Joaquim Agullo (woodwinds, time domain models)
[email protected]
Christophe d'Alessandro (singing voice, intonation perception, signalprocessing)
[email protected]
Anders Askenfelt (string instruments)
[email protected]
Kathy Barsz (psychoacoustics: auditory organization, physiology: inferiorcolliculus)
[email protected]
James Beauchamp(computer
music; analysis, synthesis, and perception of musical sounds;wind acoustics)
[email protected]
Matthias Bertsch (brass instruments, analysis and perception of sound)
[email protected]
George Bissinger (modal analysis,radiation from string instruments)
[email protected]
Barbara Blankenship (opera, acoustic phonetics, perception, organ building.)
[email protected]
Marina Bosi(signal processing with application in music, perceptualaudio
coding)
[email protected].
Xavier Boutillon (piano, bowed strings and wind instruments)
[email protected]
Nigel Breitz, (music theory physics, diatonic and true-harmony issues,guitar
- currently bluegrass)
[email protected]
Judith Brown (audio signal processing, machine perception of music)
[email protected]
Voichita Bucur (wood for musical instruments, methods for characterization,
with special interest in ultrasonic techniques)
[email protected]
EdwardC.
Carterette (Musical timbre, communication of musical expression,
acoustics of the gamelan)
[email protected]
Daryl Caswell, (wind and brass instruments, sound reflection, bell plates,
sound analysis, manufacturing practices)
[email protected]
Antoine Chaigne (modeling and simulations of strings and percussioninstruments)
[email protected]
Bill Clarke (speech, hearing, phonetics)
[email protected]
Annabel J. Cohen (Music perception and cognition, film music)
[email protected]
Perry R. Cook (Real-timemusic
and voice synthesis algorithms, using physical models where possible.Controls
and controllers for these models.)
[email protected]
James Cottingham (free
reed instruments)
[email protected]
Lola L. Cuddy (music perception and cognition, psychoacoustics)
[email protected]
Robert E. Davis, (vibrating membranes and plates)
[email protected].
Laurent Demany (psychoacoustics)
[email protected]
Diana Deutsch (music perceptionand
cognition, musical illusions)
[email protected]
Werner A. Deutsch (analysis of musical sounds, psychoacoustics)
[email protected]
Peter Dobbins (hurdy-gurdies and related string instruments)
[email protected]
Edward Dugger (musical instruments within architectural spaces)
[email protected]
Neville Fletcher (musical instruments, physiological acoustics)
[email protected]
Anders Friberg (musical performance)
[email protected]
Leonardo
Fuks (woodwinds, voice: extended techniques)
[email protected]
Dermot Furlong (audio analysis/synthesis, signal processing, psychoacoustics,timbre,
tuning and mathematical representations)
[email protected]
Tino Gaeumann (Harpsichord acoustics)
[email protected]
AlexanderGalembo
(piano acoustics, tone quality, segregation and interactionof tones, other
topics in musical acoustics)
[email protected]
John Gather (analysis/synthesis of musical sounds, musicology)
[email protected]
Gary Gibian (signal processing, psychoacoustics, electronic music)
[email protected]
Gerard Girolami (audio signal processing, note identification)
[email protected]
Knut Guettler (simulations and analysis of the bowed string)
[email protected]
John
Hajda (music perception and cognition, timbre of percussive and nonpercussiveinstruments)
[email protected]
Donald Hall (musical instruments, psychoacoustics)
[email protected]
Uwe J. Hansen (mode studies, holographic interferometry, modal analysis)
[email protected]
Roger J. Hanson (plucked and bowed strings, nonlinear string properties)
[email protected]
William Hartmann (psychoacoustics,electronic
music)
[email protected]
Mico Hirschberg (fluid mechanics, wind-instruments, human speech)
[email protected]
Peter Hoekje (woodwinds and brasses, physical acoustics, signal processing)
[email protected]
Ian B. Hoffman (architectural acoustics, perception in rooms, pianoacoustics)
[email protected]
Brian Holmes (wind instruments and holographic interferometry)
[email protected]
Adrian Houtsma (psychoacoustics, musical instruments, audio coding)
[email protected]
Carleen M. Hutchins (violinfamily
instruments, making and research)
[email protected]
Tohru Idogawa ( wind instrument, instrumentation )
[email protected]
James Irwin, Jr. (physical modeling of percussion instruments)
[email protected]
Erik Jansson (acoustics of the violin, function and tonal quality)
[email protected]
Matti Karjalainen (signal processing, models for string instruments,psychoacoustics)
[email protected]
Douglas Keefe (wind instruments, signal processing)
[email protected]
RogerA.
