McAdams95a]
3. Représentation mentale du timbre des sons complexes et effets de contexte [1997/Donnadieu97a]

1. Auditory continuity and loudness computation [1998/McAdams98a]
2. Perceptual attenuation of nonfocused auditory streams [1997/Botte97a]
3. Perceptual organization of complex auditory sequences: Effect of number of simultaneous sub-sequences and frequency separation [1999/Brochard99a]
4. The continuity illusion: Role of temporal sequence structure [1997/Drake97a]
5. The continuity illusion: Role of temporal sequence structure [1999/Drake99a]

1. Emotion - Is it measurable? [1997/Dubnov97b]
2. Instrumental Gestural Mapping Strategies as Expressivity Determinants in Computer Music Performance [1997/Rovan97a]
3. Statistical Modeling of Sound Aperiodicities [1997/Dubnov97a]
4. Study of spectro-temporal parameters in musical performance, with applications for expressive instrument synthesis. [1998/Dubnov98a]
5. Timbre Characterisation and Recognition with Combined Stationary and Temporal Features [1998/Dubnov98b]
6. Universal Classification Applied to Musical Sequences [1998/Dubnov98c]

1. Modèle et simulations numériques de la proparation acoustique non-linéaire dans les conduits [1997/Msallam97]

1. Physical modelling of the violin: study and implementation [2000/Duch00a]

1. Recent work around Modalys and Modal Synthesis [1997/Iovino97a]

1. Hauteurs et timbre [1988/Dufourt88a]
2. La mémoire créatrice [1988/Dufourt88b]
3. Les difficultés d'une prise de conscience théorique [1981/Dufourt81a]
4. Logique et matériau (1970/1980, un bilan) [1980/Dufourt80a]
5. Pierre Boulez, musicien de l'ère industrielle [1986/Dufourt86]

1. Le role des transitions legato entre notes dans la reconnaissance des instruments de musique [1999/Dupuis99b]
2. Le rôle des transitions legato entre notes dans la reconnaissance des instruments de musique [1999/Dupuis99a]

1. Héritage / Propositions [1988/Durieux88a]
2. L'ancien et le nouveau [1995/Durieux95a]

1. jMax: a new JAVA-based editing and control system for real-time musical applications. [1998/Dechelle98a]
2. jMax: demonstration of an integrated environment for real time musical applications [1998/Dechelle98c]
3. Latest evolutions of the FTS real-time engine: typing, scoping, threading, compiling. [1998/Dechelle98b]
4. New DSP applications on FTS [1996/Dechelle96a]
5. The Evolution of the Graphic Editing Environment for the IRCAM Musical Workstation [1996/Maggi96a]
6. The Ircam Musical Workstation: Hardware Overview and Signal Processing Features [1990/Lindemann90a]
7. The Ircam Real-Time Platform And Applications [1995/Dechelle95a]
8. The IRCAM «Real-Time Platform» : Evolution and Perspectives [1994/Dechelle94a]

1. Analysis and Synthesis of Room Reverberation in the Time and Frequency Domains: Application to the Restoration of Room Impulse Responses Corrupted by Measurement Noise [1996/Jot96b]
2. Computation and Modelisation of the Sound Radiation of an Upright Piano Using Modal Formalism and Integral Equations [1995/Derogis95a]
3. On the Reproduction of Directivity Patterns Using Multi-Loudspeaker Sources [1995/Derogis95]
4. Radiation of Musical Instruments and Improvement of the Sound Diffusion Techniques for Synthesized, Recorded or Amplified Sounds (Revisited) [1995/Causse95a]
5. Radiation synthesis with digitally controlled loudspeakers [1997/Warusfel97a]

1. A Signal Editor for the Ircam Musical Workstation [1990/Eckel90]
2. Sound Synthesis by Physical Modelling with Modalys, the Successor of the Modal Synthesis System Mosaïc [1995/Eckel95]

1. Binaural Concert Hall Simulation in Real Time [1993/Jot93]

1. Perception of Timbral Analogies [1978/Ehresman78a]

1. La nouvelle musique soviétique aux portes de la liberté [1991/Ekimovski91a]

1. Jet Formation and Jet Velocity Fluctuations in a Flue Organ Pipe [1995/Verge95]
2. Sound Production in Recorderlike Instruments: I. Dimensionless Amplitude of the Internal Acoustics Field [1997/Verge97]

1. La station informatique musicale [1993/Fatus93a]

1. Analyse de protocoles verbaux obtenus en comparant des timbres musicaux [1996/Faure96b]
2. Comparaison de profils sémantiques et de l'espace perceptif de timbres musicaux [1997/Faure97a]
3. Verbal correlates of perceptual dimensions of timbre [1996/Faure96a]

1. Compositeur-ordinateur-forme active [1981/Ferneyhough81a]
2. L'oeuvre en question [1991/Ferneyhough91a]

1. Le culte de l'authenticité [1991/Ferry91a]

1. An Object Oriented Visual Environment for Musical Composition [1997/Assayag97a]
2. KANT : A Critique of Pure Quantification [1994/Agon94]
3. Perception of musical tension for nontonal orchestral timbres and its relation to psychoacoustic roughness [1999/Pressnitzer99a]
4. Tension et rugosité dans une musique non tonale [1996/Pressnitzer96a]

1. Documentation musicale et outils hypermédia [1999/Bonardi99a]
2. Introduction au langage HTML: comment composer des pages pour un serveur WWW [1997]
3. Intégrer le multimédia dans la bibliothèque [1997/Fingerhut97b]
4. L'Internet, l'Ircam et le Centre Georges-Pompidou [1995/Fingerhut95a]
5. La documentation numérique au ministère de la culture et de la communication. Table ronde L'organisation de la production des connaissances scientifiques et de la diffusion documentaire au ministère dans le contexte du plan d'action du Gouvernement pour la société de l'information [1999/Fingerhut99f]
6. La numérithèque entre réalités et fantasmes [2000/Fingerhut00b]
7. Le multimédia dans la bibliothèque [1997/Fingerhut97a]
8. Le site Web de la bibliothèque considéré comme un espace [2000/Fingerhut00a]
9. Le titre d'un livre n'est pas le livre [1999/Fingerhut99d]
10. Les problèmes liés à l'instabilité du Web. Comment conserver [2000/Fingerhut00e]
11. Searching for Sound and Music at IRCAM [1999/Fingerhut99c]
12. The IRCAM Multimedia Library: a Digital Music Library [1999/Fingerhut99a]

1. Sonars à ultrasons [1997/Flety97a]

1. L'ère du multimédia [1994/Fortier94a]
2. La musique sur l'Internet [1997/Fortier97a]
3. Profession: ingénieur du son [1998/Fortier98a]

1. New Applications of the Sound Description Interchange Format [1998/Wright98a]
2. Synthesis and Control of Hundreds of Sinusoidal Partials on a Desktop Computer without Custom Hardware [1992/Rodet92]

