Gary S. Kendall Spatial Audio, Electroacoustic Composition, Spiritual Sound

PUBLICATIONS 
Publications

Key: = essential 3D sound papers; = essential musical papers; • = other good stuff.

2016       
“Listening and Meaning: How a Model of Mental Layers Informs Electroacoustic Analysis." To appear in Eds. S. Emmerson & L. Landy, Expanding the Horizon of Electroacoustic Music Analysis. Cambridge, UK: Cambridge University Press. PDF.

2014
“The Feeling Blend: Feeling and Emotion in Electroacoustic Art.”Organised Sound, 19(2):192:202. Cambridge University Press, United Kingdom. PDF.
•“Sound Synthesis With Auditory Distortion Products.” Co-authored with Christopher Haworth and Rodrigo Cadiz. An expansion of the ICMC paper. Computer Music Journal 38(4). PDF. Audio examples can be found here.

2013
“Multichannel Control of Spatial Extent Through Sinusoidal Partial Modulation (SPM)." First author: Andres Cabrera. Procedings of the Sound and Music Computing Conference 2013. Stockholm, Sweden. PDF.

2012
•“Sound Synthesis With Auditory Distortion Products.” Co-authored with Christopher Haworth and Rodrigo Cadiz. Proceedings of the 2012 International Computer Music Conference, Ljubjana, Slovenia.

2011
“Bridging A Shamanic Worldview and Electroacoustic Art.” Presented at EMS 2011, New York. Published on EMS Website. PDF.
“Why Things Don't Work: What You Need To Know About Spatial Audio.” Co-authored with Andres Cabrera. Proceedings of the 2011 International Computer Music Conference. PDF. Keynote Slides.

2010
“Spatial Perception and Cognition In Multichannel Audio for Electroacoustic Music.” Organized Sound, 15(3):228-38, Cambridge University Press, UK. PDF.
•“Idiosyncrasies of Spatial Perception in Multi-Loudspeaker Reproduction.” Proceedings of the 2010 International Computer Music Conference. New York, USA.
“Meaning in Electroacoustic Music and the Everyday Mind.” Organised Sound, 15(1): 63-74, Cambridge University Press, United Kingdom. PDF.

2009
•“La interpretación de la espacialización electroacústica: atributos espaciales y esquemas auditivos.” Translated to Spanish by Martin Liut. English title: “Interpreting Electroacoustic Music: Spatial Attributes and Auditory Schemata.” Chapter 7, Musica y Espacio: Ciencia, Tecnología y Estética. Gustavo Basso, Oscar Pablo Di Liscia and Juan Pampin, editors. Argentina: Universidad Na-cional de Quilmes.
•“Listening to Art: Aural Cognition in Electroacoustic Music.” Proceedings of the 2009 Electroacoustic Music Studies Conference, Buenos Aires, Argentina.

2008
“What is an Event? The EVENT Schema, Circumstances, Metaphor and Gist.” Proceedings of the 2008 International Computer Music Conference, Belfast, UK. PDF.
“Interchange Formats and the Art of Spatial Audio.” Proceedings of the 2008 International Computer Music Conference, Belfast, UK. PDF.
•“Toward an Interchange Format for Spatial Audio Scenes.” Authored with Nils Peters and Matthias Geier. Proceedings of the 2008 International Computer Music Conference, Belfast, UK. PDF.
•“The Effect of Air Turbulence on Sound and Its Application to Musical Signal Processing.”
Matthew Bruns, first author. Proceedings of the 2008 International Computer Music Conference, Belfast, UK. PDF.
“The Artistic Play of Spatial Organization: Spatial Attributes, Scene Analysis and Auditory Spa-tial Schemata.” Co-authored with Mauricio Ardila. Computer Music Modeling and Retrieval: Sense of Sounds. Richard Kronland-Martinet, Sølvi Ystad and Kristoffer Jensen, editors, LNCS series, Springer Verlag. Volume 4969/2008. PDF.

2007
“The Artistic Play Of Spatial Organization: Spatial Attributes, Scene Analysis and Auditory Spatial Schemata.” Proceedings of the 2007 International Computer Music Conference, Copenhagen, Denmark. (Also to be published in the CMMR Post-Symposium Proceedings, LNCS series, 2008.)
•“Reconnecting Music to Spirit: the Spiritual Sound Ensemble.” Proceedings of the 2007 SPARK Festival of Electronic Music and Arts, Minneapolis, Minnesota. PDF.

2006
“Juxtaposition and Non-Motion: Varese Bridges Modernism and Electroacoutic Music.” Organised Sound, 11(2): 159-171, Cambridge University Press, United Kingdom. PDF.
•“Fuzzy Logic Control Tool Kit: Real-time Fuzzy Control for Max/MSP and Pd,” co-authored with Rodrigo Cadiz (first author), Proceedings of the 2006 International Computer Music Conference, New Orleans, LA. PDF.

2005
“ Qosqo: Spirituality, Process and Structure” Proceedings of the 2005 International Computer Music Conference, Barcelona, Spain. PDF.
•“A Particle-based Fuzzy Logic Approach to Sound Synthesis, ” co-authored with Rodrigo Cadiz (first author). Electronic Proceedings. CIM05, 2005 Conference on Interdisciplinary Musicology, Montreal, Canada. PDF.

