GARY PAUL SCAVONE
Music Technology Area Chair Schulich School of Music at McGill University Montreal, Quebec H3A 1E3 Canada 514-398-4535, x-089834 http://www.music.mcgill.ca/~gary/ EDUCATION: 19921997 Stanford University, Stanford, California. Ph.D., Computer-Based Music Theory & Acoustics (1997) M.S., Electrical Engineering (1995) Conservatoire National de Rgion de Bordeaux, Bordeaux, France. e Saxophone studies with Jean-Marie Londeix, attended under Fulbright Scholarship. Syracuse University, Syracuse, New York. B.S., Electrical Engineering, Magna Cum Laude B.A., Music, Magna Cum Laude, Performance Honors

19891990 19841988

PROFESSIONAL EXPERIENCE: 2003current assistant professor, (Tenure Track, 2005current; Special Category, 20032005), Music Technology (Area Chair, 2006current), Schulich School of Music, McGill University. Audio DSP and acoustic research, graduate/undergraduate teaching and supervision. technical director/research associate/lecturer, Center for Computer Research in Music & Acoustics (CCRMA), Stanford University. Audio DSP, acoustic, and psychoacoustic research; Industrial relations. programming consultant, Kind of Loud Technologies/Universal Audio. Reverberation design, implementation, and voicing. programming consultant, Staccato Systems, Inc. DSP algorithm development. programming consultant, Signal Processing Associates, Inc. Speech codec implementations in C/C++ based on ITU-T specications. programming consultant, Sondius Project, Oce of Technology Licensing, Stanford University. Objective C/C and Motorola DSP56000 programming and digital waveguide musical instrument design. systems engineer, Electronic Data Systems (EDS), Lockport, NY. Engineering computer support for a General Motors manufacturing facility. systems engineer, General Electric, Government Electronic Systems Department, Syracuse, NY. Firmware specications documentation.

19972003

1997 19941995

1991 1989

PUBLICATIONS: Book Chapter Cook, P. R. and Scavone, G. (2004). The Synthesis ToolKit (STK) in C++. In Audio Anecdotes: A Cookbook of Audio Algorithms and Techniques, edited by Ken Greenbaum, A.K. Peters, pp. 237253.
Peer-Reviewed Journal Articles da Silva, Scavone, G., and Lefebvre, A. (2008). Pressure reection coecient at the open end of pipes terminated by horns issuing a subsonic mean ow: A numerical study. Submitted to the Journal of Sound and Vibration. Scavone, G., Lefebvre, A., and da Silva, A. (2008a). Measurement of vocal-tract inuence during saxophone performance. Journal of the Acoustical Society of America, 123, pp. 23912400. da Silva, A., Scavone, G. and van Walstijn, M. (2007). Numerical simulations of uid-structure interactions in single-reed mouthpieces. Journal of the Acoustical Society of America, 122, pp. 17981810. da Silva, A. and Scavone, G. (2007a). Lattice Boltzmann simulations of the acoustic radiation from waveguides. Journal of Physics A: Mathematical and Theoretical, 40, pp. 397408. Lakatos, S., Cook, P. R., and Scavone, G. (2000). Selective attention to the parameters of a physically informed sonic model. Journal of the Acoustical Society of America, 107, pp. L3136. Scavone, G. (1998). The Musical Acoustics Research Library. Journal of the Catgut Acoustical Society, Vol. 3, No. 6 (Series II), pp. 2426. Peer-Reviewed Articles in Conference Proceedings Zadel, M. and Scavone, G. (2008). Recent developments in the Dierent Strokes environment. In Proceedings of 2008 International Computer Music Conference, Belfast, N. Ireland, pp. 14. Scavone, G. and Whetsell, N. (2008). The Music Technology program at McGill University. In Proceedings of 2008 International Computer Music Conference, Belfast, N. Ireland, pp. 327330. Lagrange, M., Scavone, G., and Depalle, P. (2008a). Time-domain analysis / synthesis of the excitation signal in a source / lter model of contact sounds. In Proceedings of the 2008 International Conference on Auditory Display, Paris, France. Lefebvre, A. and Scavone, G. (2007). Wind instrument acoustic research in the Computational Acoustic Modeling Laboratory, McGill University., Canadian Acoustics, 35, No. 3, pp. 52-53. da Silva, A., Kuehnelt, H. and Scavone, G. (2007). A brief survey of the lattice Boltzmann method in musical acoustics. In Proceedings of the 19th International Congress on Acoustics, Madrid, Spain. da Silva, A. and Scavone, G. (2007c). Coupling lattice Boltzmann models to digital waveguides for wind instrument simulations. In Proceedings of the 2007 International Symposium on Musical Acoustics, Barcelona, Spain. Lefebvre, A., Scavone, G., Abel, J. and Buckiewicz-Smith, A. (2007). A comparison of impedance measurements using one and two microphones. In Proceedings of the 2007 International Symposium on Musical Acoustics, Barcelona, Spain. de Leon, S. and Scavone, G. (2007). Coupled time-domain simulation of linear acoustic systems by boundary integration. In Proceedings of the 2007 International Symposium on Musical Acoustics, Barcelona, Spain. Matthews, T. and Scavone, G. (2007). An online system for viewing the input impedance of saxophones. In Proceedings of the 2007 International Symposium on Musical Acoustics, Barcelona, Spain. Zadel, M. and Scavone, G. (2006b). Laptop performance: techniques, tools, and a new interface design. In Proceedings of 2006 International Computer Music Conference, New Orleans, USA, pp. 643648. Scavone, G. and Smith, J. O. (2006). A stable acoustic impedance model of the clarinet using digital waveguides. In Proceedings of the 2006 International Conference on Digital Audio Eects (DAFx06), Montreal, Canada, pp. 8994.

Zadel, M. and Scavone, G. (2006a). Dierent Strokes: a prototype software system for laptop performance and improvisation. In Proceedings of 2006 Conference on New Interfaces for Musical Expression (NIME-06), Paris, France, pp. 168171. da Silva, A. and Scavone, G. (2005). Characterizing impedance of woodwind instruments with the lattice-Boltzmann method. In Proceedings of the 2005 Brazilian Symposium of Computer Music (SBCM), Belo Horizonte, Brazil. Scavone, G. and Cook P. R. (2005). RtMidi, RtAudio, and a Synthesis ToolKit (STK) update. In Proceedings of the 2005 International Computer Music Conference, Barcelona, Spain, pp. 327330. Scavone, G. and da Silva, A. (2005). Frequency content of breath pressure and implications for use in control. In Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME05), Vancouver, Canada, pp. 9396. da Silva, A., Wanderley, M. and Scavone, G. (2005). On the use of ute air jet as a musical control variable. In Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME05), Vancouver, Canada, pp. 105108. Scavone, G. and Wanderley, M. (2004). The Music Technology program at McGill University. In Proceedings of the 2004 International Computer Music Conference, Miami, USA, pp. 264267. Scavone, G. (2003). Modeling vocal-tract inuence in reed wind instruments. In Proceedings of the 2003 Stockholm Music Acoustics Conference, Stockholm, Sweden, pp. 291294. Scavone, G. (2003). THE PIPE: explorations with breath control. In Proceedings of the 2003 Conference on New Instruments for Musical Expression (NIME-03), Montreal, Canada, pp. 1518. Scavone, G. (2002b). Time-domain synthesis of conical bore instrument sounds. In Proceedings of the 2002 International Computer Music Conference, Gteborg, Sweden, pp. 915. o Scavone, G. and Karjalainen, M. (2002). Tonehole radiation directivity: A comparison of theory to measurements. In Proceedings of the 2002 International Computer Music Conference, Gteborg, o Sweden, pp. 325329. Scavone, G. (2002a). RtAudio: A cross-platform C++ class for realtime audio input/output. In Proceedings of the 2002 International Computer Music Conference, Gteborg, Sweden, pp. 196 o 199. Scavone, G., Lakatos, S., and Harbke, C. (2002). The Sonic Mapper: An interactive program for obtaining similarity ratings with auditory stimuli. In Proceedings of the 2002 International Conference on Auditory Display, Kyoto, Japan, pp. 368371. Ben-Tal, O., Berger, J., Cook, B., Daniels, M., Scavone, G., and Cook, P. (2002). SONART: The sonication application research toolbox. In Proceedings of the 2002 International Conference on Auditory Display, Kyoto, Japan, pp. 368371. Scavone, G., Lakatos, S., Cook, P. R., and Harbke, C. (2001). Perceptual spaces for sound eects obtained with an interactive similarity rating program. In Proceedings of the International Symposium on Musical Acoustics, Perugia, Italy, pp. 487490. Scavone, G. and Lakatos, S. (2001). Recent developments in woodwind instrument physical modeling. In Proceedings of the 17th International Congress on Acoustics, Rome, Italy. Chafe, C., Wilson, S., Leistikow, R., Chisholm, D. and Scavone, G. (2000). A simplied approach to high quality music and sound over IP. In Proceedings of the COST G-6 Conference on Digital Audio Eects, Verona, Italy, pp. 159163.

Lakatos, S., Scavone, G., and Cook, P. R. (2000). Obtaining perceptual spaces for large numbers of complex sounds: Sensory, cognitive, and decisional constraints. In C. Bonnet (Ed.), Proceedings of the Sixteenth Annual Meeting of the International Psychophysics Society, pp. 245250. van Walstijn, M. and Scavone, G. (2000). The wave digital tonehole model. Proceedings of the 2000 International Computer Music Conference, Berlin, Germany, pp. 465468. Scavone, G. (1999). Modeling wind instrument sound radiation using digital waveguides. In Proceedings of the 1999 International Computer Music Conference, Beijing, China, pp. 355358. Cook, P. R. and Scavone, G. (1999). The Synthesis ToolKit (STK). In Proceedings of the 1999 International Computer Music Conference, Beijing, China, pp. 164166. Scavone, G. and Cook, P. R. (1998). Real-time computer modeling of woodwind instruments. In Proceedings of the 1998 International Symposium on Musical Acoustics, Leavenworth, WA, pp. 197 202. Scavone, G. and Mathews, M. (1998). The Musical Acoustics Research Library. In Proceedings of the 1998 International Symposium on Musical Acoustics, Leavenworth, WA, pp. 359363. Smith, J. O. and Scavone, G. (1997). The one-lter Keefe clarinet tonehole. In Proceedings of the IEEE Workshop on Applied Signal Processing to Audio and Acoustics, New York, pp. 1922. Scavone, G. and Smith, J. O. (1997b). Scattering parameters for the Keefe clarinet tonehole model. In Proceedings of the 1997 International Symposium on Musical Acoustics, Edinburgh, Scotland, pp. 433438. Scavone, G. and Smith, J. O. (1997a). Digital waveguide modeling of woodwind toneholes. In Proceedings of the 1997 International Computer Music Conference, Thessaloniki, Greece, pp. 260263. Scavone, G. (1996). Modeling and control of performance expression in digital waveguide models of woodwind instruments. In Proceedings of the 1996 International Computer Music Conference, Hong Kong, pp. 224227. Scavone, G. (1995b). Digital waveguide modeling of the non-linear excitation of single-reed woodwind instruments. In Proceedings of the 1995 International Computer Music Conference, Ban, Canada, pp. 521524. Scavone, G. (1995a). Digital waveguide modeling of air-driven reed generators for the synthesis of brass and woodwind instrument sounds. In Proceedings of the Second Brazilian Symposium on Computer Music, Canela, Brazil, pp. 132138. Scavone, G. and Cook, P. R. (1994). Combined linear and non-linear periodic prediction in calibrating models of musical instruments to recordings. In Proceedings of the 1994 International Computer Music Conference, rhus, Denmark, pp. 433434. A Invited Conference Presentations Scavone, G., Lefebvre, A., and da Silva, A. (2008b). Evaluating vocal-tract inuence in the production of saxophone multiphonics (A). Journal of the Acoustical Soc. of America, 123, p. 3123. Lefebvre, A. and Scavone, G. (2008). Input impedance measurements of conical acoustic systems using the two-microphone technique (A). Journal of the Acoustical Soc. of America, 123, p. 3015 (paper in Proceedings of the Acoustics 08 Conference). Lefebvre, A. and Scavone, G. (2006). Input impedance measurements of alto saxophones with a calibration error analysis (A). Journal of the Acoustical Soc. of America, 120, p. 3332. da Silva, A. and Scavone, G. (2006). A hybrid approach for simulating clarinet-like systems involving the lattice Boltzmann method and a nite dierence scheme (A). Journal of the Acoustical Soc. of America, 120, p. 3362.

