James W. Beauchamp has been working in the area of analysis, synthesis, and perception of musical sounds for over 40 years. He is editor and co-author of Music by Computers (Wiley, 1969), a fellow of the Audio Engineering Society and of the Acoustical Society of America, former president and board member of the International Computer Music Association, and has published numerous papers in the Journal of the Audio Engineering Society, the Journal of the Acoustical Society of America, the Computer Music Journal, Proceedings of the International Computer Music Conference, Proceedings of the International Conference on Music Perception and Cognition, Proceedings of the International Society of Musical Acoustics, and Proceedings of the IEEE Workshop on Applicatiions of Signal Processing to Audio and Acoustics. For over thirty years at the University of Illinois at Urbana-Champaign he taught courses on musical acoustics, electronic music, and computer music (in the School of Music) and audio engineering, electronic music synthesis, and acoustics (in the Department of Electrical and Computer Engineering). During spring, 1988 he was a visiting scholar at the Center for Research in Music and Acoustics at Stanford University, and during 1994-95 he was a visiting researcher at the Institute for Research and Coordination in Acoustics and Music in Paris. His research interests have been in electronic and computer music synthesis systems, analysis, synthesis, and perception of musical instrument sounds, automatic pitch detection, and instrument separation.

• Analysis and Synthesis of Musical Instrument Sounds.- Fundamental Frequency Tracking and Applications to Musical Signal Analysis.- Beyond Traditional Sampling Synthesis: Real-Time Timbre Morphing Using Additive Synthesis.- A Compact and Malleable Sines+Transients+Noise Model for Sound.- Spectral Envelopes and Additive + Residual Analysis/Synthesis.- A Comparison of Wavetable and FM Data Reduction Methods for Resynthesis of Musical Sounds.- The Effect of Dynamic Acoustical Features on Musical Timbre.- Mental Representation of the Timbre of Complex Sounds.

James W. Beauchamp has been working in the area of analysis, synthesis, and perception of musical sounds for over 40 years. He is editor and co-author of Music by Computers (Wiley, 1969), a fellow of the Audio Engineering Society and of the Acoustical Society of America, former president and board member of the International Computer Music Association, and has published numerous papers in the Journal of the Audio Engineering Society, the Journal of the Acoustical Society of America, the Computer Music Journal, Proceedings of the International Computer Music Conference, Proceedings of the International Conference on Music Perception and Cognition, Proceedings of the International Society of Musical Acoustics, and Proceedings of the IEEE Workshop on Applicatiions of Signal Processing to Audio and Acoustics. For over thirty years at the University of Illinois at Urbana-Champaign he taught courses on musical acoustics, electronic music, and computer music (in the School of Music) and audio engineering, electronic music synthesis, and acoustics (in the Department of Electrical and Computer Engineering). During spring, 1988 he was a visiting scholar at the Center for Research in Music and Acoustics at Stanford University, and during 1994-95 he was a visiting researcher at the Institute for Research and Coordination in Acoustics and Music in Paris. His research interests have been in electronic and computer music synthesis systems, analysis, synthesis, and perception of musical instrument sounds, automatic pitch detection, and instrument separation.

• Analysis and Synthesis of Musical Instrument Sounds.- Fundamental Frequency Tracking and Applications to Musical Signal Analysis.- Beyond Traditional Sampling Synthesis: Real-Time Timbre Morphing Using Additive Synthesis.- A Compact and Malleable Sines+Transients+Noise Model for Sound.- Spectral Envelopes and Additive + Residual Analysis/Synthesis.- A Comparison of Wavetable and FM Data Reduction Methods for Resynthesis of Musical Sounds.- The Effect of Dynamic Acoustical Features on Musical Timbre.- Mental Representation of the Timbre of Complex Sounds.