1. Vibration et accord des cordes triples du piano [1999/Felix99a]

1. ...explosante fixe... [1989/Galaise89a]

1. De peaux, de bois et de métaux [1993/Galliari93a]
2. Entretien avec Christian de Portzamparc [1995/Galliari95b]
3. Entretien avec Olivier Donnat [1994/Galliari94c]
4. Est, ouest, nord, sud [1994/Galliari94a]
5. L'Ircam en perspective [1994/Galliari94d]
6. Ouvrez les guillemets [1995/Galliari95d]
7. Petit historique de l'enregistrement [1994/Galliari94e]
8. Philippe Fénelon dans les jardins d'Hamilcar [1998/Galliari98a]
9. Pierre Boulez, ici et maintenant [1998/Galliari98b]

1. A la recherche d'une voix perdue [1995/Depalle95a]
2. A Virtual Castrato (!?) [1994/Depalle94a]
3. New Possibilities in Sound Analysis and Synthesis [1995/Rodet95b]

1. Computer Facilities for Music at IRCAM, as of October, 1977 [1978/Gardner78a]

1. Un nouveau système de description instrumentale et vocale pour le catalogage des partitions [1998/Rogers98a]

1. Computers in Music [1988/Boulez88c]
2. Density Of Spectral Components: Preliminary Experiments [1980/Gerzso80a]
3. Entretien avec Ilya Prigogine [1995/Gerzso95a]

1. Tuning of Trichords in the Piano [1995/Marandas95]

1. Mnémoniques - La bibliothèque virtuelle [1996/Giffard96a]

1. Shock Waves in Trombones [1995/Hirschberg95b]

1. Entretien avec Karlheinz Stockhausen [1998/Gilly98a]

1. «60^e Parallèle» [1997/Gindt97a]

1. Un nouveau système de description instrumentale et vocale pour le catalogage des partitions [1998/Rogers98a]

1. Le compositeur, l'instrument, l'interprète [1980/Globokar80a]

1. Efficient Fourier Synthesis of Nonstationary Sinusoids [1994/Goodwin94]

1. Entretien avec György Ligeti [1987/Gottwald87]

1. La synthèse d'image sur les sentiers du sonore [1995/Gravel95a]

1. Les comportements musicaux des adolescents [1987/Green87a]

1. Application de l'algorithme de Matching Pursuit Haute Résolution à l'analyse temps-fréquence des signaux sonores. [1995/Gribonval95]
2. Approximations non-linéaires pour l'analyse des signaux sonores [1999/Gribonval99a]
3. Sound Signals Decomposition Using a High Resolution Matching Pursuit [1996/Gribonval96a]

1. Voyage musical parmi les neurones [1999/Groscarret99a]

1. Une Etude "pour les Sonorités Opposées" - Principes méthodologiques d'une analyse "orientée objets" de la musique du XX^e siècle [1996/Guigue96a]

1. Entretien avec Christian de Portzamparc [1995/Galliari95b]

1. Améliorations de Xspect [1998/Guillet98a]

1. L'instrument extra-européen, le compositeur, l'interprète [1980/Gutzwiller80a]

1. Etude acoustique de la timbale et d'un système automatique d'accord: Rapport de stage de seconde année [1996/Guerit96]

1. Si l'oreille m'était contée [1993/Hammountene93a]

1. A framework to integrate environments for computer aided composition and sound synthesis [1997/Hanappe97]
2. An Object Oriented Visual Environment for Musical Composition [1997/Assayag97a]
3. Composition on top of real-time sound synthesis [1998/Hanappe98a]

1. Etude et réalisation d'un dispositif automatique d'accord de la timbale [1998/Hardy98a]

1. The Computer as a Sound Processor [1980/Haynes80a]

1. Le piano et l'extension de ses pouvoirs [1980/Helffer80a]

1. Synthèse de la voix chantée par règles [1998/Henrich98a]

1. Yan Maresz [1998/Heuze98a]

1. A Physical Model of Recorder-Like Instruments [1995/Verge95a]
2. Dimensionless Amplitude of the Internal Acoustic Filed in Flue Instruments [1995/Hirschberg95]
3. Jet Formation and Jet Velocity Fluctuations in a Flue Organ Pipe [1995/Verge95]
4. Shock Waves in Trombones [1995/Hirschberg95b]
5. Sound Production in Recorderlike Instruments: I. Dimensionless Amplitude of the Internal Acoustics Field [1997/Verge97]
6. Sound Production in Recorderlike Instruments: II. A Simulation Model [1997/Verge97a]
7. Turbulence Noise in Flue Instruments [1995/Hirschberg95a]

1. Le jazz, un enfant adoptif [1987/Hodeir87a]

1. Contrôle par diphone: Introduction du bruit et des enveloppes spectrales [1995/Hosxe95]

1. Auditory categorization of sounds sources [1999/Houix99a]

1. Estimation des paramètres d'un modèle physique de trompette [1998/Helie98a]
2. Etude des méthodes d'estimation des paramètres d'un modèle physique d'instrument de trompette [1998/Helie98b]
3. Inversion of a physical model of a trumpet [1999/Helie99a]

1. Modalys in jMax: real-time modal-synthesis [1999/Iovino99a]
2. Recent work around Modalys and Modal Synthesis [1997/Iovino97a]
3. Sound Synthesis by Physical Modelling with Modalys, the Successor of the Modal Synthesis System Mosaïc [1995/Eckel95]

1. Analyse d'une Interface Gestuelle pour le contrôle de la synthèse sonore [1999/Isart99a]

1. Editorial: Identités/altérités [1987/Jimenez87a]
2. Un inauthentique « Jargon de l'authenticité » [1991/Jimenez91a]

1. A Real-Time Spatial Sound Processor for Music and Virtual Reality Applications [1995/Jot95]
2. Analysis and synthesis of room reverberation based on a statistical time-frequency model [1997/Jot97c]
3. Analysis and Synthesis of Room Reverberation in the Time and Frequency Domains: Application to the Restoration of Room Impulse Responses Corrupted by Measurement Noise [1996/Jot96b]
4. Binaural Concert Hall Simulation in Real Time [1993/Jot93]
5. Digital Signal Processing Issues in the Context of Binaural and Transaural Stereophony [1995/Jot95c]
6. Efficient models for reverberation and distance rendering in computer music and virtual audio reality [1997/Jot97b]
7. Le Spatialisateur [1995/Jot95b]
8. Spat~ : A Spatial Processor for Musicians and Sound Engineers [1995/Jot95a]
9. Synthesizing Three-Dimensional Sound Scenes in Audio or Multimedia Production and Interactive Human-Computer Interfaces [1996/Jot96a]
10. Techniques d'interpolation de filtres audio-numériques: Application à la reproduction spatiale des sons sur écouteurs [1997/Larcher97a]
11. Techniques, algorithmes et modèles de representation pour la spatialisation des sons appliquée aux services multimédia [1997/Jot97a]

