Computer music tends to be the domain of musicians, electrical engineers, mathematicians, and physicists. Today, only CS1-level knowledge is necessary to do a serious review and exploration of computer music, as the algorithms have become more well understood (and thus easier to explain), and Moore’s Law makes even inefficient algorithms successful. A serious impediment, however, has been the l...

The Music Table enables the composition of musical patterns by arranging cards on a tabletop. An overhead camera allows the computer to track the movements and positions of the cards and to provide immediate feedback in the form of music and on-screen computer generated images. Musical structure is experienced as a tangible space enriched with physical and visual cues about the music produced.

This paper describes several generations of computer music systems and the music they have enabled. It will introduce the software tools used in some of my music compositions realized in the years 1979-94 at a variety of studios using various software and hardware systems and programming languages. These tools use a wide range of compositional methods, including (among others): high-level graph...

The purpose of this paper is to provide theoretical knowledge on how the interactive music techniques usually associated with computer game music could benefit the classical music composers and performers (and vice versa). We will focuse on techniques used in procedural music. Certain interactive computer game scores and sound installations represent this genre, as well as electronic real-time-...

musical performances and synchronize prestored computer music accompaniments. The Interaction with computers in musical third project is a system for analyzing the performances is very much limited by a lack harmonic and rhythmic content of an of music understanding by computers. If improvised solo in order to follow a jazz computers do not understand musical improvisation. This work led to fur...

Performance has traditionally been a principal outlet for musical expression – it is the moment when music is communicated from musician to listener. This tradition has been challenged and augmented in this century – recorded and broadcast media technologies have brought new modes of listening to music, while conceptual developments have given rise to extremes such as music not to be heard. Com...

Computer Music Journal, 28:1, pp. 10–25, Spring 2004 q 2004 Massachusetts Institute of Technology. The Australian-built ‘‘automatic computer’’ initially known as the CSIR Mk1, and later known as CSIRAC, was one of the world’s earliest storedprogram electronic digital computers (Williams 1997). (See Figure 1.) Coincidentally, it may also have been the Ž rst computer to play music, even though la...

Computer Music Journal George Tzanetakis,* Jun Gao,† and Peter Steenkiste†‡ *Computer Science Department, Faculty of Engineering University of Victoria PO BOX 3055 STNCSC Victoria, British Columbia V8W3P6 Canada [email protected] †Computer Science Department ‡Department of Electrical and Computer Engineering Carnegie Mellon University 5000 Forbes Avenue Pittsburgh, Pennsylvania 15213 USA {jungao...

Computer music systems that coordinate or interact with human musicians exist in many forms. Often, coordination is at the level of gestures and phrases without synchronization at the beat level (or perhaps the notion of “beat” does not even exist). In music with beats, fine-grain synchronization can be achieved by having humans adapt to the computer (e.g. following a click track), or by comput...

Computer music is a truly interdisciplinary field; practitioners are well known for experimenting with new and developing technologies from a wide span of disciplines. Such experimentation is a tradition that stems back to the genesis of computer music, where a mathematician with a musical background programmed an early computer in the early 1950s to play a tune. The area of computer music has ...