finished writing for now
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328
main.bib
328
main.bib
@@ -62,6 +62,17 @@
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||||
file = {/Users/tomoya/Zotero/storage/627PI276/p56-anderson.pdf;/Users/tomoya/Zotero/storage/PA4GN5XG/p56-anderson.pdf}
|
||||
}
|
||||
|
||||
@misc{astor_gwion_2017,
|
||||
title = {Gwion},
|
||||
author = {Astor, J{\'e}r{\'e}mie},
|
||||
year = {2017},
|
||||
urldate = {2022-01-27},
|
||||
abstract = {:musical\_note: strongly-timed musical programming language},
|
||||
copyright = {GPL-3.0},
|
||||
howpublished = {https://github.com/Gwion/Gwion},
|
||||
keywords = {audio,chuck,compiler,composition,hacktoberfest,interpreter,lang,language,music,programming-language,real-time,realtime-audio,sound,synth,synthesis}
|
||||
}
|
||||
|
||||
@article{berg1979,
|
||||
title = {{{PILE}}: {{A Language}} for {{Sound Synthesis}}},
|
||||
shorttitle = {{{PILE}}},
|
||||
@@ -80,6 +91,16 @@
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||||
file = {/Users/tomoya/Zotero/storage/H94X4M7S/Berg - 1979 - PILE A Language for Sound Synthesis.pdf}
|
||||
}
|
||||
|
||||
@book{Born1995,
|
||||
title = {Rationalizing {{Culture}}},
|
||||
author = {Born, Georgina},
|
||||
year = {1995},
|
||||
number = {1},
|
||||
publisher = {University of California Press},
|
||||
urldate = {2021-10-10},
|
||||
isbn = {0-520-20216-3}
|
||||
}
|
||||
|
||||
@inproceedings{brandt2000,
|
||||
title = {Temporal Type Constructors for Computer Music Programming},
|
||||
booktitle = {Proceedings of {{International Computer Music Conference}}},
|
||||
@@ -185,6 +206,24 @@
|
||||
file = {/Users/tomoya/Zotero/storage/NBRFF5ND/Holbrook et al. - Computer music and post-acousmatic practices.pdf}
|
||||
}
|
||||
|
||||
@article{innis_sound_1968,
|
||||
title = {Sound {{Synthesis}} by {{Computer}}: {{Musigol}}, a {{Program Written Entirely}} in {{Extended Algol}}},
|
||||
shorttitle = {Sound {{Synthesis}} by {{Computer}}},
|
||||
author = {Innis, Donald Mac},
|
||||
year = {1968},
|
||||
journal = {Perspectives of New Music},
|
||||
volume = {7},
|
||||
number = {1},
|
||||
eprint = {832426},
|
||||
eprinttype = {jstor},
|
||||
pages = {66--79},
|
||||
publisher = {Perspectives of New Music},
|
||||
issn = {0031-6016},
|
||||
doi = {10.2307/832426},
|
||||
urldate = {2022-01-04},
|
||||
file = {/Users/tomoya/Zotero/storage/DYXDF5EH/Innis - 1968 - Sound Synthesis by Computer Musigol, a Program Wr.pdf}
|
||||
}
|
||||
|
||||
@misc{kay2019,
|
||||
title = {American Computer Pioneer {{Alan Kay}}'s Concept, the {{Dynabook}}, Was Published in 1972. {{How}} Come {{Steve Jobs}} and {{Apple iPad}} Get the Credit for Tablet Invention?},
|
||||
author = {Kay, Alan C.},
|
||||
@@ -193,11 +232,40 @@
|
||||
journal = {Quora},
|
||||
urldate = {2022-01-25},
|
||||
abstract = {Answer (1 of 4): The Dynabook idea happened in 1968. But the simple part of the idea --- a personal computer on the back of a flat screen display with a stylus and touch sensitivity --- is hard to consider a real invention given: * Flat-screen displays. I saw the first University of Illinois one i...},
|
||||
howpublished = {\url{https://www.quora.com/American-computer-pioneer-Alan-Kay-s-concept-the-Dynabook-was-published-in-1972-How-come-Steve-Jobs-and-Apple-iPad-get-the-credit-for-tablet-invention}},
|
||||