1. Structured Model for the Representation and the Control of Room Acoustical Quality [1995/Jullien95a]
2. Subjective Listening Tests in Concert Halls: Methodology and Results [1995/Kahle95a]
3. Technologies et perception auditive de l'espace [1994/Jullien94]

1. Influence of Size and Composition of the Orchestra on the Perception of Room Acoustical Quality [1995/Kahle95]
2. Subjective Listening Tests in Concert Halls: Methodology and Results [1995/Kahle95a]

1. A non-speed classification study on the mechanical dimensions of timbre [1997/Kirchner97a]

1. Facteurs contribuant à la perception de la tension musicale dans la musique tonale et non-tonale [1997/Kluxen97a]

1. Africanité: folklore ou marchandise? [1987/Konate87a]

1. Système 4X - processeur numérique de signal en temps réel [1981/DiGiugno81a]

1. Perceptual Scaling of Synthesized Musical Timbres: Common Dimensions, Specificities, and Latent Subject Classes [1995/McAdams95a]

1. The representation of auditory source characteristics: Simple geometric form [1997/Lakatos97a]

1. Bifurcation, Period Doublings and Chaos in Clarinetlike Systems [1986/Maganza86a]

1. Digital Signal Processing Issues in the Context of Binaural and Transaural Stereophony [1995/Jot95c]
2. Paramétrisation des fonctions de transfert binaurales [1995/Larcher95]
3. Techniques d'interpolation de filtres audio-numériques: Application à la reproduction spatiale des sons sur écouteurs [1997/Larcher97a]

1. Identification of Concurrent Harmonic and Inharmonic Vowels: A Test of the Theory of Harmonic Cancellation and Enhancement [1995/Cheveigne95a]

1. Modalys in jMax: real-time modal-synthesis [1999/Iovino99a]

1. Computer Program to Control a Digital Real-Time Synthetizer [1977/Lawson77]

1. Diphone [1997/Rodet97b]
2. Macintosh Graphical Interface and Improvements to Generalized Diphone Control and Synthesis [1996/Rodet96a]
3. The Diphone Program: New Features, New Synthesis Methods and Experience of Musical Use [1997/Rodet97a]

1. Entretien avec Philippe Hurel [1994/Lelong94a]
2. Le stade de l'intégration [1994/Lelong94]
3. Philippe Hurel, la gestion de l'hétérogène [1995/Lelong95a]
4. Un musicien chez le D^r Mabuse [1993/Lelong93b]
5. Venir, voir, écouter [1993/Lelong93a]

1. La composition assistée par ordinateur [1986/Lerdahl86a]

1. Modeling in 3D of directional radiation of curved woodwind instruments [1998/Causse98a]
2. Simulation et mesure du rayonnement de différents instruments à vent à trous latéraux [1997/Lheureux97]

1. ANIMAL: A Rapid Prototyping Environment for Computer Music Systems [1990/Lindemann90]
2. The Ircam Musical Workstation: Hardware Overview and Signal Processing Features [1990/Lindemann90a]

1. Analyse de la bande de l'oeuvre de J.-C. Risset "Inharmonique" [1980/Lorrain80a]
2. Une panoplie de canons stochastiques [1980/Lorrain80b]

1. Les notations en danse, gardiennes de l'invention [1994/Louppe94a]

1. Estimation et suivi de fréquence fondamentale de signaux de parole à l'aide de modèles de Markov cachés [1995/Lucat95]

1. Musique et identité culturelle [1987/Levistrauss87a]

1. Inversion of a physical model of a trumpet [1999/Helie99a]

1. Développement d'un logiciel de visualisation et d'analyse de signaux sonores [1996/Levy96]

1. Parcours (1978-1996) [1996/Machart96a]

1. Le compositeur et l'ordinateur: quelques réflexions [1981/Machover81a]

1. Quelques considérations psychologiques sur le commentaire d'écoute [1998/Bigand98b]

1. Loudness evaluation of urban soundscapes by a cross-modal matching method [1999/Susini99b]

1. Bifurcation, Period Doublings and Chaos in Clarinetlike Systems [1986/Maganza86a]

1. jMax: a new JAVA-based editing and control system for real-time musical applications. [1998/Dechelle98a]
2. jMax: demonstration of an integrated environment for real time musical applications [1998/Dechelle98c]
3. Latest evolutions of the FTS real-time engine: typing, scoping, threading, compiling. [1998/Dechelle98b]
4. New DSP applications on FTS [1996/Dechelle96a]
5. The Evolution of the Graphic Editing Environment for the IRCAM Musical Workstation [1996/Maggi96a]

1. Jet Formation and Jet Velocity Fluctuations in a Flue Organ Pipe [1995/Verge95]

1. Un studio numérique de travail sur le son [1981/Mailliard81a]

1. Sound Signals Decomposition Using a High Resolution Matching Pursuit [1996/Gribonval96a]

1. Le jazz, un enfant adoptif [1987/Hodeir87a]

1. Le transitoire et l'éternel ou le crépuscule des modernes ? [1991/Manoury91a]

1. Recent results on unison quality", or finding objective and quantitative criteria to decide that a piano is perfectly tuned. [1999/Causse99c]
2. Tuning of Trichords in the Piano [1995/Marandas95]

1. L'intelligibilité de la parole en présence d'un écho et de bruit [1994/Susini94a]
2. The intelligibility of speech in the presence of an echo and of noise:an example of some phonetic transitions. [1994/Santon94a]

1. Auditory Processing of Frequency Modulation Coherence [1990/McAdams90a]
2. Concurrent Vowel Identification: II. Effects of Phase, Harmonicity, and Task [1997/Cheveigne97]
3. Rôle de la modulation de fréquence sur la séparation de voyelles [1997/Marin97a]
4. Segregation of Concurrent Sounds: II: Effects of Spectral Envelope Tracing, Frequency Modulation Coherence, and Frequency Modulation Width [1991/Marin91]
5. The Role of Auditory Beats Induced by Frequency Modulation and Polyperiodicity in the Perception of Spectrally Embedded Complex Target Sounds [1996/Marin96a]

1. Etude de la localisation en restitution du son pour la téléconférence de haute qualité [1996/Marin96b]

1. Analyse en modeles de résonnance [1999/Marti99a]

1. Computer Program to Control a Digital Real-Time Synthetizer [1977/Lawson77]
2. Harmony And Nonharmonic Partials [1980/Mathews80b]
3. Real-Time Synthesizer Control [1978/Mathews78a]
4. The Sequential Drum [1980/Mathews80a]

1. Étude des processus mentaux sous-tendant la perception de similarité de matériaux musicaux transformés [1997/Maztkin97a]

