Stop the war!Остановите войну!
for scientists:
default search action
Google
Google Scholar
Semantic Scholar
Internet Archive Scholar
CiteSeerX
ORCIDComputer Music Journal, Volume 40
Volume 40, Number 1, Spring 2016
The History of Computer Music
- Carla A. Scaletti:
Looking Back, Looking Forward: A Keynote Address for the 2015 International Computer Music Conference. 10-24
- Georg Hajdu:
Disposable Music. 25-34 - Andrew J. Milne
, Roger T. Dean:
Computational Creation and Morphing of Multilevel Rhythms by Control of Evenness. 35-53 - Greg Surges, Tamara Smyth, Miller S. Puckette:
Generative Audio Systems Using Power-Preserving All-Pass Filters. 54-69 - Silvia Matheus:
The Seventh KYMA International Sound Symposium (KISS). 70-73 - Ross Feller:
Andrew J. Nelson: The Sound of Innovation - Stanford and the Computer Music Revolution. 73-75
Volume 40, Number 2, Summer 2016
Performance Interfaces
- Giuseppe Torre, Kristina Andersen, Frank Baldé:
The Hands: The Making of a Digital Musical Instrument. 22-34 - Dalia El-Shimy, Jeremy R. Cooperstock:
User-Driven Techniques for the Design and Evaluation of New Musical Interfaces. 35-46
- Natasha Barrett:
Interactive Spatial Sonification of Multidimensional Data for Composition and Auditory Display. 47-69
- Valerio Velardo, Mauro Vallati, Steven Jan:
Symbolic Melodic Similarity: State of the Art and Future Challenges. 70-83 - Ross Feller:
Tornado Project: Trios for Flute, Clarinet, and Computer. 84-88 - Seth Aaron Rozanoff:
Yannis Kyriakides and Andy Moor: A Life Is a Billion Heartbeats. 87-88
Volume 40, Number 3, Fall 2016
Performance Interfaces
- Caroline Park:
Collaborative Resonances and Obstinate Interfaces: An Interview with Butch Rovan. 10-21 - Stefania Serafin, Cumhur Erkut, Juraj Kojs, Niels C. Nilsson, Rolf Nordahl:
Virtual Reality Musical Instruments: State of the Art, Design Principles, and Future Directions. 22-40
- Nick Collins:
A Funny Thing Happened on the Way to the Formula: Algorithmic Composition for Musical Theater. 41-57
- Paul Rhys:
Smart Interfaces for Granular Synthesis of Sound by Fractal Organization. 58-67
- Goktug T. Cinar, James Paul Sain, José C. Príncipe:
A Study of Musical Pitch Distance Using a Self-Organized Hierarchical Linear Dynamical System on Acoustic Signals. 68-82 - Robert Hasegawa:
James Tenney: From Scratch: Writings in Music Theory. 83-86 - Seth Aaron Rozanoff:
David Rothenberg and Korhan Erel: Berlin Bülbül. 86-88
Volume 40, Number 4, Winter 2016
- Thibaut Carpentier, Natasha Barrett, Rama Gottfried, Markus Noisternig:
Holophonic Sound in IRCAM's Concert Hall: Technological and Aesthetic Practices. 14-34 - Natasha Barrett:
A Musical Journey towards Permanent High-Density Loudspeaker Arrays. 35-46 - Andrés Cabrera, JoAnn Kuchera-Morin, Curtis Roads:
The Evolution of Spatial Audio in the AlloSphere. 47-61 - Eric Lyon, Terence Caulkins, Denis Blount, Ivica Ico Bukvic, Charles Nichols, Michael J. Roan, Tanner Upthegrove:
Genesis of the Cube: The Design and Deployment of an HDLA-Based Performance and Research Facility. 62-78 - Javier Alejandro Garavaglia:
Creating Multiple Spatial Settings with "Granular Spatialisation" in the High-Density Loudspeaker Array of the Cube Concert Hall. 79-90 - Fernando Lopez-Lezcano:
Searching for the GRAIL. 91-103 - Seth Aaron Rozanoff:
Masayoshi Fujita and Jan Jelinek: Schaum. 104-108 - Ross Feller:
Nicolas Collins: Salvaged - Compositions 1986-2014. 105-108
a service of 
manage site settings
To protect your privacy, all features that rely on external API calls from your browser are turned off by default. You need to opt-in for them to become active. All settings here will be stored as cookies with your web browser. For more information see our F.A.Q.
last updated on 2024-07-23 22:00 CEST by the dblp team
all metadata released as open data under CC0 1.0 license
see also: Terms of Use | Privacy Policy | Imprint
dblp was originally created in 1993 at:
since 2018, dblp has been operated and maintained by:
the dblp computer science bibliography is funded and supported by:
