Finding Aid for James W Beauchamp Harmonic Tone Generator and Papers, 1963-1966 | The Sousa Archives and Center for American Music

By Scott Schwartz

Service Location	Boxes
Archives Research Center, 1707 S. Orchard Street	2015.1205069.001 - Harmonic Tone Generator Module
Archives Research Center, 1707 S. Orchard Street	2015.1205069.002 - Time Delay Network Module
Archives Research Center, 1707 S. Orchard Street	2015.1205069.003 - Time Envelope Network Module
Archives Research Center, 1707 S. Orchard Street	Box 1

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Collection Overview

Title: James W Beauchamp Harmonic Tone Generator and Papers, 1963-1966

ID: 12/5/69

Primary Creator: Beauchamp, James W. (1937-2022)

Extent: 5.25 cubic feet

Arrangement: Organized in one series - Series 1: Harmonic Tone Generator Components and Papers.

Date Acquired: 01/14/2015. More info below under Accruals.

Subjects: Acoustical Society of America, Acoustics, Alumni, Class Notes, Classroom Instruction, Computer Music, Computer Science, Dissertations, Electrical Engineering, Electrical Engineering Department, Electronic Music, Faculty, Faculty Papers, Illiac Computers, Music, School of

Formats/Genres: Experimental Music, Papers

Languages: English

Scope and Contents of the Materials

The James W. Beauchamp Harmonic Tone Generator and Papers, 1963-1966 includes materials concerning Dr. James W. Beauchamp's research in acoustics, electronics, and music during his time at the University of Illinois. Includes the Harmonic Tone Generator, a voltage-controlled electronic music synthesizer, a bound copy of his dissertation, photographs, and professional publications.

Biographical Note

James Warren Beauchamp (1937-2022) was Professor Emeritus in both the School of Music and Department of Electrical and Computer Engineering at the University of Illinois. Dr. Beauchamp received his bachelor's and master's degrees from the University of Michigan, in 1960 and 1961 respectively. In 1965, he graduated from the University of Illinois with a PhD in electrical engineering. His dissertation was entitled Electronic Instrumentation for the Synthesis, Control, and Analysis of Harmonic Musical Tones. He worked closely with his mentor, chemist and composer Lejaren Hiller, during his PhD studies to create the Harmonic Tone Generator (HTG). The device was among the first voltage-controlled electronic music synthesizers. The HTG was used in a number of electronic music projects staged at the University of Illinois, including Salvatore Martirano's Underworld. He joined the electrical engineering faculty in 1965. Shortly after, he took a leave of absence which he spent working in Stanford's Artificial Intelligence Laboratory. He returned in 1969 to his joint appoitment in electrical engineering and music. During his tenure at Illinois, he served as director of the School of Music's Experimental Music Studios, during which time he headed the Hybrid Computer Project and the Computer Music Project. Dr. Beauchamp was a fellow of both the Audio Engineering Society and the Acoustical Society of America. He was also a visiting scholar at Stanford's Center for Computer Research in Music and Acoustics and a visiting researcher at the Institut de recherche et coordination in acoustique musique (IRCAM) in Paris.

Subject/Index Terms

Acoustical Society of America
Acoustics
Alumni
Class Notes
Classroom Instruction
Computer Music
Computer Science
Dissertations
Electrical Engineering
Electrical Engineering Department
Electronic Music
Faculty
Faculty Papers
Illiac Computers
Music, School of

Administrative Information

Repository: The Sousa Archives and Center for American Music

Accruals: Folder of news-clippings donated on 11/16/2017.

Acquisition Source: James Beauchamp

Acquisition Method: Gift

Related Materials: For further information about other Lejaren Hiller sound recordings and personal papers please visit the University at Buffalo's Lejaren Hiller Papers. For more information please see https://research.lib.buffalo.edu/hiller.