1. A multidimentional technique for sound quality assessment [1999/Susini99c]
2. Acoustics, psychoacoustics, and spectral music [1998/Pressnitzer98b]
3. Audition: Cognitive Psychology of Music [1996/McAdams96a]
4. Auditory categorization of sounds sources [1999/Houix99a]
5. Auditory continuity and loudness computation [1998/McAdams98a]
6. Auditory Processing of Frequency Modulation Coherence [1990/McAdams90a]
7. Caractérisation perceptive de bruits [1998/Susini98a]
8. Caractérisation perceptive des bruits de véhicules [1997/Susini97a]
9. Comparaison de profils sémantiques et de l'espace perceptif de timbres musicaux [1997/Faure97a]
10. Concurrent Vowel Identification: II. Effects of Phase, Harmonicity, and Task [1997/Cheveigne97]
11. Context Effects in Timbre Space [1994/Donnadieu94]
12. Discrimination of musical instrument sounds resynthesized with simplified spectrotemporal parameters [1999/McAdams99c]
13. Fusion spectrale et la création d'images auditives (40/86) [1986]
14. Global and continuous judgements of sounds with time-varying intensity: cross-modal matching with a proprioceptive input device [1998/Susini98b]
15. Identification of Concurrent Harmonic and Inharmonic Vowels: A Test of the Theory of Harmonic Cancellation and Enhancement [1995/Cheveigne95a]
16. Implication des processus descendants dans la formation des flux auditifs [à paraître] [1997/Bey97a]
17. Influence de la phase sur la perception de rugosité de sons complexes [1997/Pressnitzer97d]
18. Influence of Phase Effects on Roughness Modeling [1997/Pressnitzer97a]
19. Influence of Timbre, Presence/absence of Tonal Hierarchy and Musical Training on the Perception of Musical Tension and Relaxation Schemas [1997/Paraskeva97a]
20. Introduction to Auditory Cognition [1993/McAdams93d]
21. Introduction à la cognition auditive [1993/McAdams93b]
22. L'image auditive: une métaphore pour la recherche musicale et psychologique sur l'organisation auditive (37/85) [1985]
23. L'organisation perceptive de l'environnement sonore [1997/McAdams97b]
24. Multidimensional characterisation of perceptual and preference judgements of vehicle and environmental noises [1998/McAdams98c]
25. Nouveaux outils pour la pensée musicale : la psychologie cognitive de la musique [1998/Bigand98a]
26. Organization and discrimination of repeating sound sequences by newborn infants [1997/McAdams97a]
27. Perception of musical tension for nontonal orchestral timbres and its relation to psychoacoustic roughness [1999/Pressnitzer99a]
28. Perception of Timbral Analogies [1992/McAdams92a]
29. Perceptual attenuation of nonfocused auditory streams [1997/Botte97a]
30. Perceptual characterisation of vehicules noises [1997/Susini97b]
31. Perceptual effects of simplifying musical instrument sound time-frequency representations [1997/Beauchamp97a]
32. Perceptual organization of complex auditory sequences: Effect of number of simultaneous sub-sequences and frequency separation [1999/Brochard99a]
33. Perceptual Scaling of Synthesized Musical Timbres: Common Dimensions, Specificities, and Latent Subject Classes [1995/McAdams95a]
34. Perspectives on the Contribution of Timbre to Musical Structure [1999/McAdams99a]
35. Phase effects in roughness perception [1998/Pressnitzer98a]
36. Psychological Constraints on Form-Bearing Dimensions in Music [1989/McAdams89a]
37. Quelques considérations psychologiques sur le commentaire d'écoute [1998/Bigand98b]
38. Recognition of Auditory Sound Sources and Events [1993/McAdams93a]
39. Segregation of Concurrent Sounds: II: Effects of Spectral Envelope Tracing, Frequency Modulation Coherence, and Frequency Modulation Width [1991/Marin91]
40. Summation of roughness across frequency regions [1999/Pressnitzer99c]
41. Sélectivité fréquentielle et séparation de sources simultanées chez des auditeurs normo-entendants et malentendants [1997/McAdams97c]
42. Tension et rugosité dans une musique non tonale [1996/Pressnitzer96a]
43. The continuity illusion: Role of temporal sequence structure [1997/Drake97a]
44. The continuity illusion: Role of temporal sequence structure [1999/Drake99a]
45. The functional anatomy of sound intensity discrimination [1998/Belin98a]
46. The representation of auditory source characteristics: Simple geometric form [1997/Lakatos97a]
47. The Role of Auditory Beats Induced by Frequency Modulation and Polyperiodicity in the Perception of Spectrally Embedded Complex Target Sounds [1996/Marin96a]
48. The Role of FM-induced AM in Dynamic Spectral Profile Analysis [1988/McAdams88a]
49. Timbre [1999/McAdams99b]
50. Two phase effects in roughness perception [1999/Pressnitzer99b]
51. Validation of a Multidimensional Distance Model for Perceptual Dissimilarities among Musical Timbres [1998/Misdariis98a]
52. Verbal correlates of perceptual dimensions of timbre [1996/Faure96a]
53. Étude des processus descendants dans la formation des flux auditifs par une méthode objective [1997/Bey97b]

1. Binaural Concert Hall Simulation in Real Time [1993/Jot93]

1. Discrimination of musical instrument sounds resynthesized with simplified spectrotemporal parameters [1999/McAdams99c]
2. Perceptual effects of simplifying musical instrument sound time-frequency representations [1997/Beauchamp97a]

1. Modélisation informatique de partitions, analyse et composition assistée [1993/Mesnage93a]

1. A propos de George Benjamin [1996/Messiaen96a]

1. Effect of time distribution of energy on loudness evaluation [1999/Meunier99a]

1. Modèle non-linéaire de violon pour la synthèse sonore en temps-réel [2000/Mewissen00a]

1. Entretien avec Kaija Saariaho [1994/Michel94a]

1. La musique, les structures mentales et le sens [1981/Minsky81a]

1. Assessment of musical instrument quality criteria: The notion of openness" for a trumpet. [1999/Causse99b]
2. Caractérisation perceptive de bruits [1998/Susini98a]
3. Modélisation physique de la vibration d'une anche d'accordéon [2000/Misdariis00a]
4. Multidimensional characterisation of perceptual and preference judgements of vehicle and environmental noises [1998/McAdams98c]
5. Studies of accordion reed vibrations - Applications in sound synthesis. [1999/Causse99a]
6. Validation of a Multidimensional Distance Model for Perceptual Dissimilarities among Musical Timbres [1998/Misdariis98a]

1. About This Reverberation Business [1978/Moorer78b]
2. The Use of the Linear Prediction of Speech in Computer Music Applications [1978/Moorer78a]