1995
" A 3-D Sound Primer: Directional Hearing and Stereo Reproduction," Invited paper. Computer Music Journal, Vol. 19, No. 4. PDF.
" The Decorrelation of Audio Signals and Its Impact on Spatial Imagery," Computer Music Journal, Vol. 19, No. 4. PDF.
•"Spatial Sound Effects in a Software Effects Processor," co-authored with Mathew D. Moller, Proceedings of the 1995 International Computer Music Conference, Banff, Canada.
•"A Software Compressor for Computer Music Applications," co-authored with Steve Netherton, Proceedings of the 1995 International Computer Music Conference, Banff, Canada.
•"The Sound of Fruits and Vegetables: Scientific Visualization with Auditory Tokens," co-authored with Lonny Chu, Proceedings of the 1995 International Computer Music Conference, Banff, Canada. PDF.
•"3-D Sound Demonstration: Sex/Window," composition and demonstration, Proceedings of the 1995 International Computer Music Conference, Banff, Canada.

1994
•"The Effects of Multi-Channel Signal Decorrelation in Audio Reproduction," Proceedings of the 1994 International Computer Music Conference, Aarhus, Denmark.

1993
•"PinnaWorks: a NeXT Application for Three-Dimensional Sound Processing in Real-Time," Proceedings of the 1993 International Computer Music Conference, Tokyo.
•"An Implementation of a 3D Binaural Audio System Within an Integrated Virtual Reality Environment," co-authored with Rick Bidlack and Dorota Blaszczak (Banff Center for the Arts), Proceedings of the 1993 International Computer Music Conference, Tokyo.

1992
•"Visualization by Ear," Computer Music Journal, Vol. 15, No. 4.PDF.
•"Directional Sound Processing in Stereo Reproduction," Proceedings of the 1992 International Computer Music Conference, San Jose, CA. PDF.

1990
" Spatial Sound Processor for Headphone and Loudspeaker Reproduction," co-authored with Martin D. Wilde and William L. Martens, published in "The Sound of Audio," The Proceedings of the AES 8th International Conference, Washington, D.C., 1990. PDF.

1989
"Spatial Reverberation: Discussion and Demonstration," co-authored with Martens, W. L., & Decker, S. L. In: M. V. Mathews & J. R. Pierce (Eds.), Current Directions in Computer Music Research. Cambridge: The MIT Press, 1989. Sound examples were included in the accompanying CD.PDF.

1987
•"Essays on the 1986 International Computer Music Conference," editor with various contributors, Computer Music Journal, Vol. 11, No. 2.

1986
•"A Modular Environment for Sound Synthesis and Composition," co-authored with Shawn L. Decker, Brian L. Schmidt, M. Derek Ludwig and Daniel J. Freed, Computer Music Journal, Vol. 10, No. 4. PDF.
•"Spatial Processing Software at Northwestern Computer Music," co-authored with William L. Martens, Daniel J. Freed, M. Derek Ludwig, and Richard Karstens, Proceedings of the 1986 International Computer Music Conference, The Hague, Netherlands.
" Image Model Reverberation from Recirculating Delays," co-authored with William L. Martens, Daniel J. Freed, M. Derek Ludwig, and Richard Karstens, Preprint #2408 (C-17), Audio Engineering Society 81st Convention, Los Angeles, November, 1986. PDF.

1985
•"A Unified Approach to the Editing of Time-Ordered Events," co-authored with Shawn L. Decker, Proceedings of the 1985 International Computer Music Conference, Burnaby, B.C., Canada.
•"A Network Sound System for UNIX," co-authored with James M. Roth and Shawn L. Decker, Proceedings of the 1985 International Computer Music Conference, Burnaby, B.C., Canada.

1984
" Simulating the Cues of Spatial Hearing in Natural Environments," co-authored with William L. Martens, Proceedings of the 1984 International Computer Music Conference, Paris, France. PDF.
•"A Modular Approach to Sound Synthesis Software," co-authored with Shawn L. Decker, Proceedings of the 1984 International Computer Music Conference, Paris, France.

1983
•Record review of "Heliograms" by Jean Piche, Computer Music Journal, Vol. 7, No. 4.
•"Report on the 1982 International Computer Music Conference," co-author with Blum, et al., Computer Music Journal, Vol. 7, No. 2.

1982
" Composing from a Geometric Model: Five-Leaf Rose," Computer Music Journal, Vol. 5, No. 4. This issue also included a sound sheet with an except from "Five-Leaf Rose." PDF.
•" Report on the 1981 International Computer Music Conference," co-author with Strawn, et al., Computer Music Journal, Vol. 6, No. 2.

1981
•"The Simulation of Three-Dimensional Localization Cues for Headphone Listening," co-authored with Carolyn Rodgers, Proceedings of the 1981 International Computer Music Conference, Denton, Texas.

Essentials | Compositions | Publications | Presentations | Classes | Grants/Patents | Press | Professional | Projects | Spiritual
Copyright 2008.

garyskendall@me.com