Center for Computer Research in Music and Acoustics (CCRMA), Department of Music, Stanford University, 660 Lomita Drive, Stanford, CA 94305-8180, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-650-723-4971 † This paper is an extended version of our paper published in the 41st International Computer Music Conference (ICMC), Denton, TX, USA, 25 September–1 Octob...

The reconstruction of tools and artworks belonging to the origins music computing unveils dynamics distributed knowledge underlying some major breakthroughs that took place during analogue-digital transition 1950s 1960s. We document implementation two musical replicas, Computer Suite for Little Boy For Ann (Rising) . Our archaeological ubiquitous-music methods yield fresh insights on both conve...

This paper describes our on-going theoretical research into the design of computer music instruments. Traditionally, an acoustical instrument is used as an extension of the body. We feel the importance of this tight relationship between musician and instrument has traditionally been underestimated in the design of computer music controllers. In this paper, we will show the benefits of a cyberne...

ChucK re-factors the idea of a computer music language into three orthogonal basis components: unit generator connections that are data-flow only, globally consistent ”first-class” time control, and sample-synchronous concurrency. The syntax, semantic, and usage have been discussed in previous works. The focus and contributions of this paper are (1) to examine the philosophies and decisions in ...

This paper presents ongoing research into the design and creation of interfaces for computer music. This work concentrates on the use of sensor as the primary means of interaction for computer music, and examines the relationships between types of sensors and musical functions. Experiments are described which aim to discover the particular suitability of certain sensors for specific musical tas...

Is there a distinction between New Interfaces for Musical Expression and New Interfaces for Controlling Sound? This article begins with a brief overview of expression in musical performance, and examines some of the characteristics of effective “expressive” computer music instruments. It becomes apparent that sophisticated musical expression requires not only a good control interface but also v...

This paper gives a brief overview of the three core features of LC, a new computer music programming language we prototyped: (1) prototype-based programming at both levels of compositional algorithms and sound synthesis, (2) the mostly-strongly-timed programming concept and other features with respect to time, and (3) the integration of objects and functions that can directly represent microsou...

This paper provides a proposal for a tone-based programming/scripting language called MUSIC (the name is an acronym for Music-Utilizing Script Input Code). In a MUSIC program input and output consists entirely of musical tones. Computation can be done through musical transformations of notes and melodies. MUSIC can be used for teaching the basics of script-based programming, computer-aided comp...

As freely improvised music continues to be performed, it also continues to be implemented in interactive computer systems. For the scientific study of such systems to be possible, it is important to ensure the fitness for purpose of available evaluation methods. This paper will review several approaches to evaluating interactive computer music systems. It will also examine the uncritically-acce...

This paper deals with the automatic generation of computer-driven performances and related audio renderings of music pieces encoded in symbolic format. A particular XML-based format, namely MX, is used to represent the original music information. The first step is illustrating how symbolic information can originate music performances. The format we have chosen to represent performance informati...