1. Aspects dynamiques du phrasé de la trompette (33/81) [1981]

1. A Fractional Delay Application: Time-varying Propagation Speed in Waveguides [1997/Tassart97a]
2. Modèle et simulations numériques de la proparation acoustique non-linéaire dans les conduits [1997/Msallam97]
3. Modèles et simulations numériques de l'acoustique non-linéairedans les conduits: Application à l'étude des effets non-linéaires dans le trombone et à la synthèse sonore par modèle physique [1998/Msallam98a]
4. Physical Model of the Trombone Including Non-Linear Propagation Effects [1997/Msallam97a]
5. Physical Model of the Trombone Including Nonlinear Effects. Application to the Sound Synthesis of Loud Tones. [2000/Msallam00c]
6. Shock Waves in Trombones [1995/Hirschberg95b]

1. Influence de la directivité des sources sur la perception d'une scène sonore [1997/Mzali97]

1. Pour une intellectualité musicale [1991/Nicolas91a]

1. En attendant Roger Reynolds [1993/Nieminen93a]
2. Entretien avec George Benjamin [1996/Nieminen96a]

1. Verbal correlates of perceptual dimensions of timbre [1996/Faure96a]

1. Bali: la musique comme cosmologie sonore [1987/Oesch87a]

1. La mesure de la distance: Rendering de Berio [1991/Osmondsmith91a]

1. Analyse/synthèse des signaux de parole à partir d'un modèle de sinusoides et de bruit. Application au codage bas débit et aux transformations prosodiques [1998/Oudot98a]
2. Estimation of the spectral envelope of mixed spectrum signals using a penalized likelihood criterion [1997/Oudot97a]
3. Spectral Envelope Estimation using a Penalized Likelihood Robust estimation of the spectral envelope for harmonics+noise" models, [1997/Oudot97b]

1. Influence of Timbre, Presence/absence of Tonal Hierarchy and Musical Training on the Perception of Musical Tension and Relaxation Schemas [1997/Paraskeva97a]
2. L'influence du timbre, de la présence/absence tonalité et de l'éducation musicale dans la perception des schémas de tension et de détente musicales [1997/Paraskeva97b]

1. Cultures musicales d'exil [1987/Pedler87a]

1. Analyse et Synthese des sons musicaux par la methode PSOLA [1998/Peeters98a]
2. Implémentation en temps réel des retards fractionnaires par interpolation de Lagrange [1996/Peeters96a]
3. Non-Stationary Analysis/Synthesis using Spectrum Peak Shape Distortion, Phase and Reassignement [1999/Peeters99a]
4. Signal Characterization in terms of Sinusoidal and Non-Sinusoidal Components [1998/Peeters98b]

1. Analyse modale d'un corps de harpe en matériaux composites en vue de l'amélioration de la sonorité de l'instrument [1998/Pernaux98a]
2. Système numérique des instruments à vent sous LabView [1997/Pernaux97a]

1. Development and debugging of Additive and further analysis/synthesis software [1999/Perry99a]

1. Giacinto Scelsi. En voyage après dictée [1991/Pesko91a]

1. Le Concerto de Chambre de Ligeti [1987/Piencikowski87a]

1. Harmony And Nonharmonic Partials [1980/Mathews80b]

1. La courbure du parcours [1995/Poirier95a]

1. Création d'une base de données d'articles scientifiques pour le Département Recherche et Développement de l'Ircam [1997/Poirier97a]

1. Ciné musique [1993/Porcile93a]

1. "CHANT": de la synthèse de la voix chantée à la synthèse en général [1985/Rodet85b]
2. La composition assistée par ordinateur [1986/Lerdahl86a]

1. La transparence du signe [1994/Pousset94a]

1. Composer (avec) des identités culturelles [1987/Pousseur87a]

1. Acoustics, psychoacoustics, and spectral music [1998/Pressnitzer98b]
2. Influence de la phase sur la perception de rugosité de sons complexes [1997/Pressnitzer97d]
3. Influence of Phase Effects on Roughness Modeling [1997/Pressnitzer97a]
4. L'approche du phénomène sonore [1997/Pressnitzer97c]
5. Perception de rugosité psychoacoustique: D'un attribut élémentaire de l'audition à l'écoute musicale [1998/Pressnitzer98c]
6. Perception of musical tension for nontonal orchestral timbres and its relation to psychoacoustic roughness [1999/Pressnitzer99a]
7. Phase effects in roughness perception [1998/Pressnitzer98a]
8. Sons rugueux, sons tendus [1997/Pressnitzer97b]
9. Summation of roughness across frequency regions [1999/Pressnitzer99c]
10. Tension et rugosité dans une musique non tonale [1996/Pressnitzer96a]
11. Two phase effects in roughness perception [1999/Pressnitzer99b]
12. Validation of a Multidimensional Distance Model for Perceptual Dissimilarities among Musical Timbres [1998/Misdariis98a]

1. A Real-Time Operating System for Computer Music [1990/Viara90a]
2. EXPLODE: A User Interface for Sequencing and Score Following [1990/Puckette90]
3. The IRCAM «Real-Time Platform» : Evolution and Perspectives [1994/Dechelle94a]

1. Etude des parametres pertinents dans la reconnaissance des sources sonores [1999/Rabeau99a]

1. Le compositeur et ses AMIs [1993/Rahn93]

1. Modélisation physique de la vibration d'une anche d'accordéon [1999/Ricot99a]
2. Modélisation physique de la vibration d'une anche d'accordéon [2000/Misdariis00a]
3. Studies of accordion reed vibrations - Applications in sound synthesis. [1999/Causse99a]

1. Entretien avec Denis Cohen [1993/Rigoni93a]
2. Entretien avec Frédéric Durieux [1995/Rigoni95a]
3. Luca Francesconi [1994/Rigoni94a]
4. «GO-gol», un opéra de Michaël Levinas [1997/Rigoni97a]

1. Tradition et authenticité [1991/Rihm91a]

1. Modélisation informatique de partitions, analyse et composition assistée [1993/Mesnage93a]

1. Archivage numérique des sons [1979/Risset79a]
2. Hauteur et timbre des sons [1978/Risset78a]
3. Musical Acoustics [1978/Risset78d]
4. Paradoxes de hauteur [1978/Risset78c]
5. Perception, environnement, musiques [1988/Risset88]
6. The Development of Digital Techniques: A Turning Point For Electronic Music? [1978/Risset78b]