howpublished = {https://www.quora.com/American-computer-pioneer-Alan-Kay-s-concept-the-Dynabook-was-published-in-1972-How-come-Steve-Jobs-and-Apple-iPad-get-the-credit-for-tablet-invention},
|
||||
language = {en},
|
||||
file = {/Users/tomoya/Zotero/storage/52TPMQQG/American-computer-pioneer-Alan-Kay-s-concept-the-Dynabook-was-published-in-1972-How-come-Steve-.html}
|
||||
}
|
||||
|
||||
@inproceedings{kirkbride2016foxdot,
|
||||
title = {{{FoxDot}}: {{Live}} Coding with Python and Supercollider},
|
||||
booktitle = {Proceedings of the {{International Conference}} on {{Live Interfaces}}},
|
||||
author = {Kirkbride, Ryan},
|
||||
year = {2016},
|
||||
pages = {194--198}
|
||||
}
|
||||
|
||||
@misc{lan_glicol_2020,
|
||||
title = {Glicol},
|
||||
author = {Lan, Qichao},
|
||||
year = {2020},
|
||||
urldate = {2025-01-28},
|
||||
howpublished = {https://glicol.org/},
|
||||
file = {/Users/tomoya/Zotero/storage/9DZAAT5M/glicol.org.html}
|
||||
}
|
||||
|
||||
@inproceedings{Lattner,
|
||||
title = {{{LLVM}}: {{A Compilation Framework}} for {{Lifelong Program Analysis}} \& {{Transformation}}},
|
||||
booktitle = {Proceedings of the {{International Symposium}} on {{Code Generation}} and {{Optimization}}: {{Feedback-Directed}} and {{Runtime Optimization}}},
|
||||
author = {Lattner, Chris and Adve, Vikram},
|
||||
year = {2004},
|
||||
pages = {75},
|
||||
publisher = {IEEE Computer Society},
|
||||
urldate = {2019-05-29},
|
||||
abstract = {This paper describes LLVM (Low Level Virtual Machine),a compiler framework designed to support transparent, lifelongprogram analysis and transformation for arbitrary programs,by providing high-level information to compilertransformations at compile-time, link-time, run-time, and inidle time between runs.LLVM defines a common, low-levelcode representation in Static Single Assignment (SSA) form,with several novel features: a simple, language-independenttype-system that exposes the primitives commonly used toimplement high-level language features; an instruction fortyped address arithmetic; and a simple mechanism that canbe used to implement the exception handling features ofhigh-level languages (and setjmp/longjmp in C) uniformlyand efficiently.The LLVM compiler framework and coderepresentation together provide a combination of key capabilitiesthat are important for practical, lifelong analysis andtransformation of programs.To our knowledge, no existingcompilation approach provides all these capabilities.We describethe design of the LLVM representation and compilerframework, and evaluate the design in three ways: (a) thesize and effectiveness of the representation, including thetype information it provides; (b) compiler performance forseveral interprocedural problems; and (c) illustrative examplesof the benefits LLVM provides for several challengingcompiler problems.\vphantom\{\}, booktitle = \{Proceedings of the International Symposium on Code Generation and Optimization: Feedback-Directed and Runtime Optimization\vphantom\}},
|
||||
file = {/Users/tomoya/Zotero/storage/6F75AM3H/full-text.pdf}
|
||||
}
|
||||
|
||||
@article{Lazzarini2013,
|
||||
title = {The {{Development}} of {{Computer Music Programming Systems}}},
|
||||
author = {Lazzarini, Victor},
|
||||
@@ -259,6 +327,15 @@
|
||||
file = {/Users/tomoya/Zotero/storage/N4NELPL9/Loy and Abbott - 1985 - Programming languages for computer music synthesis.pdf}
|
||||
}
|
||||
|
||||
@inproceedings{lyon_we_2006,
|
||||
title = {Do {{We Still Need Computer Music}}?},
|
||||
booktitle = {{{EMS}}},
|
||||
author = {Lyon, Eric},
|
||||
year = {2006},
|
||||
urldate = {2025-01-17},
|
||||
file = {/Users/tomoya/Zotero/storage/SK2DXEE8/Do_We_Still_Need_Computer_Music.pdf}
|
||||
}
|
||||
|
||||
@article{lyon2002,
|
||||
title = {Dartmouth {{Symposium}} on the {{Future}} of {{Computer Music Software}}: {{A Panel Discussion}}},
|
||||
shorttitle = {Dartmouth {{Symposium}} on the {{Future}} of {{Computer Music Software}}},
|
||||
@@ -275,13 +352,31 @@
|
||||
urldate = {2025-01-01}
|
||||
}
|
||||
|
||||
@misc{lyon2006,
|
||||
title = {Do we still need computer Music?},
|
||||
author = {Lyon, Eric},
|
||||
year = {2006},
|
||||
urldate = {2025-01-17},
|
||||
howpublished = {\url{https://disis.music.vt.edu/eric/LyonPapers/Do\_We\_Still\_Need\_Computer\_Music.pdf}},
|
||||
file = {/Users/tomoya/Zotero/storage/SK2DXEE8/Do_We_Still_Need_Computer_Music.pdf}
|
||||
@article{Magnusson2009,
|
||||
title = {Of Epistemic Tools: {{Musical}} Instruments as Cognitive Extensions},
|
||||
author = {Magnusson, Thor},
|
||||
year = {2009},
|
||||
month = aug,
|
||||
journal = {Organised Sound},
|
||||
volume = {14},
|
||||
number = {2},
|
||||
pages = {168--176},
|
||||
issn = {13557718},
|
||||
doi = {10.1017/S1355771809000272},
|
||||
urldate = {2021-03-17},
|
||||
abstract = {This paper explores the differences in the design and performance of acoustic and new digital musical instruments, arguing that with the latter there is an increased encapsulation of musical theory. The point of departure is the phenomenology of musical instruments, which leads to the exploration of designed artefacts as extensions of human cognition - as scaffolding onto which we delegate parts of our cognitive processes. The paper succinctly emphasises the pronounced epistemic dimension of digital instruments when compared to acoustic instruments. Through the analysis of material epistemologies it is possible to describe the digital instrument as an epistemic tool: a designed tool with such a high degree of symbolic pertinence that it becomes a system of knowledge and thinking in its own terms. In conclusion, the paper rounds up the phenomenological and epistemological arguments, and points at issues in the design of digital musical instruments that are germane due to their strong aesthetic implications for musical culture. {\copyright} 2009 Cambridge University Press.},
|
||||
file = {/Users/tomoya/Zotero/storage/9SUU6WCD/magnusson.pdf;/Users/tomoya/Zotero/storage/HJFNX6AG/magnusson.pdf}
|
||||
}
|
||||
|
||||
@article{Magnusson2011,
|
||||
title = {The {{IXI Lang}}: {{A SuperCollider Parasite}} for {{Live Coding}}},
|
||||
author = {Magnusson, Thor},
|
||||
year = {2011},
|
||||
journal = {International Computer Music Conference Proceedings},
|
||||
volume = {2011},
|
||||
publisher = {Michigan Publishing, University of Michigan Library},
|
||||
issn = {2223-3881},
|
||||
urldate = {2020-03-20}
|
||||
}
|
||||
|
||||
@article{Markstrum2010,
|
||||
@@ -311,6 +406,28 @@
|
||||
file = {/Users/tomoya/Zotero/storage/IHLKBB9C/Mathews - 1961 - An acoustic compiler for music and psychological s.pdf;/Users/tomoya/Zotero/storage/CRSTYZYX/6773634.html}
|
||||
}
|
||||
|
||||
@misc{mathews_max_2007,
|
||||
title = {Max {{Mathews Full Interview}} {\textbar} {{NAMM}}.Org},
