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Journal articles on the topic 'Computer music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Cuypers, L. "Computer music programming." Microprocessing and Microprogramming 25, no. 1-5 (1989): 65–69. http://dx.doi.org/10.1016/0165-6074(89)90175-0.

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12

Schüler, Nico. "Reflections on the History of Computer-Assisted Music Analysis II: The 1960s." Musicological Annual 42, no. 1 (2006): 5–24. http://dx.doi.org/10.4312/mz.42.1.5-24.

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This article, the second in a series of articles on the history of computer-assisted music analysis, focuses on developments of computer-assisted music analysis during the 1960s. While the most trendsetting approaches and publications are being discussed, this article points out that at least up to the end of the 1960s, computer-assisted analysis of style was anything but comprehensive, interpersonal, and rich in musical insight. Nevertheless, the wealth of attempts to analyze music with the help of computers during the 1960s provided the foundation for the deeper approaches to computer-assist

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13

Schüler, Nico. "From Musical Grammars to Music Cognition in the 1980s and 1990s: Highlights of the History of Computer-Assisted Music Analysis." Musicological Annual 43, no. 2 (2007): 371–96. http://dx.doi.org/10.4312/mz.43.2.371-396.

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While approaches that had already established historical precedents – computer-assisted analytical approaches drawing on statistics and information theory – developed further, many research projects conducted during the 1980s aimed at the development of new methods of computer-assisted music analysis. Some projects discovered new possibilities related to using computers to simulate human cognition and perception, drawing on cognitive musicology and Artificial Intelligence, areas that were themselves spurred on by new technical developments and by developments in computer program design. The 19

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14

Fumarola, Martin Alejandro. "Computer Music Library: Editor's Note in "Computer Music Journal" 17(3)." Computer Music Journal 19, no. 4 (1995): 8. http://dx.doi.org/10.2307/3680985.

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15

Pople, Anthony. "Computer music and computer-based musicology." Computers & Education 19, no. 1-2 (1992): 173–82. http://dx.doi.org/10.1016/0360-1315(92)90023-x.

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16

OSAKA, NAOTOSHI. "New prospects of music brought about by Computers. New Music Creation by Computer." Journal of the Institute of Electrical Engineers of Japan 120, no. 1 (2000): 23–26. http://dx.doi.org/10.1541/ieejjournal.120.23.

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17

Kim-Boyle, David. "International Computer Music Conference 2005: Music Review." Computer Music Journal 30, no. 2 (2006): 87–90. http://dx.doi.org/10.1162/comj.2006.30.2.87.

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18

Rastruba, T., and K. Kushnir. "USE OF MODERN MUSIC AND COMPUTER TECHNOLOGIES IN THE DISCIPLINE STUDY «CHORAL ARRANGEMENT»." Research Notes, no. 1 (May 4, 2022): 76–83. http://dx.doi.org/10.31654/2663-4902-2022-pp-1-76-83.

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Modernization of the education system of Ukraine involves changing the content of the training process for future professionals in the field of computer music. Taking into account the specifics of the training of music teachers, the approach to the choice of modern educational tools is changing. This allows us to emphasize the features of professional music education in Ukraine. The urgency of this topic is due to the widespread use of computers in modern music and pedagogical practice, a significant amount of scientific work in the field of theory of computer technology and its insufficient u

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19

Charrieras, Damien, and François Mouillot. "Getting Out of the Black Box: analogising the use of computers in electronic music and sound art." Organised Sound 20, no. 2 (2015): 191–99. http://dx.doi.org/10.1017/s1355771815000072.

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The process of creating computer-based music is increasingly being conceived in terms of complex chains of mediations involving composer/performer and computer software interactions that prompt us to reconsider notions of materiality within the context of digital cultures. Recent scholarship has offered particularly useful re-evaluations of computer music software in relation to musical instrumentality. In this article, we contend that given the ubiquitous presence of computer units within contemporary musical practices, it is not simply music software that needs to be reframed as musical inst

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20

Syarif, Arry Maulana, Azhari Azhari, Suprapto Suprapto, and Khafiizh Hastuti. "Human and Computation-based Music Representation for Gamelan Music." Malaysian Journal Of Music 9 (November 20, 2020): 82–100. http://dx.doi.org/10.37134/mjm.vol9.7.2020.