Box and Folder Listing

Browse by Series:

[Series 1: Instruction, c. 1960s - 2010s],
[Series 2: Research and Publications, c. 1950s - 2020s],
[Series 3: Professional Service, c. 1970s - 2020s],
[Series 4: Administrative Records, c. 1960s - 2020s],
[Series 5: Personal Papers, c. 1950s - 2010s],
[Series 6: Harmonic Tone Generator Components and Papers, 1963-1966],
[All]

Series 2: Research and Publications, c. 1950s - 2020s

Consists of Beauchamp's scholarly research, including work on the Harmonic Tone Generator, presentations given at professional conferences, and publications. Organized into two subseries.

Sub-Series 1: Research and Publications

Arranged alphabetically by given topic, then alphabetically by title

Box 4

Folder 23: Acoustics Lab, 1975-1978: Includes newsletters and products from B&K Instruments.
Folder 24: Acoustics - Percussion (Rossing) (1 of 3), 1971-2002: Most articles are written by Rossing, with some collaborations with other authors. Of note, contains correspondence between Beauchamp and Rossing.
Folder 25: Acoustics - Percussion (Rossing) (2 of 3), 1971-2002: Most articles are written by Rossing, with some collaborations with other authors. Of note, contains correspondence between Beauchamp and Rossing.
Folder 26: Acoustics - Percussion (Rossing) (3 of 3), 1971-2002: Most articles are written by Rossing, with some collaborations with other authors. Of note, contains correspondence between Beauchamp and Rossing.
Folder 27: Acoustics and Audio Books, 2011
Folder 28: Acoustics History - H. Fletcher, Jan. 29th, 1996
Folder 29: Acoustics Notes, 2000-2007
Folder 30: Acoustic Pipe Simulation, 1993, 2018
Folder 31: Article Written for Acoustics Today, April 2006
Folder 32: Brass Acoustics (1 of 2), 1982-2012
Folder 33: Brass Acoustics (2 of 2), 1982-2012
Folder 34: Bowed String Acoustics (1 of 2), 1862-1980: Contains article from 1862 as a photocopy.
Folder 35: Bowed String Acoustics (2 of 2), 1862-1980: Contains article from 1862 as a photocopy.
Folder 36: Musical Acoustics - Miscellaneous (1 of 2), 1936-2008: Consists of articles, mailed brochures, newsletters, notes on theses, potential classes.
Folder 37: Musical Acoustics - Miscellaneous (2 of 2), 1936-2008: Consists of articles, mailed brochures, newsletters, notes on theses, potential classes.
Folder 38: Musical Acoustics Notes and Electronic Music, Meetings and Visits, 1936-1966, Mar. 5th, 1973
Folder 39: Organ Acoustics, 1978-2000
Folder 40: Piano - Acoustics, Analysis, and Synthesis (1 of 2), 1962-2011
Folder 41: Piano - Acoustics, Analysis, and Synthesis (2 of 2), 1962-2011
Folder 42: String Acoustics, 1971-1990
Folder 43: String Acoustics (Plucked), 1976,1984
Folder 44: Tuba Analysis, March 1982
Folder 45: Violin Acoustics (1 of 2), 1981-2014
Folder 46: Violin Acoustics (2 of 2), 1981-2014
Folder 47: Vocal Acoustics (1 of 4), 1967-2012

