Relevant bibliographies by topics / Computer music

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Academic literature on the topic 'Computer music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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Journal articles on the topic "Computer music"

Owens, Robert J., Laszlo Dubrovay, Ricardo Mandolini, and Tamas Ungvary. "Computer Music." Computer Music Journal 13, no. 1 (1989): 65. http://dx.doi.org/10.2307/3679860.

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Schüler, Nico. "Reflections on the History of Computer-Assisted Music Analysis I: Predecessors and the Beginnings." Musicological Annual 41, no. 1 (2005): 31–43. http://dx.doi.org/10.4312/mz.41.1.31-43.

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This article is the first of a series that focuses on the history of computer-assisted music analysis. This first article discusses the philosophical basis of computer-assisted music analysis, i.e. the application of information theory to aesthetics, as well as representative applications of statistical and information-theoretical measurements to music analysis and other computational approaches to music analysis that did not include the use of electronic computers. In most cases, those approaches were direct models for computer-assisted applications. Finally, this article provides a short his

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Dannenberg, Roger B., Nicolas E. Gold, Dawen Liang, and Guangyu Xia. "Methods and Prospects for Human–Computer Performance of Popular Music." Computer Music Journal 38, no. 2 (2014): 36–50. http://dx.doi.org/10.1162/comj_a_00238.

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Computers are often used in performance of popular music, but most often in very restricted ways, such as keyboard synthesizers where musicians are in complete control, or pre-recorded or sequenced music where musicians follow the computer's drums or click track. An interesting and yet little-explored possibility is the computer as highly autonomous performer of popular music, capable of joining a mixed ensemble of computers and humans. Considering the skills and functional requirements of musicians leads to a number of predictions about future human–computer music performance (HCMP) systems f

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Kiraly, Zsuzsanna. "Solfeggio 1: A Vertical Ear Training Instruction Assisted by the Computer." International Journal of Music Education os-40, no. 1 (2003): 41–58. http://dx.doi.org/10.1177/025576140304000105.

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The aim of this paper is to describe the process of solfège learning when assisted by computers. The research was conducted in the Länsi-Uusimaa Music Institute in Finland. The study focused on pupils’ attitudes, opinions, motivation, and learning-outcomes using computer-based music learning. We also examined how Solfeggio 1, the new electronic ear-training material, works. Jukka Louhivuori (1990) has examined the didactical questions of computer-assisted music education. He emphasized that learning music with a computer does not mean the replacement of “real” music. The notions of learning an

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Larrieu, Maxence. "A Consideration of the Code of Computer Music as Writing, and Some Thinking on Analytical Theories." Organised Sound 24, no. 3 (2019): 319–28. http://dx.doi.org/10.1017/s1355771819000384.

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This article focuses on the analysis of computer music, that is, music which uses programming languages so that what the listener hears is the result of computer code. One key point in this article is that this music exists with some writing, that is, the computer code. I note that this key point has not been addressed in the latest theories for analysing computer music. Indeed, we often see this music as part of the electroacoustic field, where the audio signal is essential, and where we usually read that those musics are non-written music. After an introduction on this topic, in the second s

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Rowe, Robert, Barlow, Dashow, et al. "New Computer Music." Computer Music Journal 14, no. 3 (1990): 83. http://dx.doi.org/10.2307/3679967.

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Mailer, Albert, M. Bagella, N. Sani, S. Tamburini, G. Nottoli, and F. Galante. "Computer Music Concerto." Computer Music Journal 15, no. 2 (1991): 80. http://dx.doi.org/10.2307/3680924.

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Gresham-Lancaster, Scot. "Computer Music Network." Leonardo 47, no. 3 (2014): 266–67. http://dx.doi.org/10.1162/leon_a_00771.

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The social climate and cultural atmosphere of the San Francisco Bay Area in the late 70's early 80's plus the emergence of the nascent microcomputer industry made for a social network and approach that fostered the creation of a new type of collaborative electronic music ensemble with techniques that have come to be known as “Computer Music Network”. A transformation from initial heterogeneous to a more homogeneous underlying paradigm has brought with it aesthetic questions about the reason and evolution of this new genre.

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Rudi, Jøran. "Computer music animations." Organised Sound 3, no. 3 (1998): 193–98. http://dx.doi.org/10.1017/s1355771898003033.

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Electroacoustic music, since its inception, has been situated in a cross-disciplinary no-man's-land, with areas of interest spread in many directions; from ideas of musical structures ordered through traditional pitch-classes to research on physical modelling and analysis of sound and compositional structures through the use of neural networks. Much of the material found in computer music has been developed through processes of appropriation, both from sound recordings of physical events and from the application of various principles found in the natural sciences.

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Wilmink, Jan. "Computer music I." Microprocessing and Microprogramming 24, no. 1-5 (1988): 433. http://dx.doi.org/10.1016/0165-6074(88)90091-9.

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Dissertations / Theses on the topic "Computer music"

Tibbetts, Tracey D. "Computer generated music : a methodology for computer music composition." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1125059.

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This study will prove the fact that computers provide unprecedented opportunities to create music. Several distinct levels of computer participation can exist in the creative process. The lowest level, involving record-keeping functions, results in programs that serve as compositional aids. The intermediate level incorporates stochastic (literally "random") processes on a limited basis, and represents the midpoint between computer-assisted and computercomposed works. The highest level focuses on the design of algorithms that result in compositions determined in most of their details by stochas

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Faia-Harrison, Carl. "Collaborative computer music composition and the emergence of the computer music designer." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/11917.

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This submission explores the development of collaborative computer music creation and the role of the Musical Assistant, or Computer Music Designer, or Live Electronics Designer, or RIM (Réalisateur en informatique musicale) and does so primarily through the consideration of a series of collaborations with composers over the last 18 years. The submission documents and evaluates a number of projects which exemplify my practice within collaborative computer music creation, whether in the form of live electronics, tape-based or fixed media work, as a live electronics performer, or working with co

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Yu, ChÅ ng. "Computer generated music composition." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/10901.

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Frisk, Henrik. "Improvisation, computers and interaction : rethinking human-computer interaction through music /." Malmö : Malmö Academy of Music, Lund University, 2008. http://www.lu.se/o.o.i.s?id=12588&postid=1239899.

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Phelps, James D. (James Dee). "Computer Simulacra." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331100/.

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Computer Simulacra is a musical work composed for amplified instrumental ensemble and computer instruments on tape. It is a computer-assisted work, composed with the help of a stochastic compositional algorithm, called PTERIO, designed by the composer.

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Stubenvoll, Matthias. "Musiklernen am Computer : zur Qualität von Musik-Lernsoftware und ihrer empirischen Überprüfung /." Essen : Verl. Die Blaue Eule, 2008. http://d-nb.info/990141454/04.

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Britton, Sam. "Towards hypertextual music : digital audio, deconstruction and computer music creation." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/14949.

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This is a study of the way in which digital audio and a number of key associated technologies that rely on it as a framework have changed the creation, production and dissemination of music, as witnessed by my own creative practice. The study is built on my own work as an electronic musician and composer and draws from numerous collaborations with not only other musicians but also researchers and artists, as documented through commissions, performances, academic papers and commercial releases over an 9 year period from 2007 to 2016. I begin by contextualising my own musical practice and outlin

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Page, Stephen Dowland. "Computer tools for music information retrieval." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293399.

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Albright, Larry E. (Larry Eugene). "Computer Realization of Human Music Cognition." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330819/.

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This study models the human process of music cognition on the digital computer. The definition of music cognition is derived from the work in music cognition done by the researchers Carol Krumhansl and Edward Kessler, and by Mari Jones, as well as from the music theories of Heinrich Schenker. The computer implementation functions in three stages. First, it translates a musical "performance" in the form of MIDI (Musical Instrument Digital Interface) messages into LISP structures. Second, the various parameters of the performance are examined separately a la Jones's joint accent structure, qua

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Prechtl, Anthony. "Adaptive music generation for computer games." Thesis, Open University, 2016. http://oro.open.ac.uk/45340/.