|
||||
author = {Mathews, Max V.},
|
||||
year = {2007},
|
||||
month = mar,
|
||||
urldate = {2025-01-08},
|
||||
abstract = {Max Mathews was working as an engineer at the famed Bell Laboratory in 1954 when he was asked to determine if the computer Bell was designing could create music. The landmark Music 2 and later Music 4 projects put the two concepts together as early as 1957---the computer and music had a future and Max was there for the birth. Max had moved on to musical programming when Don Buchla and Robert Moog created similar electronic music in the form of the synthesizer.},
|
||||
howpublished = {https://www.namm.org/video/orh/max-mathews-full-interview},
|
||||
language = {en},
|
||||
file = {/Users/tomoya/Zotero/storage/F9CN88YP/max-mathews-full-interview.html}
|
||||
}
|
||||
|
||||
@book{mathews_technology_1969,
|
||||
title = {The Technology of Computer Music},
|
||||
author = {Mathews, Max V. and Miller, Joan E.},
|
||||
year = {1969},
|
||||
publisher = {M.I.T. Press},
|
||||
urldate = {2020-03-31},
|
||||
isbn = {0-262-13050-5},
|
||||
keywords = {Computer composition sound processing}
|
||||
}
|
||||
|
||||
@article{mathews1963,
|
||||
title = {The {{Digital Computer}} as a {{Musical Instrument}}},
|
||||
author = {Mathews, M.V.},
|
||||
@@ -339,6 +456,49 @@
|
||||
file = {/Users/tomoya/Zotero/storage/GFPCD4VD/full-text.pdf;/Users/tomoya/Zotero/storage/ZAQ37PDB/Mathews, Roads - 1980 - Interview with Max Mathews.pdf}
|
||||
}
|
||||
|
||||
@inproceedings{matsuura_lambda-mmm_2024,
|
||||
title = {Lambda-Mmm: The {{Intermediate Representation}} for {{Synchronous Signal Processing Language Based}} on {{Lambda Calculus}}},
|
||||
booktitle = {Proceedings of the 4th {{International Faust Conference}}},
|
||||
author = {Matsuura, Tomoya},
|
||||
year = {2024},
|
||||
pages = {17--25},
|
||||
abstract = {This paper proposes {$\lambda$}mmm, a call-by-value, simply typed lambda calculus-based intermediate representation for a music programming language that handles synchronous signal processing and introduces a virtual machine and instruction set to execute {$\lambda$}mmm. Digital signal processing is represented by a syntax that incorporates the internal states of delay and feedback into the lambda calculus. {$\lambda$}mmm extends the lambda calculus, allowing users to construct generative signal processing graphs and execute them with consistent semantics. However, a challenge arises when handling higher-order functions because users must determine whether execution occurs within the global environment or during DSP execution. This issue can potentially be resolved through multi-stage computation.},
|
||||
copyright = {All rights reserved},
|
||||
isbn = {978-2-9597911-0-9},
|
||||
language = {en},
|
||||
file = {/Users/tomoya/Zotero/storage/X9PF87WL/Matsuura - 2024 - Lambda-mmm the Intermediate Representation for Sy.pdf}
|
||||
}
|
||||
|
||||
@inproceedings{matsuura_mimium_2021,
|
||||
title = {Mimium: {{A Self-Extensible Programming Language}} for {{Sound}} and {{Music}}},
|
||||
shorttitle = {Mimium},
|
||||
booktitle = {Proceedings of the 9th {{ACM SIGPLAN International Workshop}} on {{Functional Art}}, {{Music}}, {{Modelling}}, and {{Design}}},
|
||||
author = {Matsuura, Tomoya and Jo, Kazuhiro},
|
||||
year = {2021},
|
||||
month = aug,
|
||||
series = {{{FARM}} 2021},
|
||||
pages = {1--12},
|
||||
