A Musical Instrument Based on a Bioacoustic Model of a Cicada. - Tamara Smyth; Julius O. Smith III (ICMC, 2001)

Creating Sustained Tones with the Cicada's Rapid Sequential Buckling Mechanism. - Tamara Smyth; Julius O. Smith III (NIME, 2002)

A Novel Face-tracking Mouth Controller and its Application to Interacting with Bioacoustic Models. - Gamhewage C. de Silva; Tamara Smyth; Michael J. Lyons 001 (NIME, 2004)

A generalized parametric Reed Model for Virtual Musical Instruments. - Tamara Smyth; Jonathan S. Abel; Julius O. Smith III (ICMC, 2005)

Exploring the Virtual Reed Parameter Space Using Haptic Feedback. - Tamara Smyth; Thomas N. Smyth; Arthur E. Kirkpatrick (MMSP, 2006)

Handheld Acoustic Filter Bank for Musical Control. - Tamara Smyth (NIME, 2006)

Extending the generalized Reed Model with measured Reflection Functions. - Tamara Smyth; Jonathan S. Abel (ICMC, 2007)

Voice synthesis usingthe generalized pressure-Controlled valve. - Tamara Smyth; Alireza Fathi (ICMC, 2008)

Estimating the Reed Pulse from Clarinet Recordings. - Tamara Smyth; Jonathan S. Abel (ICMC, 2009)

Trombone Synthesis by Model and Measurement. - Tamara Smyth; Frederick S. Scott (EURASIP J. Adv. Signal Process., 2011)

Toward Real-Time Estimation of Tonehole Configuration. - Tamara Smyth; Cheng-i Wang (ICMC, 2014)

Specifying Sounding Frequency of a Voice Model during Live Interactive Saxophone Performance. - Jennifer Hsu; Tamara Smyth (ICMC, 2015)

Generative Feedback Networks Using Time-Varying Allpass Filters. - Greg Surges; Tamara Smyth; Miller S. Puckette (ICMC, 2015)

Generative Audio Systems Using Power-Preserving All-Pass Filters. - Greg Surges; Tamara Smyth; Miller S. Puckette (Comput. Music. J., 2016)

On the Role of Lip Reflection/Transmission in the Relationship Between LPC and Waveguide Vocal Tract Models. - Tamara Smyth; Devansh Zurale (WASPAA, 2021)