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A public database containing representative data of karawitan traditional music is needed as a resource for researchers who study computer music and karawitan. To establish this database, a text-based pitch model for music representation that is both human and computer-based was first investigated. A new model of musical representation that can be read by humans and computers is proposed to support music and computer research on karawitan also known as gamelan music. The model is expected to serve as the initial effort to establish a public database of karawitan music representation data. The

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21

Arici, Ismet. "The Relationship Between the Music Teacher Candidates’ Computer-Assisted Teaching Attitudes and Exam Anxiety in Computer Literacy." Journal of Education and Training Studies 6, no. 11 (2018): 215. http://dx.doi.org/10.11114/jets.v6i11.3696.

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Today, improving instructional technologies have increased at a significant pace particularly with the introduction of computers in education. Computers have contributed greatly to every field of education. Computers have supported the preparation of powerful audio-visual materials with multiple-media features and have also empowered the education sector with the software options intended for different fields. Consequently; computer-assisted education (CAE) has come into its own.As the use of computers has become widespread and computers have found an important place in education, attitudes ab

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22

Lyon, Eric. "A Computer Music Retrospective." Organised Sound 13, no. 3 (2008): 209–16. http://dx.doi.org/10.1017/s1355771808000307.

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AbstractA composer who has worked in the field of computer music for the last 25 years reflects on how technological developments during that time have affected his work in computer music, instrumental music and hybrid combinations of the two. The compositional trajectories traced here often run parallel to opportunities afforded by the evolution of computer technology suitable for the generation of digital audio.

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23

Fowler, Michael. "Music Printing by Computer." Musical Times 129, no. 1745 (1988): 335. http://dx.doi.org/10.2307/964742.

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24

Maverick, Vance, and F. Richard Moore. "Elements of Computer Music." Leonardo Music Journal 1, no. 1 (1991): 110. http://dx.doi.org/10.2307/1513134.

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25

Gerzso, Andrew. "Paradigms and Computer Music." Leonardo Music Journal 2, no. 1 (1992): 73. http://dx.doi.org/10.2307/1513212.

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26

Pinzarrone, Joseph. "Computer Music in China." Computer Music Journal 11, no. 3 (1987): 9. http://dx.doi.org/10.2307/3679732.

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27

Hammer, Ernest Lee, and Peter Manning. "Electronic and Computer Music." Computer Music Journal 12, no. 2 (1988): 54. http://dx.doi.org/10.2307/3679942.

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28

Rowe, Robert, Mario Davidovsky, Gottfried Michael Koenig, et al. "Computer Music Currents 2." Computer Music Journal 15, no. 1 (1991): 62. http://dx.doi.org/10.2307/3680390.

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29

Blevins, R. L., and Deta Davis. "Computer Music Bibliography Supplement." Computer Music Journal 18, no. 2 (1994): 105. http://dx.doi.org/10.2307/3680450.

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30

Rowe, Robert, David Evan Jones, Michel Decoust, et al. "Computer Music Currents 4." Computer Music Journal 16, no. 4 (1992): 95. http://dx.doi.org/10.2307/3680474.

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31

Rowe, Robert, Francois Bayle, Richard Karpen, William Schottstaedt, and Johannes Goebel. "Computer Music Currents 3." Computer Music Journal 16, no. 1 (1992): 92. http://dx.doi.org/10.2307/3680499.

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32

Rowe, Robert, Denis Smalley, Mesias Maiguashca, Gareth Loy, Kaija Saariaho, and Jonathan Harvey. "Computer Music Currents 5." Computer Music Journal 17, no. 1 (1993): 75. http://dx.doi.org/10.2307/3680576.

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33

Snell, John, and F. Richard Moore. "Elements of Computer Music." Computer Music Journal 14, no. 4 (1990): 67. http://dx.doi.org/10.2307/3680793.

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34

Rowe, Robert, Savouret, Lindwall, and Oppenheim. "Computer Music Currents 1." Computer Music Journal 14, no. 4 (1990): 73. http://dx.doi.org/10.2307/3680798.

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35

Nelson, James. "State of Computer Music." Computer Music Journal 20, no. 3 (1996): 4. http://dx.doi.org/10.2307/3680810.