1. "CHANT": de la synthèse de la voix chantée à la synthèse en général [1985/Rodet85b]
2. "FORMES": composition et ordonnancement de processus [1985/Rodet85a]
3. A la recherche d'une voix perdue [1995/Depalle95a]
4. A Virtual Castrato (!?) [1994/Depalle94a]
5. Analysis/synthesis : Sinusoïdal + Residual and Elementary Waveforms Models [1997/Rodet97c]
6. Automatic characterisation of musical signals: feature extraction and temporal segmentation [1998/Rodet98b]
7. Bifurcation Sequence in a Physical Model of Trumpet-like Instruments: From a Fixed Point to Chaos [1998/Vergez98a]
8. Comparison of Real Trumpet Playing, Latex Model of Lips and Computer Model [1997/Vergez97a]
9. Diphone [1997/Rodet97b]
10. Efficient Fourier Synthesis of Nonstationary Sinusoids [1994/Goodwin94]
11. Experiments With An Artificial Mouth For Trumpet [1998/Vergez98b]
12. Feature extraction and temporal segmentation of acoustic signals [1998/Rossignol98a]
13. Inversion of a physical model of a trumpet [1999/Helie99a]
14. Machines à chanter [1995/Depalle95b]
15. Macintosh Graphical Interface and Improvements to Generalized Diphone Control and Synthesis [1996/Rodet96a]
16. Model of the Trumpet Functioning: Real Time Simulation and Experiments with an Artificial Mouth [1997/Vergez97]
17. Musical Sound Signal Analysis/Synthesis: Sinusoidal+Residual and Elementary Waveform Models [1997/Rodet97]
18. New Algorithm for Nonlinear Propagation of a sound Wave, Aplication to a Physical Model of a Trumpet [2000/Vergez00b]
19. New Applications of the Sound Description Interchange Format [1998/Wright98a]
20. New Possibilities in Sound Analysis and Synthesis [1995/Rodet95b]
21. Non-Stationary Analysis/Synthesis using Spectrum Peak Shape Distortion, Phase and Reassignement [1999/Peeters99a]
22. Nonlinear dynamics in physical models: From basic models to true musical-instrument models [1999/Rodet99b]
23. Nonlinear dynamics in physical models: simple feedback-loop systems and properties [1999/Rodet99a]
24. Nonlinear Oscillations in Sustained Musical Instruments: Models and Controls [1993/Rodet93a]
25. Nonlinear Oscillator Models of Musical Instrument Excitation [1992/Rodet92a]
26. One and Two Mass Model Oscillations for Voice and Instruments [1995/Rodet95]
27. Oscillation, Chaos and Control of Nonlinear Dynamical Models [1995/Rodet95a]
28. Physical Models of Trumpet-like Instruments Detailed Behavior and Model Improvements [1996/Rodet96c]
29. Signal Characterization in terms of Sinusoidal and Non-Sinusoidal Components [1998/Peeters98b]
30. Sinusoidal + Residual Models for Musical Sound Signals Analysis/Synthesis [1998/Rodet98c]
31. Sinusoidal+Residual Models for Musical Sound Signals Analysis/Synthesis [1998/Rodet98a]
32. Sinusoidal+Residual Models for Musical Sound Signals Analysis/Synthesis [1997/97a]
33. Sound Signals Decomposition Using a High Resolution Matching Pursuit [1996/Gribonval96a]
34. Stability/Instability of Periodic Solutions and Chaos in Physical Models of Musical Instruments [1994/Rodet94]
35. Statistical Modeling of Sound Aperiodicities [1997/Dubnov97a]
36. Study of spectro-temporal parameters in musical performance, with applications for expressive instrument synthesis. [1998/Dubnov98a]
37. Synthesis and Control of Hundreds of Sinusoidal Partials on a Desktop Computer without Custom Hardware [1992/Rodet92]
38. The Diphone Program: New Features, New Synthesis Methods and Experience of Musical Use [1997/Rodet97a]
39. The Role of FM-induced AM in Dynamic Spectral Profile Analysis [1988/McAdams88a]
40. Timbre Characterisation and Recognition with Combined Stationary and Temporal Features [1998/Dubnov98b]
41. Xspect: a New X/Motif Signal Visualisation, Analysis and Editing Program [1996/Rodet96b]

1. Un nouveau système de description instrumentale et vocale pour le catalogage des partitions [1998/Rogers98a]

1. A Composer's Notes On The Development And Implantation Of Software For A Digital Synthesizer [1978/Rolnick78a]

1. Le choc de l'ancien [1991/Rosen91a]

1. Identification of Concurrent Harmonic and Inharmonic Vowels: A Test of the Theory of Harmonic Cancellation and Enhancement [1995/Cheveigne95a]

1. Automatic characterisation of musical signals: feature extraction and temporal segmentation [1998/Rodet98b]
2. Feature extraction and temporal segmentation of acoustic signals [1998/Rossignol98a]
3. Segmentation - Extraction du vibrato: Premier rapport d'activité [1997/Rossignol97]

1. Influence des irrégularités de frappe du marteau sur la double décroissance du son d'un choeur de cordes de piano (aspect expérimental) [1997/Rousseau97]

1. ESCHER - Modeling and Performing Composed Instruments in real-time [1998/Wanderley98c]
2. Gestural Controllers: Strategies for Expressive Application [1998/Rovan98a]
3. Instrumental Gestural Mapping Strategies as Expressivity Determinants in Computer Music Performance [1997/Rovan97a]
4. jMax: a new JAVA-based editing and control system for real-time musical applications. [1998/Dechelle98a]
5. jMax: demonstration of an integrated environment for real time musical applications [1998/Dechelle98c]
6. Latest evolutions of the FTS real-time engine: typing, scoping, threading, compiling. [1998/Dechelle98b]

1. A Digitally Programmable Filter [1978/Rozenberg78a]
2. Constant High Q Bandpass Filters (20/79) [1979]

1. Integrating Constraint Programming in Visual Musical Composition Languages [1998/Rueda98a]
2. KANT : A Critique of Pure Quantification [1994/Agon94]
3. The Music Representation Project at IRCAM [1993/Assayag93a]
4. The Visual Model of Cordial [1997/Rueda97a]

1. Effect of time distribution of energy on loudness evaluation [1999/Meunier99a]

1. Le forum de l'Ircam, ou l'antichambre du son numérique [1999/Remy99a]

1. Synthèse par analyse modale d'un son de flûte avec le lgoiciel Modalys, [1999/SaintLezin99a]

1. The functional anatomy of sound intensity change detection [1997/Belin97a]
2. The functional anatomy of sound intensity discrimination [1998/Belin98a]

1. The functional anatomy of sound intensity change detection [1997/Belin97a]

1. L'intelligibilité de la parole en présence d'un écho et de bruit [1994/Susini94a]
2. The intelligibility of speech in the presence of an echo and of noise:an example of some phonetic transitions. [1994/Santon94a]

1. Reproduction de la directivité par une source multi haut-parleurs [1997/Sautreau97a]

1. The functional anatomy of sound intensity change detection [1997/Belin97a]
2. The functional anatomy of sound intensity discrimination [1998/Belin98a]

