James Beauchamp
Publications

• Musical Sound Analysis/Synthesis/Perception and Digital Audio
  
• Unpublished Reports
  
• Computer Music Systems
  
• Electronic Music
  

2017:
• Mingfeng Zhang, Hengwei Lu, Gang Ren, Sarah Smith, James Beauchamp, and Mark Bocko, "A Matlab-Based Signal Processing Toolbox for Characterization and Analysis of Musical Vibrato", J. Audio Eng. Soc., Vol. 65, No. 5, pp. 408-422 (2017).

• James W. Beauchamp, "Comparison of Vocal and Violin Vibrato with Relationship to the Source/Filter Model", in Studies in Musical Acoustics and Psychoacoustics, Albrecht Schneider, Ed., Springer Int. Pub. AG, pp. 201-222 (2017).

  2016:

• James W. Beauchamp, "William J. Strong's musical instrument models" (A), J. Acoust. Soc. Am., Vol. 139, No. 4, Pt.2, p. 2179 (2016).

  2015:

• Mingfeng Zhang, Mark Bocko, and James Beauchamp, "Temporal analysis, manipulation, and resynthesis of musical vibrato" , Proc. Meetings on Acoustics (POMA), Vol. 22 035002, pp. 1-12 (2015).

• Mingfeng Zhang, Mark Bocko, and James Beauchamp, "Measurement and analysis of musical vibrato" , Proc. Meetings on Acoustics (POMA), Vol. 23 035004, pp. 1-17 (2015).

  2014:

• M. Bay and J. W. Beauchamp, "Methods for separating instruments from a monaural mix", Proc. Meetings on Acoustics (POMA), Vol. 14 015007, pp. 1-17 (2014).

  2013:

• J. W. Beauchamp, "Computation and simulation of frequency variations in musical instrument sounds" (A), J. Acoust. Soc. Am., Vol. 134, No. 5, Pt. 2, p. 4242 (2013).

• W. Kausel, J. W. Beauchamp, and S. Carral, "Brass instrument power efficiency and the relationship between input impedance and transfer function", Proc. Meetings on Acoustics (POMA), Vol. 19 035069, pp. 1-9 (2013).

  2012:

• J. W. Beauchamp, "Trombone Transfer Functions: Comparison Between Frequency-Swept Sine Wave and Human Performer Input", Archives of Acoustics, Vol. 37, No. 4, pp. 447-454 (2012).

• C. Lee, A. Horner, and J. Beauchamp, "Discrimination of Musical Instrument Tones Resynthesized with Piecewise-Linear Approximated Harmonic Amplitude Envelopes", J. Audio Eng. Soc., Vol. 60, No. 11, pp. 899-912 (2012).

• M. Bay, A. F. Ehmann, J. W. Beauchamp, P. Smaragdis, and J. S. Downie, "Second Fiddle is Important Too: Pitch Tracking Individual Voices in Polyphonic Music", Proc. 13th Int. Soc. Music Information Retrieval Conf. (ISMIR 2012) , pp. 319-324 (2012).

  2011:

• M. Bay and J. W. Beauchamp, "Methods for separating harmonic instruments from a monaural mix" (A) , J. Acoust. Soc. Am., Vol. 130, No. 4, Pt. 2, p. 2351 (2011).

• A. B. Horner, J. W. Beauchamp, and R. H. Y. So, "Evaluation of Mel-Band and MFCC-Based Error Metrics for Correspondence to Discrimination of Spectrally Altered Musical Instrument Sounds", J. Audio Eng. Soc., Vol. 59, No. 5, pp. 290-303 (2011).

• J. W. Beauchamp, "Perceptually Correlated Parameters of Musical Instrument Tones", Archives of Acoustics, Vol. 36, No. 2, pp. 225-238 (2011).

  2010:

• M. D. Hall, J. W. Beauchamp, A. B. Horner, and J. M. Roche, "Importance of spectral detail in musical instrument timbre", Proc. 11th Int. Conf. on Music Perception and Cognition (ICMPC11), pp. 69-74 (2010).