Scavone, G. (2005). A unied digital waveguide (infra)structure for synthesizing wind instrument sounds (A). Journal of the Acoustical Soc. of America, 117, p. 2415. Lakatos, S., Scavone, G., and Cook, P. R. (2000). Knowledge acquisition by listeners in a source learning task using physical models (A). Journal of the Acoustical Soc. of America, 107, p. 2817. Conference Presentations da Silva, A. and Scavone, G. (2008). The inuence of the mean ow on the transmission properties of wind instruments (A). Journal of the Acoustical Soc. of America, 123, p. 3447. da Silva, A. and Scavone, G. (2007b). The inuence of the acoustic feedback on the uid-structure interaction within single-reed mouthpieces: A numerical investigation (A). Journal of the Acoustical Soc. of America, 122, p. 3056. Scavone, G. (2006). Real-time measurement/viewing of vocal-tract inuence during wind instrument performance (A). Journal of the Acoustical Soc. of America, 119, p. 3382. Scavone, G. and Karjalainen, M. (2001). Tonehole radiation directivity measurements (A). Journal of the Acoustical Soc. of America, 110, p. 2754. Scavone, G. (2001). Time-domain synthesis of conical bore instruments (A). Journal of the Acoustical Soc. of America, 110, p. 2754. Lakatos, S., Scavone, G., Cook, P. R., and Harbke, C. (2001). An interactive similarity rating program for large timbre sets (A). Journal of the Acoustical Soc. of America, 109, p. 2468. Scavone, G. and Smith, J. O. (1996). Digital waveguide modeling of woodwind toneholes (A). Journal of the Acoustical Soc. of America, 100, p. 2812.
GRANTS AWARDED: 20082009 centre for interdisciplinary research in music media and technology, strategic innovation fund, with Larry Lessard (PI) and Luc Mongeau, Composite Musical Instrument Design, $10,000 CAD. hexagram research / creation project, with pk langshaw (PI), Ana Cappelluto, Michael Montenaro, and Oana Suteu, d verse: transitional algorhythms of gesture, $73,483 CAD. natural sciences and engineering research council of canada, special research opportunity, with Marcelo Wanderley (PI), Stephen McAdams, Vincent Hayward, Philippe Depalle, and Catherine Guastavino, Haptics, Sound and Interaction in the Design of Enactive Interfaces, $479,651 CAD. natural sciences and engineering research council of canada, discovery grant, Signal Processing Methods and Tools for Acoustic Modeling of Music Instruments, $80,000 CAD. natural sciences and engineering research council of canada, research tools and instruments, Laboratory Equipment for Research in Signal Processing Methods in Musical Acoustics, $33,341 CAD quebec fonds de recherche sur la societe et la culture, programme dappui ` a la recherche-creation, with Denys Bouliane (PI), Sean Ferguson, Philippe Depalle, Marcelo Wanderley, and Andr Roy, The Digital Orchestra, $152,320 CAD e

20072008

20062008

20052010

20052006

20052008

20042009
canadian foundation for innovation, new opportunities, Measurement and Development Tools for Computational Acoustic Modeling of Music Instruments and Sounding Objects, $438,508 CAD. canadian foundation for innovation, infrastructure operation fund, Measurement and Development Tools for Computational Acoustic Modeling of Music Instruments and Sounding Objects, $52,621 CAD. united states air force, with Stephen Lakatos (PI) and James Beauchamp, Mental Representation of Auditory Sources, $592,926 US.