Box 5

Folder 1: Vocal Acoustics (2 of 4), 1967-2012
Folder 2: Vocal Acoustics (3 of 4), 1967-2012
Folder 3: Vocal Acoustics (4 of 4), 1967-2012
Folder 4: Wind Acoustics, 1947-2014
Folder 5: Wind Acoustics - Benade (1 of 2), 1959-1973: Consists of research notes and articles bu Arthur Benade. Notably, includes a letter from Beauchamp to Benade about his acoustics research.
Folder 6: Wind Acoustics - Benade (2 of 2), 1959-1973: Consists of research notes and articles bu Arthur Benade. Notably, includes a letter from Beauchamp to Benade about his acoustics research.
Folder 7: Woodwinds (1 of 2), 1959-2016: Articles and handwritten notes on the acoustics for woodwinds.
Folder 8: Woodwinds (2 of 2), 1959-2016: Articles and handwritten notes on the acoustics for woodwinds.
Folder 9: Noise Shaping, Dither, Over-sampling (Digital Audio Methods), 1987-1993
Folder 10: Auditory Demonstration, 1991-1992
Folder 11: Digital Sound Editing, 1982-1994: Includes a proposal written by Beauchamp, about a workstation for musical sound editing and processing.
Folder 12: Detection of Musical Pitch, March 1993: Presented at the Audio Engineering Society in Berlin with Robert maher and Rebekah Brown.
Folder 13: Pitch Perception (1 of 2), 1931-2001
Folder 14: Pitch Perception (2 of 2), 1931-2001
Folder 15: Pitch Detection Papers - Spectrum Based (1 of 2), 1962-2007
Folder 16: Pitch Detection Papers - Spectrum Based (2 of 2), 1962-2007
Folder 17: Pitch Detection Papers - Time Domain Based (1 of 2), 1973-2001
Folder 18: Pitch Detection Papers - Time Domain Based (2 of 2), 1973-2001
Folder 19: Pitch Detection Project by Lim Boon Pang, 2000
Folder 20: Apparatus for Pitch Extraction (1 of 2), 1937-1983
Folder 21: Apparatus for Pitch Extraction (2 of 2), 1937-1983
Folder 22: Pitch Shifting, 1989, 2001-2003
Folder 23: Pitch Tracking Paper (1 of 2), 1993-1994: Full Title: Fundamental frequency estimation of musical signals using a Two Way Mismatch Procedure.
Folder 24: Pitch Tracking Paper (2 of 2), 1993-1994: Full Title: Fundamental frequency estimation of musical signals using a Two Way Mismatch Procedure.
Folder 25: Polyphonic Pitch Processing, 2000-2010
Folder 26: Articles about Phase Vocoders, Interpolation and Music Application, 1976-2004
Folder 27: Speech Application and Phase Vocoder Papers, 1962-2006
Folder 28: Detection Theory in Psychoacoustics, 1965-1975
Folder 29: Musical Psychoacoustics, 1965-1966
Folder 30: Restoration of Compromised Recordings, 1992-2002
Folder 31: Restorations and Enhancements of Recordings, April 2002
Folder 32: Anti-Reverberation of Rooms and Impulse Response Measurement, 1983-1988

Box 6

Folder 1: Artificial Reverberation Theory and Practice (1 of 2), 1962-1996
Folder 2: Artificial Reverberation Theory and Practice (2 of 2), 1962-1996
Folder 3: Roughness, 1974-2001
Folder 4: Articles on Signal Processing, 1975-2002
Folder 5: Signal Processing Books, 1999-2002
Folder 6: Spectogram and Format Tracking (Speech), 1955-2000
Folder 7: Music Spectrum Analyzers - Armadillo/Spear Software, 1998-2005
Folder 8: Speech Synthesis/Recognition, 1955-1992
Folder 9: Spectral Analysis/Synthesis, 1987-1997: Papers about spectral modding synthesis by Xavier Serra and Julius Smith.
Folder 10: Random Spectrum Alteration Paper, 2004: Submitted to the Journal of the Acoustical Society of America . Co-authored with Andrew Horner.
Folder 11: Commerical Digital Signal Processing Software, 1979 - 1983
Folder 12: Archives of Acoustics Journal - Volume 36, Issue Number 2, 2011: Article by Beauchamp on pages 225 - 238: "Perceptually correlated parameters of musical instrument tones"
Folder 13: Nonlinearity and Chaos in Acoustics, 1990, 1993
Folder 14: Speech and Vocal Acoustics, 1967 - 1982
Folder 15: Tape Recorder (Theory: Analog) [Folder 1 of 2], 1960 - 1981
Folder 16: Tape Record (Theory: Analog) [Folder 2 of 2], 1960 - 1981
Folder 17: Audio Compression - Dolby Coding [Folder 1 of 2], 1993 - 1998
Folder 18: Audio Compression - Dolby Coding [Folder 2 of 2], 1994 - 1995
Folder 19: Audio Signal Compression, 1979 - 2004
Folder 20: Automatic Transcription [Folder 1 of 2], 2008 - 2013
Folder 21: Automatic Transcription [Folder 2 of 2], 1981 - 2007
Folder 22: Handbook of Acoustics - Digital Audio Chapter, 1996 - 1997: Written by Beauchamp
Folder 23: Digital Audio Papers [Folder 1 of 2], 1980 - 1997
Folder 24: Digital Audio Papers [Folder 2 of 2], 1973 - 1985
Folder 25: Digital Recording/Audio (Commercial Articles/Brochures) [Folder 1 of 2], 1980 - 1992
Folder 26: Digital Recording/Audio (Commercial Articles/Brochures) [Folder 2 of 2], 1980 - 1992
Folder 27: Digital to Analog and Analog to Digital Techniques [Folder 1 of 2], 1987 - 1994
Folder 28: Digital to Analog and Analog to Digital Techniques [Folder 2 of 2], 1971 - 1989
Folder 29: Digital Filters, 1973 - 1985
Folder 30: Musical Instrument Digital Interface Articles [Folder 1 of 2], 1987 - 1990
Folder 31: Musical Instrument Digital Interface Articles [Folder 2 of 2], 1986 - 1990
Folder 32: Expressive Parameters, 2010 April: Presented at the 159th Acoustical Society of America Meeting in Baltimore, Massachusetts
Folder 33: Linear Predictive Coding, 1969 - 1992
Folder 34: Loudness and Dynamics, 1954 - 1994