• J. W. Beauchamp, "In search of a source/filter model for brass instruments", Proc. 2nd Vienna Talk, Univ. of Music & Performing Arts, Vienna, Austria, pp. 13-16 (2010).

• J. W. Beauchamp, "Perceptually correlated parameters of musical instrument tones", Proc. 2nd Vienna Talk , Univ. of Music & Performing Arts, Vienna, Austria, pp. 17-20 (2010).

  2009:

• "Recent research in musical timbre perception" (A) (w. A. B. Horner and M. D. Hall), J. Acoust. Soc. Am., Vol. 126, No. 4, Pt. 2, p. 2235.

• "Clarifying Spectral And Temporal Dimensions Of Musical Instrument Timbre" (w. M. D. Hall), Canadian Acoustics, Vol. 37, No. 1, pp. 3 - 22.

• "Detection of time-varying harmonic amplitude alterations due to spectral interpolations between musical instrument tones" (w. A. B. Horner and R. H. Y. So), J. Acoust. Soc. Am., Vol. 125, No. 1, pp. 492-502.

  2008:

• "Instrument modeling and synthesis" (w. A. B. Horner), in Handbook of Signal Processing in Acoustics, D. Havelock, S. Kuwano, and M. Vorlander, Eds., Vol. 1, pp. 375-397.

  2007:

• "A method for multiple F0 detection of continuous audio with dissimilar timbres" (A) (w. M. Bay), J. Acoust. Soc. Am., Vol. 122, No. 5, Pt. 2, p. 2961.

• "What to do with a five-track woodwind quintet" (A) (w. M. Bay), J. Acoust. Soc. Am., Vol. 122, No. 5, Pt. 2, p. 2944.

• "Analysis and Synthesis of Musical Instrument Sounds", in Analysis, Synthesis, and Perception of Musical Sounds: Sound of Music, J. W. Beauchamp, Ed., Springer, N. Y., pp. 1 - 89.

  2006:

• "Multidimensional scaling analysis of centroid- and attack/decay- normalized musical instrument sounds" (A) (w. A. B. Horner, H.-F. Koehn, and M. Bay), J. Acoust. Soc. Am., Vol. 120, No. 5, Pt. 2, p. 3276.

• "Effect of critical band data reduction of musical instrument sounds" (w. A. B. Horner and L. Ayers), Proc. 9th Int. Conf. On Music Perception and Cognition (ICMPC9), Bononia Univ. Press, Bologna, Italy, pp. 52-58.

• "Musical Acoustics: Brass Acoustics -- Is Propagation Linear or Nonlinear?", Acoustics Today, Vol. 2, No. 2, pp. 52-53, April, 2006.

• "A search for best metrics to predict discrimination of original and spectrally altered musical instrument sounds" (w. A. B. Horner and R. H. Y. So), J. Audio Eng. Soc., Vol. 54, No. 3, pp. 140-156.

• "Harmonic source separation using prestored spectra"(w. M. Bay), Proc. 6th Int. Conf. on Independent Component Analysis and Blind Source Separation (ICA06), Springer-Verlag Berlin Heidelberg, pp. 561-568.

  2005:

• "Effect of critical-band smoothing of musical instrument spectral data" (A) (w. A. Horner), J. Acoust. Soc. Am., Vol. 117, No. 4, Pt. 2, p. 2476.

  2004:

• "Spectrum-based analysis and synthesis of percussion sounds" (A), J. Acoust. Soc. Am., Vol. 116, No. 4, Pt. 2, p. 2530.

• "A search for best metrics to predict discrimination of original and spectrally altered musical instrument sounds" (w. A. Horner and R. So), Proc. 2004 Int. Computer Music Conf., (Univ. of Miami, Coral Gables, Florida, Nov., 2004).

• "Detection of random alterations to time-varying musical instrument spectra" (w. A. Horner and R. So), J. Acoust. Soc. Am., Vol. 116, No. 3, pp. 1800-1810.

  2003:

• "Error metrics for predicting discrimination of original and spectrally altered musical instrument sounds" (A) (w. A. Horner), J. Acoust. Soc. Am., Vol. 114, No. 4, Pt. 2, p. 2325.

• "Discrimination of sustained musical instrument sounds resynthesized with randomly altered harmonic amplitudes" (w. A. Horner), Proc. 2003 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA03), (Mohonk Mountain House, New Paltz, NY, October, 2003), pp. 169-172.

• "Music 4C, a multi-voiced synthesis program with instruments defined in C" (A), J. Acoust. Soc. Am., Vol. 113, No. 4, Pt. 2, p. 2215.

  2002:

• "Easily extensible unix software for spectral analysis, display, modification, and synthesis of musical sounds" (A), J. Acoust. Soc. Am., Vol. 112, No. 5, Pt. 2, pp. 2238.

• "New Spectro-Temporal Measures of Musical Instrument Sounds Used for a Study of Timbral Similarity of Rise-Time- and Centroid-Normalized Musical Sounds" (w. S. Lakatos), Proc. 7th Int. Conf. on Music Perception & Cognition, Univ. of New South Wales, Sydney, Australia, pp. 592-595.

  2001:

• "A versatile wavetable-based model for synthesis of piano tones" (A) (w. H. Zheng, B. Lee, and S. Lakatos), J. Acoust. Soc. Am., Vol. 110, No. 5, Pt. 2, pp. 2691-2692.

• "Acoustics, Audio, and Music Technology Education at the University of Illinois at Urbana-Champaign" (A) (w. H. Taube, S. Tipei, S. Wyatt, L. Haken, and M. Hasegawa-Johnson), J. Acoust. Soc. Am., Vol. 110, No. 5, Pt. 2, pp. 2626-2627.

• "Analysis/synthesis comparison" (w. M. Wright, K. Fitz, X. Rodet, A. Robel, X. Serra, and G. Wakefield), Organized Sound, Vol. 5, No. 3, pp. 173-189.

• "Loudness-independent cues to object striking force" (A) (w. S. Lakatos), J. Acoust. Soc. Am., Vol. 109, No. 5, Pt. 2, p. 2289.

  2000:

• "Spectro-temporal control parameters for synthetic orchestra applications" (A), J. Acoust. Soc. Am., Vol. 108, No. 5, Pt. 2, p. 2538.

• "Extended perceptual spaces for pitched and percussive timbres" (A) (w. S. Lakatos), J. Acoust. Soc. Am., Vol. 107, No. 5, Pt. 2, p. 2882.

• "A real-time/non-real-time spectrum analyzer for musical sounds" (A), J. Acoust. Soc. Am., Vol. 107, No. 5, Pt. 2, p. 2843.

  1999:

• "Spectral characteristics and efficient critical-band-associated group synthesis of piano tones" (A) (w. Zheng, H.), J. Acoust. Soc. Am., Vol. 106, No. 4, Pt. 2, pp. 2141-2142.

• "Analysis and Critical-Band-Based Group Wavetable Synthesis of Piano Tones" (w. Zheng, H.), Proc. 1999 Int. Computer Music Conf., pp. 9-12 (Tsinghua Univ., Beijing, China, Oct., 1999).

• "Analysis and Resynthesis of Percussion Sounds: Two Methods Compared" , Proc. 1999 Int. Computer Music Conf., pp. 347-350 (Tsinghua Univ., Beijing, China, Oct., 1999).

• "Real Time and Non-Real Time Analysis of Musical Sounds on a Power Macintosh" (w. T. Madden), Proc. 1999 Int. Computer Music Conf., pp. 411-413 (Tsinghua Univ., Beijing, China, Oct., 1999).

• "Effect of parameter transplantation on timbral quality of musical instrument sounds", Soc. Music Perception and Cognition, 1999 Conf. Program, p. 26 (Northwestern Univ., Evanston, IL, Aug., 1999).

• "Timbral effect of parameter interchange between musical instrument types" (A), J. Acoust. Soc. Am., Vol. 105, no. 2, Pt. 2, p. 1273.

