Information Technology Reference
In-Depth Information
Hedemann, C., Sorensen, A., & Brown, A. R. (2008). Metascore: user interface design for gener-
ative film scoring. In
Proceedings of the Australasian computer music conference
(pp. 25-30).
Australasian computer music association.
Heidegger, M. (1977).
The question concerning technology and other essays
.NewYork:Harper
&Row.
Hiller, L. (1968).
Music composed with computer[s]: an historical survey
. Experimental Music
Studio.
Hiller, L. A., & Isaacson, L. M. (1958). Musical composition with a high-speed digital computer.
Journal of the Audio Engineering Society
,
6
(3), 154-160.
Hodges, A. (1985).
Alan Turing: the enigma of intelligence
. London: Unwin Paperbacks.
Huron, D. (2006).
Sweet anticipation: music and the psychology of expectation
. Cambridge: MIT
Press.
Illich, I. (1973).
Tools for conviality
. London: Valder & Boyars.
Jewell, M. O., Rhodes, C., & d'Inverno, M. (2010). Querying improvised music: do you sound like
yourself? In
ISMIR 2010
, Utrecht, NL (pp. 483-488).
Jones, D. (2008). AtomSwarm: a framework for swarm improvisation. In
Lecture notes in computer
science
.
Proceedings of EvoWorkshops 2008
(pp. 423-432). Berlin: Springer.
Jones, D., Matthias, J., Hodgson, T., Outram, N., Grant, J., & Ryan, N. (2009). The fragmented
orchestra. In
Proceedings of new interfaces for musical expression (NIME 2009) conference
,
Pittsburgh, PA, USA.
Jordà, S., Geiger, G., Alonso, M., & Kaltenbrunner, M. (2007). The reactable: exploring the syn-
ergy between live music performance and tabletop tangible interfaces. In
Proceedings of the
first international conference on tangible and embedded interaction (TEI)
(pp. 139-146). New
York: ACM Press.
Kittler, F. A. (1999).
Gramophone, film, typewriter
. Stanford: Stanford University Press.
Klee, P. (1972).
Pedagogical sketchbook
. London: Faber and Faber.
Kostelanetz, R. (1989).
Conversing with cage
. London: Omnibus.
Laske, O. (1981). Composition theory in Koenig's project one and project two.
Computer Music
Journal
,
5
(3), 54-65.
Latour, B. (1994). On technical mediation.
Common Knowledge
,
3
(2), 29-64.
Lewis, G. (2007). On creative machines. In N. Collins & J. d'Escriván (Eds.),
The Cambridge
companion to electronic music
. Cambridge: Cambridge University Press.
Lewis, G. E. (2000). Too many notes: computers, complexity and culture in voyager.
Leonardo
Music Journal
,
10
, 33-39.
Lubart, T. (2005). How can computers be partners in the creative process.
International Journal of
Human-Computer Studies
,
63
(4-5), 365-369.
Magnusson, T. (2009). Of epistemic tools: musical instruments as cognitive extensions.
Organised
Sound
,
14
(2), 168-176.
Matthews, H., & Brotchie, A. (2005).
The Oulipo compendium
. London: Atlas Press.
McCormack, J. (1996). Grammar based music composition. In R. Stocker, H. Jelinek, B. Durnota
& T. Bossomaier (Eds.),
Complex systems 96: from local interactions to global phenomena
(pp. 321-336). Amsterdam: ISO Press.
McCormack, J. (2003). Evolving sonic ecosystems.
Kybernetes
,
32
(1/2), 184-202.
McCormack, J., McIlwain, P., Lane, A., & Dorin, A. (2008). Generative composition with nodal. In
E. Miranda (Ed.),
Workshop on music and artificial life (part of ECAL 2007)
, Lisbon, Portugal.
McCullough, M. (1996).
Abstracting craft: the practiced digital hand
. Cambridge: MIT Press.
McGraw, G., & Hofstadter, D. (1993). Perception and creation of diverse alphabetic styles.
AISB
Quarterly
,
85
, 42-49.
McLuhan, M. (1964).
Understanding media: the extensions of man
. London: Sphere Books.
Miranda, E. R., & Matthias, J. (2005). Granular sampling using a Pulse-Coupled network of
spiking neurons. In
Lecture notes in computer science
.
Proceedings of EvoWorkshops 2005
(pp. 539-544). Berlin: Springer.
Narmour, E. (1990).
The analysis and cognition of basic melodic structures
. Chicago: University
of Chicago Press.