Box 7

Folder 1: Articles and Papers about Loudspeakers [Folder 1 of 3], 1970 - 1990
Folder 2: Articles and Papers about Loudspeakers [Folder 2 of 3], 1970 - 1990
Folder 3: Articles and Papers about Loudspeakers [Folder 3 of 3], 1970 - 1990
Folder 4: Commercial Loudspeakers, 1976 - 1993
Folder 5: Microphones, 1971 - 1993
Folder 6: Music Information Retrieval, 2005 June
Folder 7: Music Information Retrieval Feature Extraction, 2005
Folder 8: Noise, 1975 January
Folder 9: Noise Reduction/Suppression/Removal, 1967 - 1992
Folder 10: Musical Acoustics/Pitch Perception/Scales [Folder 1 of 2], 1975 - 1987
Folder 11: Musical Acoustics/Pitch Perception/Scales [Folder 2 of 2], 1971 - 1974
Folder 12: Measurement of Audio Quality, 2000
Folder 13: Data Reduction and Spectral Matching, 1989 November
Folder 14: Sound Source Identification and Music Instrument Classification, 1995 - 2005
Folder 15: Sound Source Separation from Monaural Recording [Folder 1 of 2], 2006 - 2010
Folder 16: Sound Source Separation from Monaural Recording [Folder 2 of 2], 1976 - 2006
Folder 17: Handbook of Signal Processing in Acoustics, 2004 - 2009
Folder 18: Sample Rate Conversion, 1991 June
Folder 19: Wind Synthesis/Analysis, 1965 - 1982
Folder 20: Tempo Estimation and Beat Tracking, 1985, 2003
Folder 21: Timbre - Auditory Sream Segregation, 1992 - 1997
Folder 22: Timbre Discrimination, 1995 - 1999: Written with Stephen McAdams for the Journal of Acoustical Society of America
Folder 23: Hearing Impared Timbre Testing (Tinnitus), 2002 - 2017
Folder 24: Timbre morphing and Hybridization, 1995
Folder 25: Greg Sandell Articles - Timbre, 1990 - 1997
Folder 26: Timbre studies based on synthetic sounds [Folder 1 of 3], 1991 - 1997
Folder 27: Timbre studies based on synthetic sounds [Folder 2 of 3], 1980 - 1989
Folder 28: Timbre studies based on synthetic sounds [Folder 3 of 3], 1934 - 1974
Folder 29: Perception of Natural Sounds - Timbre Studies [Folder 1 of 2], 2001 - 2003
Folder 30: Perception of Natural Sounds - Timbre Studies [Folder 2 of 2], 1959 - 1999
Folder 31: Timbre - Multidimensional Scaling Space Studies [Folder 1 of 3], 1999 - 2011
Folder 32: Timbre - Multidimensional Scaling Space Studies [Folder 2 of 3], 1992 - 1999
Folder 33: Timbre - Multidimensional Scaling Space Studies [Folder 3 of 3], 1964 - 1989
Folder 34: Time/Frequency Reassignment Method, 1995, 1998
Folder 35: Multidimensional Scaling Project, 2006 - 2013: Written with Andrew Horner