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36

Harris, Craig. "Concert of Computer Music." Computer Music Journal 15, no. 4 (1991): 98. http://dx.doi.org/10.2307/3681085.

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37

Loop, Dwight. "Airplay for Computer Music." Computer Music Journal 21, no. 1 (1997): 11. http://dx.doi.org/10.2307/3681208.

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38

McCabe, Donna, and Christopher K. Koenigsberg. "Brains-Audiophile Computer Music." Computer Music Journal 20, no. 1 (1996): 115. http://dx.doi.org/10.2307/3681284.

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39

Berger, Jonathan, Curtis Roads, and John Strawn. "Foundation of Computer Music." Journal of Music Theory 31, no. 2 (1987): 331. http://dx.doi.org/10.2307/843715.

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40

Mallinckrodt, A. John, and Peter Manning. "Electronic and Computer Music." Leonardo 21, no. 2 (1988): 210. http://dx.doi.org/10.2307/1578564.

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41

K., R., Curtis Roads, and John Strawn. "Foundations of Computer Music." Notes 43, no. 1 (1986): 53. http://dx.doi.org/10.2307/897845.

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42

Tanguiane, Andranick. "Soviet Computer Music Center." Computer Music Journal 10, no. 2 (1986): 7. http://dx.doi.org/10.2307/3679479.

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43

Rothstein, Joseph. "Yamaha C1 Music Computer." Computer Music Journal 13, no. 4 (1989): 93. http://dx.doi.org/10.2307/3679563.

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44

Loy, D. Gareth, Curtis Roads, and John Strawn. "Foundations of Computer Music." Computer Music Journal 9, no. 3 (1985): 80. http://dx.doi.org/10.2307/3679578.

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45

Ostertag, Bob. "Human Bodies, Computer Music." Leonardo Music Journal 12 (December 2002): 11–14. http://dx.doi.org/10.1162/096112102762295070.

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46

Lindblom, ke. "Computer in music education." Education and Computing 4, no. 3 (1988): 157–59. http://dx.doi.org/10.1016/s0167-9287(88)80004-9.

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47

Loubet, Emmanuelle. "International Computer Music Festival." Computer Music Journal 23, no. 2 (1999): 88–93. http://dx.doi.org/10.1162/comj.1999.23.2.88.

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48

Dunn, John. "Computer assisted music printing." ITNOW 29, no. 3 (1987): 9–11. https://doi.org/10.1093/combul/29.3.9.

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Abstract Although typography and type-setting of textual material has undergone a major revolution in the past decade through the introduction of computer techniques and devices, no such progress has occurred in what would appear to be the closely allied field of music printing, especially in the commercial area of high quality presentation. From the purely graphical point of view, there appears to be little problem. A piece of music consists of a rather small collection of stylised black symbols printed on white paper, something quite within the capability of a large number of graphics output

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49

Yan, Baihui, and Qiao Zhou. "Music Learning Based on Computer Software." International Journal of Emerging Technologies in Learning (iJET) 12, no. 12 (2017): 142. http://dx.doi.org/10.3991/ijet.v12i12.7961.

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In order to better develop and improve students’ music learning, the authors proposed the method of music learning based on computer software. It is still a new field to use computer music software to assist teaching. Hereby, we conducted an in-depth analysis on the computer-enabled music learning and the music learning status in secondary schools, obtaining the specific analytical data. Survey data shows that students have many cognitive problems in the current music classroom, and yet teachers have not found a reasonable countermeasure to them. Against this background, the introduction of co

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50

Gorbunova, Irina B. "Music, Mathematics and Computer Science: Features of Functioning of Computer-Musical Technologies." ICONI, no. 1 (2021): 137–47. http://dx.doi.org/10.33779/2658-4824.2021.1.137-147.

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The lecture “Music, Mathematics and Computer Science” is subdivided into two parts. The fi rst part, “Music, Mathematics and Computer Science: History of Interaction” (see ICONI journal, No. 3, 2020) examines the processes of interconnection and interpenetration of various fi elds of music, mathematics and computer science, spanning the period from Ancient Times to the turn of the 20th and 21st centuries. The second part of the lecture: “Music, Mathematics and Computer Science: Particular Features of Functioning of Computer-Musical Technologies” is devoted to examining various aspects of devel

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