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isidm:evolution_of_interactive_electronic_systems:bibliography [2018/11/01 18:55] (current)
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 +======Evolution of Interactive Systems: Bibliography======
  
 +===== A =====
 +  * Appleton, Jon. 1990 ."​Composer pour de nouveaux instruments."​ in Contrechamps n¡ 11 - Musiques électroniques,​ Editions l'âge d'​homme. Appleton, J. 1999. "​Reflections of a former perfomer of electroacoustic music."​ in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 5-8. (with audio excerpts on the accompanying CD). 
 +  * Arveiller, Jacques, Marc Battier, and Giuseppe Englert. 1976. A computer Music Repertory. Paris, Como (Italy): I quaderni dell'​autunno musicale 4 and Artinfo/​musinfo 23-24-25, Groupe art et informatique de Vincennes, 128 p. 
 +
 +===== B =====
 +  * Battier, M. 1995. "Entre l'​idée et l'​œuvre. Parcours de l'​informatique musicale."​ in Esthétique des arts médiatiques,​ tome 1,Louise Poissant, ed., Presses de l'​Université du Québec, Sainte-Foy (Québec), pp. 319-334. ​
 +  * Battier, M. Ed. 1999. Aesthetics of Live Electronic Music. Contemporary Music Review 18(3). ​
 +  * Boulez, P. and A. Gerzso. 1988. "​Computers in music."​ Scientific American 258 (4), April, pp. 26-32. ​
 +  * Buxton, W., ed. 1977. Computer Music 1976/77: a Directory to Current Work. Ottawa: Canadian Commission for UNESCO, 239 p. 
 +
 +===== C =====
 +  * Cadoz, C., et al (1984). "​Responsive Input Devices and Sound Synthesis by Simulation of Instrumental Mechanisms: The Cordis System."​ Computer Music Journal 8 (3), pp. 60-73. ​
 +  * Cadoz, C.e. 1991. "​Timbre et causalité."​ In Le timbre: métaphore pour la composition. Jean-Baptiste Barriére, ed., Paris: IRCAM/​Christian Bourgois, . pp. 17-46. ​
 +  * Chadabe, J.. 1980. '​Solo'​ : a Specific Example of Realtime Performance."​ In Computer Music - Composition musicale par ordinateur, M. Battier et B. Truax, eds., Ottawa: Commission Canadienne pour l'​UNESCO,​ pp. 87-94. ​
 +  * Chadabe, J.l. 1997. Electric sound - the past and promise of electronic music, Prentice Hall, Upper Saddle River (N.J.), 336 p. 
 +  * Chadabe, J. 1999. "The performer is us" in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 25-30. ​
 +  * Chafe, C. 1999. "​Interplay(er) machines"​ in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 89-97. (with audio excerpts on the accompanying CD). 
 +  * Chusid, I. 1999. "​Beethoven-in-a-Box:​ Raymond Scott'​s Electronium."​ in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 9-14. (with audio excerpts on the accompanying CD). 
 +  * Clara Rockmore. 1998. Asheville: Big Briar, VHS video tape, 58 minutes. ​
 +
 +===== D =====
 +  * Dannenberg, R.. 1993. "​Computer music at Carnegie Mellon University."​ In Music Processing, Goffredo Haus,ed., A-R Editions, Madison (Wisconsin),​ pp. 303-333. ​
 +  * Davies, H. 1984. Electronic musical instruments. Various entries in The New Grove Dictionary of Musical Instruments,​ Stanly Sadie, ed. London: Macmillan Press. ​
 +
 +===== E =====
 +  * Eaton, J. 1999. This is an instrument!"​ in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 21-24. (with audio excerpts on the accompanying CD). 
 +  * Englert, G. G. (1980), Ç Musique: composition automatique - automation composée È, Mathématiques et Sciences Humaines (45), Paris: Sorbonne, juin, pp. 37-50. ​
 +
 +===== F =====
 +  * Foellmer, G., , Roland Franck, and Folmar Hein (eds). 1992. Dokumentation Elektroakustischer Musik in Europ. Produced by: Technische Universitaet Berlin, Elektronisches Studio, Deutsche Sektion der internationalen Gesellschaft fuer Elektroakustische Musik (DecimE); published by: InventionenU92. 370 pp. 