19992002

TEACHING EXPERIENCE: 2003current assistant professor, Schulich School of Music, McGill University. MUMT MUMT MUMT MUMT 306: 307: 502: 614: Music and Audio Computing I Music and Audio Computing II Special Project in Music Technology Seminar on Computational Modeling of Musical Acoustic Systems
invited lecturer, Workshop on Music Controller Technologies, Faculty of Human and Social Sciences, Universidade Nova de Lisboa, Lisbon, Portugal. lecturer, MUS 150: Musical Acoustics, CCRMA, Dept. of Music, Stanford University. visiting lecturer, Seminar on Music Controllers, Institut Universitari de lAudiovisual (IUA), Universitat Pompeu Fabra, Barcelona, Spain. lecturer, MUS 320: Introduction to Digital Audio Signal Processing, CCRMA, Dept. of Music, Stanford University. saxophone instructor, Dept. of Music, Stanford University. teaching assistant, CCRMA, Dept. of Music, Stanford University. MUS MUS MUS MUS MUS 421: 420: 320: 154: 21: Signal Processing Methods in Musical Acoustics Applications of the Fast Fourier Transform (FFT) The Discrete Fourier Transform (DFT) Introduction to Computer Music Musicianship
ACADEMIC & PROFESSIONAL SERVICE: research axis co-leader, Sound modeling, acoustics and signal processing research axis, Centre for Research in Music Media and Technology (CIRMMT), 2007ongoing. music technology area chair, Schulich School of Music, McGill University, January 2006ongoing director and founder, Computational Acoustic Modeling Laboratory (CAML), Music Technology, McGill University, January 2004ongoing. conference organizer and chair, The International Computer Music Conference (ICMC), McGill University, 1621 August 2009. conference co-organizer, (with Stephen McAdams and Sean Ferguson) of the CIRMMT Music+Technology Incubator III: The Future of Computer Music workshop, 1820 April 2008. conference paper chair, The International Conference on Auditory Display (ICAD), McGill University, 2629 June 2007.

vice-president for the americas, 2004ongoing, vice-president for conferences, 20062007, International Computer Music Association. technical committee on musical acoustics, The Acoustical Society of America, 1999ongoing. board of directors, The Catgut Acoustical Society Forum, 1996ongoing. director, The Musical Acoustics Research Library at The Center for Computer Research in Music and Acoustics, Stanford University, 1995ongoing. session chair, acoustical society of america meetings, 2005, 2006, 2008 conference program committee member and paper reviewer: International Computer Music Conference, 20042008 Conference on Digital Audio Eects (DAFx), 2006 and 2008 Conference on New Interfaces for Musical Expression, 2006 European Signal Processing Conference, 2005 Computer Music Modeling and Retrieval Workshop, 2005 paper reviewer for various journals: Journal of the Acoustical Society of America, 1998 (1), 2002 (2), 2003 (1), 2006 (2), 2007 (1) IEEE Transactions on Speech and Audio Processing, 19982000 (1 each year) Computer Music Journal, 2002 SoftwarePractice and Experience, 2004 external grant reviews: Natural Sciences and Engineering Research Council of Canada (NSERC), 2005 (1), 2006 (3), 2007 (1), Engineering and Physical Sciences Research Council, United Kingdom, 2004 mcgill university nserc pgs-d application examiner, Computer Science, Electrical Engineering, Math, Music elds, 40 applications, Fall 2006. music faculty committees: Committee of Area Chairs (2006ongoing) Theory / Music Research Graduate Sub-Committee (2003ongoing) Physical Development Committee (20062007) Information Systems and Technology Committee (20042006) Technical Committee on Network Management and Development (20042006) Student Progress Committee (20042005)
CURRENT MEMBERSHIPS: Acoustical Society of America International Computer Music Association The Violin Society of America (Catgut Forum) September, 2008

Passive Acoustics as a Monitoring Tool for Evaluating Oyster Reef Restoration
Florida Oceanographic Society
Hilde Zenil1,3, Vincent Encomio1,3 and R. Grant Gilmore2

1Florida

Oceanographic Society, 2ECOS Inc., 3Florida Atlantic University
(hzenil@floridaocean.org, vencomio@floridaocean.org, rggilmorej@gmail.com)

Introduction

Since 1940, over 80% of historical oyster reefs have been lost in the St. Lucie Estuary, Florida (Figure 1).

