Curriculum Vitae

Barry Lloyd Vercoe
Professor of Media Arts and Sciences
Assoc Head, Program in Media Arts & Sciences
Massachusetts Institute of Technology

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

Professional Service

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

PhD Theses Supervised

Ellis: Prediction-driven computational auditory scene analysis. 1996
Gardner: 3-D Audio Using Loudspeakers. 1997

Casey: Auditory Group Theory: with Applications to Statistical Basis Methods for Structured Audio. 1998

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.


Selected Creative Works

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).

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