• "A comparison of wind instrument time-variant spectra" (A), J. Acoust. Soc. Am., Vol. 105, No. 2, Pt. 2, p. 938.

• "Discrimination of musical instrument sounds resynthesized with simplified spectrotemporal parameters" (w. S. McAdams and S. Meneguzzi), J. Acoust. Soc. Am., Vol. 105, No. 2, Pt. 1, pp. 882-897.

  1998:

• "Spectral modelling and timbre hybridisation programs for computer music" (w. A. Horner), Organized Sound, Vol. 2, No. 3, pp. 253-258.

• "Methods for measurement and manipulation of timbral physical correlates" (A), J. Acoust. Soc. Am., Vol. 103, No. 5, Pt. 2, p. 2966.

• "Musical instrument synthesis by nonregenerative nonlinear processing" (A), J. Acoust. Soc. Am., Vol. 103, No. 5, Pt. 2, p. 3042.

  1997:

• "Digital Audio" (w. R. C. Maher) in Encyclopedia of Acoustics, M. L. Crocker, ed., John Wiley & Sons, Vol. 4, pp. 1967-1978.

• "Perceptual effects of simplifying musical instrument sound time-frequency representations" (w. S. McAdams and S. Meneguzzi) (A), J. Acoust. Soc. Am., Vol. 101, No. 5, Pt. 2, p. 3167.

  1996:

• "Piecewise Linear Approximation of Additive Synthesis Envelopes: A Comparison of Various Methods" (w. A. Horner), Computer Music J., Vol. 20, No. 2, pp. 72-95.

• "Inference of nonlinear effects from spectral measurements of wind instrument sounds" (A), J. Acoust. Soc. Am., Vol. 99, No. 4, Pt. 2, p. 2455.

• "A genetic algorithm based method for synthesis of low peak amplitude signals" (w. A. Horner), J. Acoust. Soc. Am., Vol. 99, No. 1, pp. 433-443.

  1995:

• "Computer modal analysis of percussion sounds: A preliminary study" (A), J. Acoust. Soc. Am., Vol. 98, No. 5, Pt. 2, p. 2956.

• "Computer simulation of drum sounds" (w. J. H. Irwin, Jr.) (A), J. Acoust. Soc. Am., Vol. 98, No. 5, Pt. 2, p. 2956.

• "Synthesis of Trumpet Tones Using a Wavetable and Dynamic Filter" (w. A. Horner), J. Audio Eng. Soc, Vol. 43, No. 10, pp. 799-812.

• "Wavetable Interpolation Synthesis Based on Time-Variant Spectral Parameters", Proc. 32nd Czech Conference on Acoustics, pp. 7-15, (VUZORT, Prague, Czech Republic, Sept., 1995).

• "Genetic Algorithm Optimization of Additive Synthesis Envelope Breakpoints and Group Synthesis Parameters", (w. A. Horner) Proc. 1995 Int. Computer Music Conf., pp. 215-222 (Banff, Canada, September, 1995).

• "Musical Sounds, Data Reduction, and Perceptual Control Parameters" (A) (w. A. Horner and S. McAdams), Program for SMPC95, Soc. Music Music Perception and Cognition, pp. 8-9 (Center for New Music and Audio Technologies (CNMAT), Univ. Calif. Berkeley, June, 1995).

• "Wavetable Interpolation Synthesis Based on Time-Variant Spectral Analysis of Musical Sounds", (w. A. Horner) Audio Eng. Soc. Preprint, No. 3960, pp. 1-17 (Paris AES Convention, February, 1995).

  1994:

• "Spectral Modeling and Hybridization Programs for Computer Music" (w A. Horner), Proc. 1994 Nat. Conf. Soc. of Electro-Acoustic Music U. S. (SEAMUS), 2550 Beverly Blvd., Los Angeles, CA, pp. 9-14 (Middlebury Conference, April, 1995).