publisher = {Association for Computing Machinery},
|
||||
address = {New York, NY, USA},
|
||||
doi = {10.1145/3471872.3472969},
|
||||
urldate = {2024-07-09},
|
||||
abstract = {We propose a programming language for music named mimium, which combines temporal-discrete control and signal processing in a single language. mimium has an intuitive imperative syntax and can use stateful functions as Unit Generator in the same way as ordinary function definitions and applications. Furthermore, the runtime performance is made equivalent to that of lower-level languages by compiling the code through the LLVM compiler infrastructure. By using the strategy of adding a minimum number of features for sound to the design and implementation of a general-purpose functional language, mimium is expected to lower the learning cost for users, simplify the implementation of compilers, and increase the self-extensibility of the language. In this paper, we present the basic language specification, semantics for simple task scheduling, the semantics for stateful functions, and the compilation process. mimium has certain specifications that have not been achieved in existing languages. Future works suggested include extending the compiler functionality to combine task scheduling with the functional paradigm and introducing multi-stage computation for parametric replication of stateful functions.},
|
||||
copyright = {All rights reserved},
|
||||
isbn = {978-1-4503-8613-5},
|
||||
file = {/Users/tomoya/Zotero/storage/ERG4LFIZ/Matsuura and Jo - 2021 - mimium A Self-Extensible Programming Language for.pdf;/Users/tomoya/Zotero/storage/TDBLJQTL/Matsuura and Jo - 2021 - mimium a self-extensible programming language for.pdf}
|
||||
}
|
||||
|
||||
@inproceedings{mccartney_supercollider_1996,
|
||||
title = {{{SuperCollider}}, a {{New Real Time Synthesis Language}}},
|
||||
booktitle = {International {{Computer Music Conference Proceedings}}},
|
||||
author = {McCartney, James},
|
||||
year = {1996},
|
||||
publisher = {Michigan Publishing},
|
||||
issn = {2223-3881},
|
||||
urldate = {2021-10-12},
|
||||
file = {/Users/tomoya/Zotero/storage/5WDUN5YL/supercollider-a-new-real-time-synthesis-language.pdf}
|
||||
}
|
||||
|
||||
@article{McCartney2002,
|
||||
title = {Rethinking the Computer Music Language: {{SuperCollider}}},
|
||||
author = {McCartney, James},
|
||||
@@ -439,6 +599,14 @@
|
||||
file = {/Users/tomoya/Zotero/storage/JVBK3LZK/Nishino, Nakatsu - 2016 - Computer Music Languages and Systems The Synergy Between Technology and Creativity.pdf;/Users/tomoya/Zotero/storage/UKFT5TD2/Nishino, Nakatsu_2016_Handbook of Digital Games and Entertainment Technologies.pdf}
|
||||
}
|
||||
|
||||
@phdthesis{norilo_kronos_2016,
|
||||
title = {Kronos: {{Reimagining}} Musical Signal Processing},
|
||||
author = {Norilo, Vesa},
|
||||
year = {2016},
|
||||
school = {University of the Arts Helsinki},
|
||||
file = {/Users/tomoya/Zotero/storage/DIJ6Q8UF/sisus_b51.pdf;/Users/tomoya/Zotero/storage/KLHBHLZZ/sisus_b51.pdf}
|
||||
}
|
||||
|
||||
@article{norilo2015,
|
||||
title = {Kronos: {{A Declarative Metaprogramming Language}} for {{Digital Signal Processing}}},
|
||||
author = {Norilo, Vesa},
|
||||
@@ -467,15 +635,49 @@
|
||||
file = {/Users/tomoya/Zotero/storage/MDQ8W5KZ/nyquist1928.pdf}
|
||||
}
|
||||
|
||||
@incollection{Orlarey2009,
|
||||