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This dissertation explores a novel approach to game music that addresses the limitations of conventional game music systems in supporting a dynamically changing narrative. In the proposed approach, the music is generated automatically based on a set of variable input parameters corresponding to emotional musical features. These are then tied to narrative parameters in the game, so that the features and emotions of the music are perceived to continuously adapt to the game's changing narrative. To investigate this approach, an algorithmic music generator was developed which outputs a stream of c

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Books on the topic "Computer music"

A, Jerse Thomas, ed. Computer music. Schirmer, 1985.

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Wells, Colin. Music computer cookbook. University of Reading Music Education Information and Research Centre for NCET, 1990.

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Lazzarini, Victor. Computer Music Instruments. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63504-0.

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Miranda, Eduardo Reck, and John Al Biles, eds. Evolutionary Computer Music. Springer London, 2007. http://dx.doi.org/10.1007/978-1-84628-600-1.

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Miranda, Eduardo Reck, ed. Quantum Computer Music. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13909-3.

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Denis, Baggi, ed. Computer-generated music. IEEE Computer Society Press, 1992.

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Collins, Nick. Introduction to computer music. John Wiley & Sons, 2009.

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Lazzarini, Victor. Computer Music Instruments II. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13712-0.

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Collins, Nick. Introduction to computer music. John Wiley & Sons, 2009.

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Roads, Curtis. The computer music tutorial. MIT Press, 1996.

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Book chapters on the topic "Computer music"

Cook, Perry R. "Computer Music." In Springer Handbook of Acoustics. Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4939-0755-7_17.

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Cook, Perry. "Computer Music." In Springer Handbook of Acoustics. Springer New York, 2007. http://dx.doi.org/10.1007/978-0-387-30425-0_17.

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Alvaro, Jesús L., and Beatriz Barros. "Computer Music Cloud." In Exploring Music Contents. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23126-1_11.

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Maz, Andrew. "Computer Music Notation." In Music Technology Essentials. Focal Press, 2023. http://dx.doi.org/10.4324/9781003345138-11.

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Lazzarini, Victor. "Computer Music Platforms." In Computer Music Instruments. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63504-0_9.

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Weekhout, Hans. "Recording on the Computer." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-11.

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Chau, Kai Ton. "Computer and Music Pedagogy." In Digital Da Vinci. Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4939-0536-2_10.

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Hartmann, William Morris. "Electronic and Computer Music." In Encyclopedia of Acoustics. John Wiley & Sons, Inc., 2007. http://dx.doi.org/10.1002/9780470172544.ch138.

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Buongiorno, Federica. "Reduction in Computer Music." In The Case for Reduction. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-25_09.

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In the age of pervasive computing the way our body interacts with reality needs to be reconceptualized. The reduction of embodiment is a problem for computer music since this music relies heavily on different layers of (digital) technology and mediation in order to be produced and performed. The article shows that such a mediation should not be conceived of as an obstacle but rather as a constitutive element of a permanent, complex negotiation between the artist, the machinery, and the audience, aimed at shaping a different temporality for musical language (as the Italian artist Caterina Barbi

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Miranda, Eduardo Reck. "Quantum Computer: Hello, Music!" In Handbook of Artificial Intelligence for Music. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_34.

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Conference papers on the topic "Computer music"

Raphael, Christopner. "Face the Music: Summarizing Unscripted Music Practice from Audio." In 6th International Special Session on Computer Supported Music Education. SCITEPRESS - Science and Technology Publications, 2025. https://doi.org/10.5220/0013493800003932.

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Shekhawat, Raman, Sai Harshith Tedla, J. Selvin Paul Peter, and Priya Esther B. "Syncing Music With Emotions Using Computer Vision." In 2024 7th International Conference on Circuit Power and Computing Technologies (ICCPCT). IEEE, 2024. http://dx.doi.org/10.1109/iccpct61902.2024.10672743.