1. ESCHER - Modeling and Performing Composed Instruments in real-time [1998/Wanderley98c]
2. jMax: a new JAVA-based editing and control system for real-time musical applications. [1998/Dechelle98a]
3. jMax: demonstration of an integrated environment for real time musical applications [1998/Dechelle98c]
4. Latest evolutions of the FTS real-time engine: typing, scoping, threading, compiling. [1998/Dechelle98b]
5. Modalys in jMax: real-time modal-synthesis [1999/Iovino99a]
6. New DSP applications on FTS [1996/Dechelle96a]

1. Mutation de l'écriture: Éclat, Stria, Désintégrations [1986/Schoeller86]

1. Spectral Envelopes in Sound Analysis and Synthesis [1998/Schwarz98a]

1. Un oscillateur non-lineaire modele physique de base des instruments de type violon [1998/Serafin98a]
2. Un oscillateur non-linéaire modèle physique de base des instruments de type violon [1998/Serafin98b]

1. Documentation musicale et outils hypermédia [1999/Bonardi99a]

1. La Partition du ciel et de l'enfer, de Philippe Manoury [1991/Simon91a]

1. Synthèse multimédia: Une formalisation réflexive de l'interaction dans les systèmes complexes [1996/Smets96]

1. A Universal Recorder for the IRCAM Workstation [1990/Smith90a]
2. Computer-Aided Model of Stereophonic Systems [1978/Bernfeld78a]
3. The functional anatomy of sound intensity change detection [1997/Belin97a]
4. The functional anatomy of sound intensity discrimination [1998/Belin98a]
5. Validation of a Multidimensional Distance Model for Perceptual Dissimilarities among Musical Timbres [1998/Misdariis98a]

1. L'identité du son [1998/Solomos98a]

1. Feature extraction and temporal segmentation of acoustic signals [1998/Rossignol98a]

1. The Ircam Musical Workstation: Hardware Overview and Signal Processing Features [1990/Lindemann90a]

1. Vers un nouvel humanisme [1996/Stoianova96a]

1. Chest Vibrations In Singers (22/79) [1979]
2. On Coupling Between Vocal Tract and Voice Source (21/79) [1979]

1. A multidimentional technique for sound quality assessment [1999/Susini99c]
2. Caractérisation perceptive de bruits [1998/Susini98a]
3. Caractérisation perceptive des bruits de véhicules [1997/Susini97a]
4. Effect of time distribution of energy on loudness evaluation [1999/Meunier99a]
5. Global and continuous judgements of sounds with time-varying intensity: cross-modal matching with a proprioceptive input device [1998/Susini98b]
6. L'intelligibilité de la parole en présence d'un écho et de bruit [1994/Susini94a]
7. Loudness evaluation of urban soundscapes by a cross-modal matching method [1999/Susini99b]
8. Multidimensional characterisation of perceptual and preference judgements of vehicle and environmental noises [1998/McAdams98c]
9. Perception evolutive et globale de sons non stationnaires [1999/Susini99a]
10. Perceptual characterisation of vehicules noises [1997/Susini97b]
11. Sound and ergonomy: Trace mnésique d'une vibration [1998/Susini98c]
12. The intelligibility of speech in the presence of an echo and of noise:an example of some phonetic transitions. [1994/Santon94a]
13. Validation of a Multidimensional Distance Model for Perceptual Dissimilarities among Musical Timbres [1998/Misdariis98a]

1. Danse et design sonore: François Raffinot et Louis Dandrel rejoignent l'Ircam [1999/Szendy99a]
2. De la harpe éolienne à la "toile": fragments d'une généalogie portative [1996/Szendy96d]
3. De Schoenberg aux lendemains (petite déduction a posteriori du vingtième siècle musical) [1996/Szendy96e]
4. Entretien avec François Raffinot [1998/Szendy98a]
5. Entretien avec Magnus Lindberg [1993/Szendy93a]
6. Entretien avec Peter Greenaway [1997/Szendy97b]
7. Installations sonores [1997/Szendy97c]
8. La Médiathèque de l'Ircam [1996/Szendy96b]
9. Les maîtres chanteurs [1996/Szendy96c]
10. Martin Matalon [1995/Szendy95a]
11. Musique, temps réel [1998/Szendy98b]
12. Vers les studios en ligne. L'Ircam sur les autoroutes de l'information [1997/Szendy97a]

1. Parcours [1993/Sedes93]

1. La dernière séquence [1995/Tabouret95a]

1. A Fractional Delay Application: Time-varying Propagation Speed in Waveguides [1997/Tassart97a]
2. Analytical Approximations of Fractional Delays: Lagrange Interpolators and Allpass Filters [1997/Tassart97]
3. Fractional delay lines using Lagrange interpolators [1996/Depalle96a]
4. Fractional Delays using Lagrange Interpolators [1996/Tassart96a]
5. Infinite length windows for short-time Fourier transform [1998/Tassart98a]
6. Instruments virtuels [1997/Depalle97b]
7. Modélisation, simulation et analyse des instruments à vent avec retards fractionnaires [2000/Tassart00a]
8. Physical Model of the Trombone Including Non-Linear Propagation Effects [1997/Msallam97a]
9. Physical Model of the Trombone Including Nonlinear Effects. Application to the Sound Synthesis of Loud Tones. [2000/Msallam00c]
10. State Space Sound Synthesis and a State Space Synthesiser Builder [1995/Depalle95]

1. Entretien avec Marc-André Dalbavie [1993/Texier93]

1. Modélisation physique d'instruments à anche double [1997/Theule97a]

1. The functional anatomy of sound intensity change detection [1997/Belin97a]
2. The functional anatomy of sound intensity discrimination [1998/Belin98a]

1. Influence des paramètres d'accordage sur la double décroissance du son d'un choeur de piano: Simulation numérique [1997/Thomas97]
2. Recent results on unison quality", or finding objective and quantitative criteria to decide that a piano is perfectly tuned. [1999/Causse99c]

1. Description des fichiers du modèle physique de trompette [1999/Tisserand99b]
2. Documentation de l'objet non_linéarité_rationelle [1999/Tisserand99c]
3. Implémentation de Modèles Physiques sous environnement temps-réel jMax [1999/Tisserand99a]
4. Utilisation de jMax [1999/Tisserand99d]

1. Prevision du bruit rayonne par les structures en vue d'une evaluation perceptive [1999/Topalovic99a]

1. Interface graphique permettant de piloter, de contrôler le modèle temps-réel d'instruments à vents de flûtes et définir d'une manière simple la géométrie de l'instrument [1996/Tricot96]

1. Jet Formation and Jet Velocity Fluctuations in a Flue Organ Pipe [1995/Verge95]

1. Analysis and Synthesis of Room Reverberation in the Time and Frequency Domains: Application to the Restoration of Room Impulse Responses Corrupted by Measurement Noise [1996/Jot96b]