Materials and Methods

Sound Analysis SpectraLab was used to generate spectrum (frequency vs. amplitude) for each recording and visually compare acoustic signatures. In addition, Total Power (dB re: 1uPa) for the 2500 to 20000 Hz frequency band was calculated for each recording. Statistical Analysis The Total Power for each of the three sites was compared using a two-way factorial analysis of variance (ANOVA) with site and habitat as fixed factors.

Hypotheses

1990-1996 1960-1980 1940-1950
Hypothesis 1: Total Power will be different between Natural and Restored Oyster Reefs. Hypothesis 2: Total Power will be different between River Regions. Hypothesis 2: Total Power will be different at each time of day.
Approximately 21 acres of oyster reef were created in the St. Lucie Estuary, Florida between 2009 and 2010. A major goal for this restoration project was to provide habitat. Different methodologies exist to monitor the faunal assemblages of oyster reefs (lift nets, drop nets, haul seine and gill nets, sampling trays, and others). These methods may be time consuming and expensive. (Brumbaugh, et al. 2006). Therefore, passive acoustics has the potential to provide a new methodology to efficiently monitor oyster reefs and other ecosystems, such as coral reefs and rocky reefs. Passive acoustics uses naturally occurring sounds produced by marine organisms. Ambient sounds vary from place to place and marine sounds can be used to detect differences in habitats. Radford et al. (2010) used ambient sound to detect differences between habitats.

Results

Natural and Restored Reefs spectrum are Different between the 2.5 and 20 kHz Frequency Mean Total Power Higher in Restored Reefs than Natural Reefs p=0.0072

Barry Gooch

Arhtur_a

Rich Galliano

The individual acoustic signature of oyster reefs could be used to compare restored and natural oyster reefs. It would be expected that as time progresses, the acoustic signature of a fully restored reef will resemble that of the natural reef, representing a habitat convergence.
Mean Total Power Higher in Downstream Region Than in Mid-estuary and Upstream Regions p=0.0001
Mean Total Power Did Not Differed With Time of Day p=0.7162
Study Site All research was conducted in the St. Lucie Estuary (Figure 3). The SLE receives in-flows of freshwater from the surrounding watershed and from Lake Okeechobee when management agencies decide to lower lake levels (Wilson et al. 2005). A restored reef and an adjacent natural reef for each of the three river regions in the St. Lucie Estuary were chosen (upstream, downstream, and mid-estuary).

Conclusions

There was a difference in underwater sound associated with habitat type Total Power was higher in restored reefs than natural reefs Total Power may indicate the number of snapping shrimp Unlike other studies, there was no acoustic diel variation Passive acoustics maybe a reliable tool to assess differences between marine habitats

Lake Okeechobee

The 2.5 to 20 kHz frequency band comprised more than 92% of the Total Power for the entire spectrum Further studies: Dry season recordings
Use lift net samples to compare sounds samples to faunal assemblages
Acoustic Sampling A High-Tech hydrophone and an Olympus digital recorder was used for acoustic sampling.

Boat Buoy

Literature Cited
Brumbaugh et al. (2006). A Practitioners'' Guide to the Design and Monitoring of Shellfish Restorations Projects: an Ecosystems Services Approach. Arlington, VA: The Nature Conservancy. Radford et al. (2010). Localised Coastal Habitats have Distinct Underwater Sound Signatures. Marine Ecology Progress Series , 401, 21-29. Wilson et al. (2005). Survey of Water Quality, Oyster Reproduction, and Oyster Health Status in the St. Lucie Estuary. Journal of Shellfish Research , 24 (1), 157-165.

Hydrophone

Acknowledgments

Anchor

Funding for the St. Lucie Restoration Project was provided by Martin County through the American Recovery and Reinvestment Act of 2009 Stimulus Grant. More than 175 jobs were maintained or created for this project. Special thanks to the FOS volunteers and Josh Mills. Also, I want to thank the following:
Each point was recorded at dawn, at mid-day, and at dusk. Three replicate samplings were done during the wet season. Acoustic recordings lasted 30-seconds. Wet season samplings were performed between May 12 and August 10 of 2010.