• "Synthesis of Trumpet Tones Using a Fixed Wavetable and a Centroid-Controlled Second Order Filter" (w. A. Horner), Proc. 1994 Int. Computer Music Conf., pp. 431-432 (Aarhus, Denmark, Sept., 1994).

• "Fundamental frequency estimation of musical signals using a Two-Way Mismatch procedure" (w. R. Maher), J. Acoust. Soc. Am., Vol. 95, No.4, pp. 2254-2263.

  1993:

• "Dynamic spectral envelope synthesis of trumpet tones"(A) (w. A. Horner), J. Acoust. Soc. Am., Vol. 94, No. 3, Pt. 2, p. 1834.

• "Genetic Algorithms and Their Application to FM Matching Synthesis" (w. A. Horner and L. Haken), Computer Music J., Vol. 17, No.4, pp. 17-29.

• "Methods for Multiple Wavetable Synthesis of Musical Instrument Tones" (w. A. Horner and L. Haken), J. Audio Eng. Soc., Vol. 41, No. 5, pp. 336-356.

• "Unix Workstation Software for Analysis, Graphics, Modification, and Synthesis of Musical Sounds", Audio Eng. Soc. Preprint No. 3479 (Berlin AES Convention, March, 1993).

• "Detection of Musical Pitch from Recorded Solo Performances", (w. R. Maher and R. Brown), Audio Engr. Soc. Preprint No. 3541 (Berlin AES Convention, March, 1993).

  1992:

• "Will the Real FM Equation Please Stand Up?"(letter), Computer Music J., Vol. 16, No. 4, pp. 6-7.

• "Frequency tracking of solo and duet passages using a harmonic two-way mismatch procedure" (A) (w. R. Maher), J. Acoust. Soc. Am., Vol. 92, No. 4, Pt. 2, p. 2429.

• "Extended Nonlinear Waveshaping Analysis/Synthesis Technique" (w. A. Horner), Proc. 1992 Int. Computer Music Conf., pp. 2-5 (San Jose State Univ., San Jose, Oct., 1992).

• "Wavetable and FM Matching Synthesis of Musical Instrument Tones" (w. A. Horner and L. Haken), Proc. 1992 Int. Computer Music Conf., pp. 18-21 (San Jose State Univ., San Jose, Oct., 1992).

• "Investigation of Timbre using spectral Matching, Modelling and Interpolation" (w. A. Horner, C. Gennaula, and C. Goudeseune), Proc. Int. Symposium on Musical Acoustics, pp. 51-54 (Tokyo, August, 1992).

  1991:

• "Analysis-synthesis of musical sounds on a desktop computer" (A), J. Acoust. Soc. Am., Vol. 90, No. 4, Pt. 2, p. 2337.

  1990:

• "Interfamily timbral differences: A comparison of trombone and flute tone spectra" (A), J. Acoust. Soc. Am., Vol. 88, p. S187.

• "An Investigation of Vocal Vibrato for Synthesis" (w. R. Maher), Applied Acoustics (U.K., Special Issue on Musical Acoustics), Vol. 30, pp. 219-245.

  1989:

• "Comparison of time-variant spectrum analysis techniques for isolated musical sounds", 1989 IEEE ASSP Workshop (paper summary), (New Paltz, NY, October, 1989).

  1988:

• "Partial synchrony in musical sounds: some recent results using time-variant spectral analysis" (A) (w. R. Maher), J. Acoust. Soc. Am., Vol. 84, pp. S103-104.

• "Wind instrument transfer responses" (A), J. of Acoust. Soc. Am., Vol. 83, p. S120.

• "Is there a single vibrato waveform?" (A) (w. R. Maher), J. Acoust. Soc. Am., Vol. 83, p. S31.

  1987:

• "Significance of Frequency vs. Time Variations and Amplitude Beating in Additive Synthesis of Piano Tones" (w. R. Maher) (A), Iowa Acoust. Colloquium Program(Sixth Conf. on Acoust. and Physics of Sound and Music), p. 5 (Univ. of Iowa, Iowa City, IA).

