Curriculum Vitae
Barry Lloyd Vercoe
Professor of Media Arts and Sciences
Assoc Head, Program in Media Arts & Sciences
Massachusetts Institute of Technology
Education
University of Auckland, New Zealand, Mus.B. Composition, 1959
University of Auckland, New Zealand, BA Mathematics, 1962
University of Michigan, A.Mus.D. Composition, 1968
Academic and Professional Positions
Oberlin College Conservatory, Asst. Professor, 1965-67
Seattle/Tacoma Composer in Residence, Ford Foundation/MENC,
1967-68
Princeton University, Post-Doctoral Studies in Digital Audio
Processing, 1968-70
Yale University School of Music, Visiting Lecturer, 1970-71
MIT Dept. of Humanities, Asst./Assoc. Professor, 1971-85
MIT Lab for Computer Science, Associate Member, 1977-present
IRCAM, Paris (Institute for Research and Coordination Acoustics/Music - Pierre
Boulez, director), resident composer/researcher, 1983-85
MIT Media Lab, Professor of Media Arts and Sciences, 1985-present
Analog Devices Inc, consultant on Realtime DSP processing
and synthesis of Audio, 1993-2000
MIT Media Lab, Assoc Academic Head, Program in Media Arts & Sciences,
2000-present
First International Conference on Computer Music, Conference
Chair, 1976
Society for Music Theory, Inaugural Meeting, Host and Chair,
1977
UNESCO Joint European Studies Committee on Technology and Arts, US Advisor,
1977-78
Society for Music Perception and Cognition, Conference Chair, 1997
Centers Founded
MIT
Experimental Music Studio, established 1973
MIT Media Lab,
co-founder, 1985
Awards Received
Guggenheim Fellowship, 1982-83
Computer
World Smithsonian Award, 1992
Lifetime Achievement Award,
Society for Electro-Acoustic Music in the US, 2004
Ellis:
Prediction-driven computational auditory scene analysis. 1996
Gardner: 3-D
Audio Using Loudspeakers. 1997
Martin:
Sound-source Recognition: A Theory and Computational Model. 1999
Scheirer:
Music-listening systems. 2000
Smaragdis:
Redundancy Reduction for Computational Audition, a Unifying Approach. 2001
Pompei: Sound from Ultrasound: the
Parametric Array as an Audible Sound Source. 2002
Kim:
Singing Voice Analysis/Synthesis. 2003
Lefford:
The Structure, Perception and Generation of Musical Patterns. 2004
Music 360, an audio language for the IBM 360, developed 1968
Music 11, an audio processing language for the PDP-11,
developed 1974
NEDIT,
a Graphical Score Editor (w. S.Haflich) for computer-generated audio, 1976
Synthetic
Performer, a computer that automatically accompanies a live performer, 1984
Synthetic
Rehearsal, a computer that learns to accompany an expressive player, 1985
Csound, a
generalized audio processing language, developed 1985
Synthetic
Performer on Live Instruments (Nova video with Miller Puckette), 1988
Realtime Csound,
with acoustic sensing and control, ICMC Glasgow 1990
NetSound,
using Csound as a client-side real-time synthesis engine, 1992
Extended
Csound, enhanced Csound ported to the Analog Devices DSP series, 1996
MPEG-4
audio, modified Csound adopted as the core of this international audio
standard, 1998
Interactive
Karaoke, Multi-Processor Csound as the engine for Taito Corporation’s LAVCA system, 2001
Music, Mind
and Machine Group, various papers.
Setropy,
sonata for clarinet and piano (1963), excerpt from top
p.15
Metamorphoses, 5 pieces for Orchestra, premiered by
Cincinnati Symphony (1965)
Five Negro Poems, for flute and 4-part chorus (1967)
Digressions,
for large orchestra, band, 2 choirs and computer-generated sounds, premiered
Seattle Opera House, composer conducting (1968), excerpt about 18
mins in
Synthesism, for computer-generated sounds (1970)
Synapse,
for solo viola and computer-generated sounds (1976), excerpt from end p3
Synapse II, for computer-tracked flute and real-time
computer accompaniment (1984)
Synapse III, for computer-tracked viola and real-time
computer-generated sounds (1999)
Selected Publications
Vercoe, B. (1982) “New
Dimensions in Computer Music,” Trends and Perspectives in Signal
Processing II/2 (April, 1982), pp. 15-23.