Kendall (Musical timbre, communication of musical expression,
acoustics of the gamelan)
[email protected]
Bozena Kostek (musical acoustics,
psychophysiology of hearing, studio technology)
[email protected]
Hidemi Kubota (physics of bowed strings)
[email protected]
Clif Kussmaul (signalprocessing,
electro-acoustic music, auditory perception)
[email protected]
Gerald D. Lame (psychology of timing - perception and production, entrainmentof
internal timing mechanisms by external stimuli, including musical rhythms)
[email protected]
Edward W. Large(music
perception and cognition, rhythm perception, audio signal processing)
[email protected]
Barry Larkin (percussion instruments, performance analysis)
[email protected]
Bruce Lawson (wind instruments, analysis/synthesis of musical sounds)
[email protected]
Leonard Layton (digital audio processing, synthesis using convolution,and
spatial audio)
[email protected]
Minkyu Lee (psychoacoustics, signal processing)
[email protected]
Tomasz Letowski (psychoacoustics, sound engineering, sound quality)
[email protected]
Daniel Levitin (music perception and cognition, psychoacoustics)
[email protected]
Ian Lindevald (perception in rooms, wind instruments)
[email protected]
Daniel O. Ludwigsen (musical instruments, vocal instruments)
[email protected]
Robert C. Maher (digital audio signal processing, digital music
�synthesis)
[email protected]
Ken Malsky (listening and performance spaces, signal processing, visualization)
[email protected]
Antonio Mancuso (piano acoustics, tuning, psychoacoustics)
[email protected]
Stephen McAdams (psychoacoustics, music perception and cognition)
[email protected]
Martin McKinney (electro-acoustic music, auditory neurophysiology)
[email protected]
Paul Milenkovic (acoustic analysis of speech/singing voice, acousticsof
air columns)
[email protected]
Joan E Miller (Analysis/synthesis of string sounds, signal processing)
[email protected]
Joel David Miller (computer music, signal processing)
[email protected]
Federico Miyara (electronic music composition, computer analysis ofmusical performance, psychoacoustics) [email protected]
Jon W. Mooney (signal processing, computer modeling, auralization,
�application in architectural design)
[email protected]
F.Richard
Moore (computer music, digital signal processing)
[email protected]
Helmut A. Mueller (violin family instruments, modal analysis, psycho-and
room acoustics)
[email protected]
John L. Murphy (loudspeaker modeling, audio signal processing)
[email protected]
Hirotake Nakashima (computer music, electronic music, organizing modernmusic
event -_Kobe International Modern Music Festival)
[email protected]
John Neuhoff (psychoacoustics, music perception)
[email protected]
Dan Norman (differences between live and recorded performances in smallrooms)
[email protected]
Kengo Ohgushi (psychoacoustics, analysis of music performance)
[email protected]
Isabelle Peretz ( neuro-psychology of music)
[email protected]
William Pielemeier (signal processing, time-frequency analysis)
[email protected]
David Poole (acoustics and acoustical modelling of woodwinds, musicalpsychoacoustics)
[email protected]
Robert Pyle (brass instruments, numerical modeling of brasses)
[email protected]
Andrzej Rakowski (musical psychoacoustics)
[email protected]
Bruno H. Repp (analysis, perception, and aesthetics of expression inmusic performance, piano technique) [email protected]
Bernard Richardson (guitar acoustics, from construction to perception)
[email protected]
Bob Rieder (brass and wind acoustics, electroacoustics, perception and
�listener preferences)
[email protected]
Juan Roederer (psychoacoustics, organ performance)
[email protected]
Lucile Rossi (note and sound identification, signal processing)
[email protected]
Thomas Rossing (percussion instruments, modal analysis, singing)
[email protected]
Howard B. Rothman (acoustic analysis of the singing voice)
[email protected]
Dan Russell (piano acoustics,holographic
interferometry, modal analysis)
[email protected]
Gregory J. Sandell (timbre,timbre
data base)
[email protected]
Ronan Scaife (mixed-mode physical/synthetic wind instruments)
[email protected]
Gary Scavone (audio
signal processing, wind instruments)
[email protected]
Ronald C. Scherer (voice and singing)
[email protected]
Linda Seltzer (computer music composition, signal processing)
William Sethares (audio signal processing, interactions between timbreand
tuning)
[email protected]
Brian Simpson (psychoacoustics)
[email protected]
Julius Smith (signalprocessing,
efficient models for strings and winds)
[email protected]
Domenico Stanzial (energetic analysis of sound fields, perception inrooms,
sound spatialization)
[email protected]
William J. Strong (analysis/synthesis,wind instruments, signal processing,physical
modeling)
[email protected]
Johan Sundberg (singing, voice, tuning, theory of music performance,music
perception)
[email protected]
Ingo Titze (human larynx, singing voice)
[email protected]
Arnold Tubis (acoustic musical instruments, folk instruments, physicalprobes
and physical modeling of the auditory periphery)
[email protected]
Gabriel Weinreich (general musical acoustics)
[email protected]
Paul A. Wheeler (electronic music and sound system design)
[email protected]
Gregor Widholm (Brass Instruments, systems for quality evaluation, simulation,physical
modelling)
[email protected]
Tilmann Zwicker (Electric musical instruments and amplification, guitarfamily
instruments, psychoacoustics, patent related matters)
[email protected]