title = {{{FAUST}} : An {{Efficient Functional Approach}} to {{DSP Programming}}},
|
||||
booktitle = {New {{Computational Paradigms}} for {{Computer Music}}},
|
||||
author = {Orlarey, Yann and Fober, Dominique and Letz, St{\'e}phane and Letz, Stephane},
|
||||
year = {2009},
|
||||
publisher = {DELATOUR FRANCE},
|
||||
urldate = {2020-03-28},
|
||||
file = {/Users/tomoya/Zotero/storage/LB4PIMPY/full-text.pdf}
|
||||
}
|
||||
|
||||
@misc{ostertag1998,
|
||||
title = {Why {{Computer Music Sucks}}},
|
||||
author = {Ostertag, Bob},
|
||||
year = {1998},
|
||||
urldate = {2025-01-17},
|
||||
howpublished = {\url{https://web.archive.org/web/20160312125123/http://bobostertag.com/writings-articles-computer-music-sucks.htm}},
|
||||
howpublished = {https://web.archive.org/web/20160312125123/http://bobostertag.com/writings-articles-computer-music-sucks.htm},
|
||||
file = {/Users/tomoya/Zotero/storage/9QAGQSVS/writings-articles-computer-music-sucks.html}
|
||||
}
|
||||
|
||||
@misc{puckette_47_2020,
|
||||
title = {47 {$\bullet$} {{Miller Puckette}} {$\bullet$} {{Max}}/{{MSP}} \& {{Pure Data}}},
|
||||
author = {Reese, Ivan},
|
||||
year = {2020},
|
||||
month = may,
|
||||
journal = {Future of Coding},
|
||||
number = {47},
|
||||
urldate = {2022-01-23},
|
||||
abstract = {Are you looking for the real computer revolution? Join the club! Future of Coding is a podcast and community of toolmakers, researchers, and creators working together to reimagine computing.},
|
||||
collaborator = {Puckette, Miller S.},
|
||||
language = {english},
|
||||
file = {/Users/tomoya/Zotero/storage/E4PL98DG/047.html}
|
||||
}
|
||||
|
||||
@inproceedings{puckette_pure_1997,
|
||||
title = {Pure {{Data}}},
|
||||
booktitle = {International {{Computer Music Conference Proceedings}}},
|
||||
author = {Puckette, Miller},
|
||||
year = {1997},
|
||||
publisher = {Michigan Publishing, University of Michigan Library},
|
||||
issn = {2223-3881},
|
||||
file = {/Users/tomoya/Zotero/storage/E5VQAJSD/puredata_icmc97.pdf}
|
||||
}
|
||||
|
||||
@article{puckette2015,
|
||||
title = {The {{Sampling Theorem}} and {{Its Discontents}}},
|
||||
author = {Puckette, Miller},
|
||||
@@ -499,6 +701,30 @@
|
||||
language = {英語}
|
||||
}
|
||||
|
||||
@misc{ruiz_vult_2020,
|
||||
title = {Vult {{Language}}},
|
||||
author = {Ruiz, Leonardo Laguna},
|
||||
year = {2020},
|
||||
urldate = {2020-09-27}
|
||||
}
|
||||
|
||||
@misc{Ruiz2020,
|
||||
title = {Vult {{Language}}},
|
||||
author = {Ruiz, Leonardo Laguna},
|
||||
year = {2020},
|
||||
urldate = {2024-11-27},
|
||||
howpublished = {http://modlfo.github.io/vult/}
|
||||
}
|
||||
|
||||
@inproceedings{Salazar2012,
|
||||
title = {{{CHUGENS}}, {{CHUBGRAPHS}}, {{CHUGINS}}: 3 {{TIERS FOR EXTENDING CHUCK}}},
|
||||
booktitle = {International {{Computer Music Conference Proceedings}}},
|
||||
author = {Salazar, Spencer and Wang, Ge},
|
||||
year = {2012},
|
||||
pages = {60--63},
|
||||
file = {/Users/tomoya/Zotero/storage/6XY3DR2B/chugens-chubgraphs-chugins-3-tiers-for-extending-chuck.pdf}
|
||||
}
|
||||
|
||||
@article{scheirer1999,
|
||||
title = {{{SAOL}}: {{The MPEG-4 Structured Audio Orchestra Language}}},
|
||||
shorttitle = {{{SAOL}}},
|
||||
@@ -516,6 +742,16 @@
|
||||
file = {/Users/tomoya/Zotero/storage/NIULED49/Scheirer and Vercoe - 1999 - SAOL The MPEG-4 Structured Audio Orchestra Langua.pdf;/Users/tomoya/Zotero/storage/U9MFTBDB/Scheirer and Vercoe - 1999 - SAOL The MPEG-4 Structured Audio Orchestra Langua.pdf}