Vercoe, B.L. (1983) “Computer
Systems and Languages for Audio Research,” The New World of Digital
Audio (Audio Engineering Society Special Edition), pp. 245-250.
Vercoe, B.L. (1984) “The
Synthetic Performer in the Context of Live Performance,” in Proceedings,
International Computer Music Conference, Paris, pp. 199-200.
Vercoe, B.L., and Puckette, M.S. (1985) “Synthetic
Rehearsal: Training the Synthetic Performer,” in Proceedings, ICMC,
Burnaby, BC, Canada, pp. 275-278.
Vercoe, B.L. (1988) “Hearing
Polyphonic Music with the Connection Machine,” in Proceedings, First
Workshop on Artificial Intelligence and Music, AAA-88, St. Paul, MN, pp.
183-194.
Vercoe, B.L., and Ellis, D.P.W. ( 1990) “Real-time
Csound: Software Synthesis with Sensing and Control,” in Proceedings, ICMC,
Glasgow, pp. 209-211.
Vercoe, B.L., (1990) “A
Realtime Auditory Model of Rhythm Perception and Cognition,” 2nd
International Conference on Music and the Cognitive Sciences, Cambridge UK,
Sept 1990.
Vercoe, B.L., (1990) “Synthetic Listeners and Synthetic Performers,” Proceedings, International Symposium on Multimedia Technology and Artificial Intelligence (Computerworld 90), Kobe Japan, Nov 1990, pp. 136 – 141.
Ellis, D.P.W., and Vercoe, B.L. (1992). “A perceptual
representation of sound for auditory signal separation, in Proceedings,
Acoustical Society of America, Salt Lake City, May 1992.
Vercoe, B.L. (1994) Csound: A
Manual for the Audio-Processing System, MIT Media Lab.
Vercoe, B.L. (1996) Extended Csound: A Manual for the Audio-Processing System
and DSP Realtime Extensions, Analog Devices Inc., Norwood MA.
Vercoe, B.L. (1996) “Extended
Csound,” in Proceedings, ICMC, Hong Kong, pp. 141-142.
Vercoe, B.L. (1997) “Computational
Auditory Pathways to Music Understanding,” in Deliege I. and Sloboda J.
(Eds.), Perception and Cognition of Music , East Sussex, UK: Psychology
Press, pp. 307-326.
Vercoe, B.L., Gardner, W.G., and Scheirer, E.D. (1998) “ Structured Audio: Creation,
Transmission, and Rendering of Parametric Sound Representations ,” in
Proceedings of the IEEE 86:5 (May 1998), pp. 922-940.
Martin, K.D., Scheirer, E.D., and Vercoe, B.L. (1998). "Music content
analysis through models of audition ," in Proceedings, 1998 ACM
Multimedia Workshop on Content Processing of Music for Multimedia Applications,
Bristol UK, (Sept.1998).
Scheirer, E.D., and Vercoe, B.L. (1998). The MPEG-4 Structured
Audio Orchestra Language. Proc. 1998 Int. Computer Music Conf, Ann Arbor,
MI, Oct 1998.
Scheirer, E. D. and Vercoe, B.L. (1999). SAOL: The MPEG-4 Structured
Audio Orchestra Language ,” Computer Music Journal 23:2
(Summer 1999), pp 31-51.
Vercoe, B.L. (2000) "Foreword,"
in Boulanger, R.C. (Ed.), The Csound Book
, Cambridge, MA: MIT Press, pp. xxvii-xxx.
Vercoe, B.L. (2000) “Understanding
Csound's Spectral Data Types,” in Boulanger, R.C. (Ed.), The Csound Book
, Cambridge, MA: MIT Press, pp. 437-447.
Chai, Wei and Vercoe, Barry. (2001) Folk Music
Classification Using Hidden Markov Models, Proceedings,
International Conference on Artificial Intelligence, June 2001.
Vercoe,
B.L., Haidar, M., Kitamura, H., and Jayakumar, S. (2003) “Multiprocessor
Csound: Audio-Pro with Multiple DSP’s and Dynamic Load Distribution,” in
Proceedings, Conference on Parallel and Distributed Processing Techniques and
Applications, Las Vegas.
Vercoe, B. (2004). “Audio-Pro with
Multiple DSPs and Dynamic Load Distribution,” in British Telecom
Technology Journal, (to appear October 2004).