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Li, Haolun, Yixuan Zeng, Ziqian Bai, Wenhao Li, Kai Wu, and Jing Zhou. "EEG-fNIRS-Based Music Emotion Decoding and Individualized Music Generation." In 2024 5th International Conference on Intelligent Computing and Human-Computer Interaction (ICHCI). IEEE, 2024. https://doi.org/10.1109/ichci63580.2024.10808139.

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Romani, Michele, Gregorio Andrea Giudici, Domenico Stefani, Devis Zanoni, Alberto Boem, and Luca Turchet. "BCHJam: a Brain-Computer Music Interface for Live Music Performance in Shared Mixed Reality Environments." In 2024 IEEE 5th International Symposium on the Internet of Sounds (IS2). IEEE, 2024. http://dx.doi.org/10.1109/is262782.2024.10704087.

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Lin, Yan-Bo, Yu Tian, Linjie Yang, Gedas Bertasius, and Heng Wang. "VMAs: Video-to-Music Generation via Semantic Alignment in Web Music Videos." In 2025 IEEE/CVF Winter Conference on Applications of Computer Vision (WACV). IEEE, 2025. https://doi.org/10.1109/wacv61041.2025.00120.

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Cook, Perry R., Curtis Roads, and Joe Paradiso. "Computer music." In ACM SIGGRAPH 2004 Special sessions. ACM Press, 2004. http://dx.doi.org/10.1145/1186187.1186190.

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Ye, Xiangyang. "Music Creation with Computer Music Production Software." In 2022 International Conference on Electronics and Devices, Computational Science (ICEDCS). IEEE, 2022. http://dx.doi.org/10.1109/icedcs57360.2022.00041.

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Chiu, Shih-Chuan, and Man-Kwan Shan. "Computer Music Composition Based on Discovered Music Patterns." In 2006 IEEE International Conference on Systems, Man and Cybernetics. IEEE, 2006. http://dx.doi.org/10.1109/icsmc.2006.384827.

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Iazzetta, Fernando. "The Politics of Computer Music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10464.

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When a set of objects, actions, and procedures begin to coalesce and gain some coherence, they become perceived as a new, cohesive field. This may be related to the emergence of a new discipline, a new craft, or a new technological configuration. As this new field shows some coherence and unity, we tend to overlook the conditions that gave rise to it. These conditions become "naturalized" as if they were inherent in that field. From this point on, we do not wonder anymore to what extent the contingencies (formal, social, economic, technological, aesthetic, religious) that gave rise to that fie

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Liu, Jie, and Liang Liang. "The Application of Computer Music Technology in Music Education." In 2021 IEEE Asia-Pacific Conference on Image Processing, Electronics and Computers (IPEC). IEEE, 2021. http://dx.doi.org/10.1109/ipec51340.2021.9421234.

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Reports on the topic "Computer music"

Möllenkamp, Andreas. Paradigms of Music Software Development. Staatliches Institut für Musikforschung, 2014. http://dx.doi.org/10.25366/2022.99.

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On the way to a more comprehensive and integrative historiography of music software, this paper proposes a survey of the main paradigms of music software development from the 1950s to the present. Concentrating on applications for music composition, production and performance, the analysis focusses on the concept and design of the human-computer-interaction as well as the implicit user.

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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn, and Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”.

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Raychev, Nikolay. Can human thoughts be encoded, decoded and manipulated to achieve symbiosis of the brain and the machine. Web of Open Science, 2020. http://dx.doi.org/10.37686/nsrl.v1i2.76.

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This article discusses the current state of neurointerface technologies, not limited to deep electrode approaches. There are new heuristic ideas for creating a fast and broadband channel from the brain to artificial intelligence. One of the ideas is not to decipher the natural codes of nerve cells, but to create conditions for the development of a new language for communication between the human brain and artificial intelligence tools. Theoretically, this is possible if the brain "feels" that by changing the activity of nerve cells that communicate with the computer, it is possible to "achieve

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