|
||||
}
|
||||
|
||||
@phdthesis{sorensen_extempore:_2018,
|
||||
title = {Extempore: {{The}} Design, Implementation and Application of a Cyber-Physical Programming Language},
|
||||
author = {Sorensen, Andrew Carl},
|
||||
year = {2018},
|
||||
doi = {10.25911/5D67B75C3AAF0},
|
||||
school = {The Australian National University},
|
||||
keywords = {Computer Music,Cyber,Extempore,High Performance Computing,Human Computer Interaction,Live Coding,Live Programming,Physical Programming},
|
||||
file = {/Users/tomoya/Zotero/storage/5HUUW8EZ/full-text.pdf;/Users/tomoya/Zotero/storage/B2JYT8R8/Sorensen - 2018 - Extempore The design, implementation and application of a cyber-physical programming language(3).pdf}
|
||||
}
|
||||
|
||||
@article{Spinellis2001,
|
||||
title = {Notable Design Patterns for Domain-Specific Languages},
|
||||
author = {Spinellis, Diomidis},
|
||||
@@ -615,6 +851,67 @@
|
||||
annotation = {title translation by the author.}
|
||||
}
|
||||
|
||||
@misc{taylor_article_1999,
|
||||
title = {Article: {{An Interview With David Wessel}} {\textbar} {{Cycling}} '74},
|
||||
shorttitle = {Article},
|
||||
author = {Taylor, Gregory},
|
||||
year = {1999},
|
||||
urldate = {2022-01-20},
|
||||
abstract = {David Wessel is Professor of Music at the University of California, Berkeley where he directs the Center for New Music and Audio Technologies (CNMAT). Wessel worked at IRCAM between 1979 and 1988; his activities there included starting the department where Miller Puckette first began working on Max on a Macintosh. Since Wessel's arrival in Berkeley over ten years ago, CNMAT has been actively involved in teaching Max/MSP as well as developing freely available Max-based software projects.},
|
||||
howpublished = {https://cycling74.com/articles/an-interview-with-david-wessel},
|
||||
language = {en},
|
||||
file = {/Users/tomoya/Zotero/storage/ZM7E9L9Q/an-interview-with-david-wessel.html}
|
||||
}
|
||||
|
||||
@book{theberge_any_1997,
|
||||
title = {Any Sound You Can Imagine: Making Music/Consuming Technology},
|
||||
shorttitle = {Any Sound You Can Imagine},
|
||||
author = {Th{\'e}berge, Paul},
|
||||
year = {1997},
|
||||
series = {Music/Culture},
|
||||
publisher = {Wesleyan University Press : University Press of New England},
|
||||
address = {Hanover, NH},
|
||||
isbn = {978-0-8195-5307-2 978-0-8195-6309-5},
|
||||
lccn = {ML1092 .T38 1997},
|
||||
keywords = {Computer sound processing,Electronic musical instruments,Music and technology}
|
||||
}
|
||||
|
||||
@article{theberge_any_2023,
|
||||
title = {Any {{Sound You Can Imagine}}: {{Then}} and Now},
|
||||
shorttitle = {Any {{Sound You Can Imagine}}},
|
||||
author = {Th{\'e}berge, Paul},
|
||||
year = {2023},
|
||||
month = jun,
|
||||
journal = {Journal of Popular Music Education},
|
||||
volume = {7},
|
||||
number = {The 25th Anniversary Release of Th{\'e}berge's Any Sound You Can Imagine: Making Music/Consuming Technology},
|
||||
pages = {219--229},
|
||||
publisher = {Intellect},
|
||||
issn = {2397-6721, 2397-673X},
|
||||
doi = {10.1386/jpme_00115_1},
|
||||
urldate = {2025-01-22},
|
||||