 +
 +===== G =====
 +===== H =====
 +  * Harvey, J. 1999. "The metaphysics of live electronics"​ in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 79-82. (with audio excerpts on the accompanying CD). 
 +===== I =====
 +===== J =====
 +===== K =====
 +===== L =====
 +  * Lewis, G. 1999. "​Interacting with latter-day musical " in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 99-112. (with audio excerpts on the accompanying CD). 
 +  * Lippe, C. 1996. "A Look at Performer/​Machine Interaction using Real-Time Systems."​ In Proceedings of the 1996 International Computer Music Conference. San Francisco, International Computer Music Association,​ pp.116-117. ​
 +
 +===== M =====
 +  * Machover, T. 1992. "​Hyperinstruments - a Composer'​s Approach to the Evolution of Intelligent Musical Instruments."​ In L. Jacobson, ed. Cyberarts: Exploring Arts and Technology. San Francisco: MillerFreeman Inc., pp. 67-76. ​
 +  * Martin, S.. 1995. Theremin. An Electronic Odyssey. Los Angeles: Orion Home Video 5080, VHS video tape, 84 minutes. ​
 +  * Mathews, M. and F. R.d Moore. 1970. "​GROOVE - a Program to Compose, Store, and Edit Functions of Time", Communications of the ACM 13 (12): 715-721. ​
 +  * Mathews, M., F. R. Moore and J.-C. Risset. 1974. "​Computers and Future music",​ Science 183: 263-268. ​
 +  * Moore, F. R. 1987. "The Disfunctions of MIDI." In Proceedings of the 1987 International Computer Music Conference. San Francisco, International Computer Music Association,​ pp. 256-262. ​
 +
 +===== N =====
 +===== O =====
 +===== P =====
 +  * Pennycook, B. 1985. "​Computer Music Intrerfaces:​ A Survey."​ ACM Computing Survey, Association for Computing Machinery, Special Issue on Computer Music, 17(2):​267-289. ​
 +  * Pressing, J. 1992. Synthesizer Performance and Real-Time Techniques. Madison, Wisconsin: A-R Editions. ​
 +
 +===== Q =====
 +===== R =====
 +  * Risset, J.C. 1999. "​Composing in real-time?"​ in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 31-39. (with audio excerpts on the accompanying CD). 
 +  * Risset, J.-C. 1999. "​Nouveaux gestes musicaux: quelques points de repére historiques."​ In Les nouveaux gestes de la musique, Hugues Genevoix and Rapha‘l de Vivo (eds), Marseille: Editions Parenthéses and GMEM, pp. 19-33. ​
 +  * Rosenboom, D. 1990. Extended Musical Interface with the Human Nervous System. Berkeley, Calif.: International Society for the Arts, Sciences, and Technology. ​
 +  * Rowe, R. 1999. "The aesthetics of interactive music systems"​ in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 83-87. (with audio excerpts on the accompanying CD). 
 +  * Rowe, R. 1993. Interactive Music Systems - Machine Listening and Composing. Cambridge, Mass.: The MIT Press. ​
 +
 +===== S =====
 +  * Stroppa, M. 1999. "Live electronics or... live music? Towards a critique of interaction"​ in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 41-77. (with audio excerpts on the accompanying CD). 
 +  * Subotnick, M. 1999. "The use of computer technology in an interactive or '​real-time'​ performance environment"​ in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 113-117. (with audio excerpts on the accompanying CD). 
 +
 +===== T =====
 +  * Theremin, L. 1999. "​Recollections."​ in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 15-19. ​
 +
 +===== U =====
 +===== V =====
 +  * Vinet, H. and F. Delalande (eds.). 1999. Interfaces homme-machine et création musicale. Paris: Hermes Science Publications,​ 236 p. 
 +
 +===== W =====
 +  * Waisvisz, M. 1999. "​Riding the Sphinx - lines about '​live'"​ in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 119-126. ​
 +  * Wessel, D. 1991. "​Instruments that Learn, Refined Controllers,​ and Source Model Loudspeakers."​ Computer Music Journal 15(4):​82-86. ​
 +  * Winkler, T. 1998. Composing Interactive Music. Techniques and ideas using MAX. Cambridge, Mass: MIT Press. ​
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