Box 8

Folder 1: Ear Models Physiology, 1972 - 2010
Folder 2: Rhythm Analysis Dynamic Expression, 1977 - 1993
Folder 3: Aperiodocity of Musical SOunds, 1992 - 2005
Folder 4: Perception of Rise (Attack) Time and Other Transients in Musical Tones, 1962 - 1987
Folder 5: Critical Band, Sharpness, Euphony [Folder 1 of 2], 1954 - 1986
Folder 6: Critical Band, Sharpness, Euphony [Folder 2 of 2], 1991 - 2009
Folder 7: Sound Localization Articles [Folder 1 of 2], 1981 - 2010, bulk 1981 - 1997
Folder 8: Sound Localization Articles [Folder 2 of 2], 1981 - 2010, bulk 1981 - 1997
Folder 9: Spectral Envelope Synthesis Papers with Andrew Horner, 1993 - 1995
Folder 10: Spectral Integration Paper, 2008, 2009: Written with Andrew Horner for the Journal of the Acoustical Society of America
Folder 11: Wavetable/Spectra Interpolation and Synthesis Matching Papers [Folder 1 of 2], 1983 - 1990
Folder 12: Wavetable/Spectra Interpolation and Synthesis Matching Papers [Folder 2 of 2], 1996 - 2005
Folder 13: Brass Synthesis Notes, 1967 - 1985
Folder 14: Chaos Synthesis, 1992 - 1993
Folder 15: Fixed Waveform Synthesis, 1975 - 1991
Folder 16: Flute Synthesis, 2000 September
Folder 17: Flute Analysis Project - Spectral Envelope Synthesis, 1995 - 1996
Folder 18: FM Synthesis [Folder 1 of 2], 1990 - 2010
Folder 19: FM Synthesis [Folder 2 of 2], 1973 - 1990
Folder 20: Karplus-Strong Synthesis, 1983 - 1995
Folder 21: Papers with Andrew Horner - Matched Synthesis, 1991 - 1997
Folder 22: Nonlinear Synthesis - General, 1970 - 1979
Folder 23: Nonlinear Synthesis - Clarinet, 1981 - 1982
Folder 24: Nonlinear Piano Synthesis, 1983 - 1984
Folder 25: Phase Preservation in analysis/synthesis, 2003
Folder 26: Physical Modelling Approaches for Sound Synthesis, 1992 - 2004: Some items in French
Folder 27: Speech Analyzers - PC Based Synthesizers, 1991 - 1992
Folder 28: Time Scale Modication Granular Synthesis, 1985 - 2016
Folder 29: Tone Analysis [Folder 1 of 3], 1985 - 2002

Box 9

Folder 1: Tone Analysis/Synthesis [Folder 2 of 3], 1972 - 1979
Folder 2: Tone Analysis/Synthesis [Folder 3 of 3], 1965 - 1969
Folder 3: Vocal Analysis/Synthesis, undated
Folder 4: Vocal Synthesis (Papers and Reports) [Folder 1 of 2], 1981 - 2008
Folder 5: Vocal Synthesis (Papers and Reports) [Folder 2 of 2], 1972 - 1980
Folder 6: Principal Components Analysis and Independent Component Analysis, 1981 - 2004
Folder 7: Low Peak Waveform Paper, 1994 - 2000: Written with Andrew Horner
Folder 8: Messengen der Klangeinsatzdauer bei Musikinstrumenten, 1970: Article in German; original folder titled by Beauchamp as "Attack Time of Musical Sounds"
Folder 9: Nonlinear/Linear Acoustic Propagation Theory, 2010, 2012 January
Folder 10: Indian Music, 2011 October, 2012 January

Sub-Series 2: Presentations at Conferences

Arranged alphabetically by organization, then chronologically by year given.

Box 10