abstract = {During the 25 years since the publication of my book, Any Sound You Can Imagine: Making Music/Consuming Technology, a number of technological developments and theoretical trends have emerged: among them, the integration of music production within Digital Audio Workstation (DAW) platforms, and the rise of social media as a means for information sharing among musicians, on the one hand; and the emergence, in popular music studies, of practice-based and community-oriented forms of music research and pedagogy, on the other. In addition, new technologies and applications of artificial intelligence (AI) have begun to have an impact on music-making and listening at every level. These developments are discussed in relation to theoretical issues of innovation, production, consumption and gender found in my previous work and, more specifically, in relation to concerns raised in a number of articles in the present volume, using them as a springboard for further reflection and theorizing.},
|
||||
language = {en},
|
||||
file = {/Users/tomoya/Zotero/storage/4FJLP4DZ/Théberge - 2023 - Any Sound You Can Imagine Then and now.pdf;/Users/tomoya/Zotero/storage/EHEXPCGE/jpme_00115_1.html}
|
||||
}
|
||||
|
||||
@misc{toplap_manifestodraft_2004,
|
||||
title = {{{ManifestoDraft}} - {{Toplap}}},
|
||||
author = {{TOPLAP}},
|
||||
year = {2004},
|
||||
urldate = {2025-01-26},
|
||||
howpublished = {https://toplap.org/wiki/ManifestoDraft}
|
||||
}
|
||||
|
||||
@article{vercoe_computer_1983,
|
||||
title = {Computer {{Systems}} and {{Languages}} for {{Audio Research}}},
|
||||
author = {Vercoe, Barry L.},
|
||||
year = {1983},
|
||||
journal = {The New World of Digital Audio (Audio Engineering Society Special Edition)},
|
||||
pages = {245--250},
|
||||
file = {/Users/tomoya/Zotero/storage/5FWAAURE/Vercoe - Computer Systems and Languages for Audio Research.pdf}
|
||||
}
|
||||
|
||||
@inproceedings{wakefield2010,
|
||||
title = {{{LuaAV}}: {{Extensibility}} and {{Heterogeneity}} for {{Audiovisual Computing}}},
|
||||
booktitle = {Proceeding of {{Linux Audio Conference}}},
|
||||
@@ -626,6 +923,19 @@
|
||||
file = {/Users/tomoya/Zotero/storage/C8WADNNI/full-text.pdf}
|
||||
}
|
||||
|
||||
@article{wang_chuck_2015,
|
||||
title = {{{ChucK}}: {{A Strongly Timed Computer Music Language}}},
|
||||
author = {Wang, Ge and Cook, Perry R and Salazar, Spencer},
|
||||
year = {2015},
|
||||
journal = {Computer Music Journal},
|
||||
volume = {39},
|
||||
number = {4},
|
||||
pages = {10--29},
|
||||
doi = {10.1162/COMJ_a_00324},
|
||||
abstract = {ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-based programming model that allows programmers to flexibly and precisely control the flow of time in code and use the keyword now as a time-aware control construct, and gives programmers the ability to use the timing mechanism to realize sample-accurate concurrent programming. Several case studies are presented that illustrate the workings, properties, and personality of the language. We also discuss applications of ChucK in laptop orchestras, computer music pedagogy, and mobile music instruments. Properties and affordances of the language and its future directions are outlined.},
|
||||
file = {/Users/tomoya/Zotero/storage/4BFQ6VDF/Wang, Cook, Salazar - 2015 - ChucK A Strongly Timed Computer Music Language.pdf}
|
||||
}
|
||||
|
||||
@incollection{wang2017,
|
||||
title = {A {{History}} of {{Programming}} and {{Music}}},
|
||||
booktitle = {Cambridge {{Companion}} to {{Electronic Music}}},
|
||||
|
||||
Reference in New Issue
Block a user