  1985:

  "Brass Tone Synthesis by Spectrum Evolution Matching with Nonlinear Functions" in Foundations of Computer Music, C. Roads & J. Strawn, eds., MIT Press, Cambridge, MA, pp. 95-113.

  1982:

• "Data Reduction and Resynthesis of Connected Solo Passages using Frequency, Amplitude, and 'Brightness' Detection and the Nonlinear Synthesis Technique", Proc. 1981 Int. Computer Music Conf., pp. 316-323 (North Texas State Univ., Denton, TX, Nov., 1981).

• "Synthesis by Spectral Amplitude and 'Brightness' Matching of Analyzed Musical Instrument Tones", J. Audio Eng. Soc., Vol. 30, No. 6, pp. 396-406.

  1980:

• "Analysis of Simultaneous Mouthpiece and Output Waveforms of Wind Instruments", Audio Eng. Soc. Preprint No. 1626 (Los Angeles AES Convention, 1980).

  1979:

• "Practical Sound Synthesis Using a Nonlinear Processor (Waveshaper) and a High Pass Filter", Computer Music J., Vol. 3, No. 3, pp. 42-49.

• "Brass Tone Synthesis by Spectrum Evolution Matching with Nonlinear Functions", Computer Music J., Vol. 3, No. 2, pp. 35-43.

  1975:

• "Analysis and Synthesis of Cornet Tones Using Nonlinear Interharmonic Relationships", J. Audio Eng. Soc., Vol. 23, No. 10, pp. 778-795.

  1974:

• "Time-Variant Spectra of Violin Tones", J. Acoust. Soc. Am. , Vol. 56, No. 30, pp. 995-1004.

  1969:

• "A Computer System for Time-Variant Harmonic Analysis and Synthesis of Musical Tones", in Music by Computers, H.F. von Foerster and J.W. Beauchamp, eds., John Wiley, New York, NY, pp. 19-62.

  1966:

• "Transient Analysis of Harmonic Musical Tones by Digital Computer" (w. J. Fornango), Audio Eng. Soc. Preprint No. 479 (New York AES Convention, Oct., 1966).

Unpublished Reports

1988:

• "Wind Instrument Transfer Responses", presented at the 115th meeting of the Acoustical Society of America (Seattle, May, 1988).

Related to Computer Music Systems

1989:

• "The Computer Music Project at the University of Illinois at Urbana-Champaign: 1989", Proc. 1989 Int. Computer Music Conf., pp. 21-24 (Ohio State Univ., Columbus, OH, Nov., 1989).

  1987:

• "A Microcomputer-Based Demonstration System for Musical Acoustics Education" (w. R. Maher) (A), J. Acoust. Soc. Am., Suppl. 1, Vol. 81, p. S32.

  1986:

• "Musical Acoustics Demonstrations/Lessons", Proc. of 1986 IBM Academic Information Systems University AEP Conference "Tools for Learning", IBM Academic Information Systems, Milford, Conn.

  1985:

• "New Computer Music Facilities at the University of Illinois at Urbana-Champaign" (w. S. Aurenz), Proc. 1985 Int. Computer Music Conf., pp. 407 -414 (Vancouver, Canada, Aug., 1985).

  1983:

• "A Computer Orchestra", Proc. 1982 Int. Computer Music Conf. , pp. 354-357 (Venice, Italy, 1983).

  1979:

• "Using the PLATO/TI 980A Music Synthesis System: The PLACOMP Language" (w. D. Murray and G. Loitz), Proc. 1978 Int. Computer Music Conf. , pp. 151-166 (Northwestern Univ., Evanston, IL, 1979).

  1975:

• "The TI 980A Computer-Controlled Music Synthesizer", Proc. Second Annual Music Computation Conference (1975 Int. Computer Music Conf.) , Part 3, pp. 1-36 (Univ. of Illinois, Urbana, IL, Nov., 1975).

  1971:

• "'An Introductory Catalogue of Computer Synthesized Sounds' by Jean Claude Risset. A Bell Telephone Laboratories Report" (review), Perspectives of New Music, Special Double Issue.

last update: 05/-6/2010