1. A Physical Model of Recorder-Like Instruments [1995/Verge95a]
2. Aeroacoustics of Confined Jets, with Applications to the Physical Modeling of Recorder-Like Instruments [1995/Verge95b]
3. Dimensionless Amplitude of the Internal Acoustic Filed in Flue Instruments [1995/Hirschberg95]
4. Jet Formation and Jet Velocity Fluctuations in a Flue Organ Pipe [1995/Verge95]
5. Sound Production in Recorderlike Instruments: I. Dimensionless Amplitude of the Internal Acoustics Field [1997/Verge97]
6. Sound Production in Recorderlike Instruments: II. A Simulation Model [1997/Verge97a]
7. Turbulence Noise in Flue Instruments [1995/Hirschberg95a]

1. Bifurcation Sequence in a Physical Model of Trumpet-like Instruments: From a Fixed Point to Chaos [1998/Vergez98a]
2. Comparison of Real Trumpet Playing, Latex Model of Lips and Computer Model [1997/Vergez97a]
3. Experiments With An Artificial Mouth For Trumpet [1998/Vergez98b]
4. Inversion of a physical model of a trumpet [1999/Helie99a]
5. Model of the Trumpet Functioning: Real Time Simulation and Experiments with an Artificial Mouth [1997/Vergez97]
6. New Algorithm for Nonlinear Propagation of a sound Wave, Aplication to a Physical Model of a Trumpet [2000/Vergez00b]
7. Nonlinear dynamics in physical models: From basic models to true musical-instrument models [1999/Rodet99b]
8. Nonlinear dynamics in physical models: simple feedback-loop systems and properties [1999/Rodet99a]
9. Physical Models of Trumpet-like Instruments Detailed Behavior and Model Improvements [1996/Rodet96c]
10. Trompette et Trompettiste: un système dynamique non linéaire analysé, modélisé et simulé dans un contexte musical. [2000/Vergez00a]

1. A Real-Time Operating System for Computer Music [1990/Viara90a]

1. Salvatore Sciarrino: l'invitation au silence [1999/Vinay99a]

1. Les enjeux de la recherche et du développement technologique pour la création musicale [1998/Vinet98a]

1. Etude de Dispositifs de Contrôle Gestuel de la Synthèse Sonore [1999/Viollet99a]

1. New Applications of the Sound Description Interchange Format [1998/Wright98a]

1. Portrait de Philippe Schoeller [1997/Weid97a]

1. ESCHER - Modeling and Performing Composed Instruments in real-time [1998/Wanderley98c]
2. Gestural Controllers: Strategies for Expressive Application [1998/Rovan98a]
3. Gestural Research at IRCAM: A Progress Report [1998/Wanderley98b]
4. Gesture-Music [2000/Cadoz00a]
5. Instrumental Gestural Mapping Strategies as Expressivity Determinants in Computer Music Performance [1997/Rovan97a]
6. Instruments virtuels [1997/Depalle97b]

1. A Real-Time Spatial Sound Processor for Music and Virtual Reality Applications [1995/Jot95]
2. Analysis and synthesis of room reverberation based on a statistical time-frequency model [1997/Jot97c]
3. Binaural Concert Hall Simulation in Real Time [1993/Jot93]
4. Digital Signal Processing Issues in the Context of Binaural and Transaural Stereophony [1995/Jot95c]
5. Le Spatialisateur [1995/Jot95b]
6. On the Reproduction of Directivity Patterns Using Multi-Loudspeaker Sources [1995/Derogis95]
7. Prediction of the spatial informations for the control of room acoustics auralization [1997/CruzBarney97b]
8. Predictive Acoustics Software and Computer Aided Optimization in Room Acoustics [1995/Warusfel95]
9. Radiation of Musical Instruments and Control of Reproduction with Loudspeakers [1992/Causse92a]
10. Radiation of Musical Instruments and Improvement of the Sound Diffusion Techniques for Synthesized, Recorded or Amplified Sounds (Revisited) [1995/Causse95a]
11. Radiation synthesis with digitally controlled loudspeakers [1997/Warusfel97a]
12. Spat~ : A Spatial Processor for Musicians and Sound Engineers [1995/Jot95a]
13. Techniques, algorithmes et modèles de representation pour la spatialisation des sons appliquée aux services multimédia [1997/Jot97a]
14. Technologies et perception auditive de l'espace [1994/Jullien94]
15. Validation of a Computer Simulation Environment for Room Acoustics Prediction [1995/Warusfel95a]

1. Elementary Stability Considerations for Bowed-String Motion [1991/Weinreich91a]

1. Perception of Timbral Analogies [1978/Ehresman78a]
2. Timbre Space as a Musical Control Structure [1978/Wessel78a]

1. Dimensionless Amplitude of the Internal Acoustic Filed in Flue Instruments [1995/Hirschberg95]
2. Jet Formation and Jet Velocity Fluctuations in a Flue Organ Pipe [1995/Verge95]
3. Shock Waves in Trombones [1995/Hirschberg95b]
4. Sound Production in Recorderlike Instruments: I. Dimensionless Amplitude of the Internal Acoustics Field [1997/Verge97]

1. A multidimentional technique for sound quality assessment [1999/Susini99c]
2. Caractérisation perceptive de bruits [1998/Susini98a]
3. Caractérisation perceptive des bruits de véhicules [1997/Susini97a]
4. Context Effects in Timbre Space [1994/Donnadieu94]
5. Multidimensional characterisation of perceptual and preference judgements of vehicle and environmental noises [1998/McAdams98c]
6. Multidimensional scaling with constrained dimensions, CONSCAL [1997/Winsberg97a]
7. Perception of musical tension for nontonal orchestral timbres and its relation to psychoacoustic roughness [1999/Pressnitzer99a]
8. Perceptual characterisation of vehicules noises [1997/Susini97b]
9. Perceptual Scaling of Synthesized Musical Timbres: Common Dimensions, Specificities, and Latent Subject Classes [1995/McAdams95a]
10. Tension et rugosité dans une musique non tonale [1996/Pressnitzer96a]

1. New Applications of the Sound Description Interchange Format [1998/Wright98a]

1. Recherche d'extraits sonores dans une large base de données [1999/Worms99a]
2. Reconnaissance d'extraits sonores dans une large base de données [1998/98a]

1. New Applications of the Sound Description Interchange Format [1998/Wright98a]

1. Geste artisitique et parole critique, l'authenticité [1991/Zacharopoulos91a]

1. The IRCAM «Real-Time Platform» : Evolution and Perspectives [1994/Dechelle94a]

1. Entretien avec Robert Wilson [1997/Ircam97b]
2. La recherche à l'Ircam en 1979 [1980/Ircam80a]
3. Les vingt ans du centre Georges-Pompidou [1997/Ircam97c]

____________________________
Serveur © IRCAM-CGP, 1996-2008 - document mis à jour le 31/05/2008 à 09h30m36s.