Extending bach: A Family of Libraries for Real-time Computer-assisted Composition in Max

References

• Agon, C. (1998). OpenMusic: Un langage visuel pour la composition musicale assiste par ordinateur [A visual language for computer-assisted musical composition] (PhD thesis). University of Paris 6, Paris.
   Google Scholar
• Agon, C., & Assayag, G. (2002). Programmation visuelle et editeurs musicaux pour la composition assist\’{e}e par ordinateur [Visual programming and musical editors for computer-assisted composition]. In Interface homme machine. Poitiers: ACM Computer Press. Retrieved from https://hal.archives-ouvertes.fr/hal-01105751
   Google Scholar
• Agostini, A., Daubresse, E., & Ghisi, D. (2014). cage: A high-level library for real-time computer-aided composition. Proceedings of the International Computer Music Conference. Athens, Greece.
   Google Scholar
• Agostini, A., & Ghisi, D. (2013). Real-time computer-aided composition with bach. Contemporary Music Review, 32, 41–48.
   Web of Science ®Google Scholar
• Agostini, A., & Ghisi, D. (2015). A max library for musical notation and computer-aided composition. Computer Music Journal, 39, 11–27.
   Web of Science ®Google Scholar
• Anders, T., & Miranda, E. R. (2011). Constraint programming systems for modeling music theories and composition. ACM Computing Surveys, 43, 30:1–30:38.
   Web of Science ®Google Scholar
• Anders, T., Anagnostopoulou, C., & Alcorn, M. (2005). Strasheela: Design and usage of a music composition environment based on the Oz programming model. In Multiparadigm programming in Mozart/Oz, 2nd International Conference, MOZ 2004 (pp. 277–291). Charleroi, Belgium: Springer.
   Google Scholar
• Andersen, E. (2012). Origami and math. Retrieved from http://www.paperfolding.com/math/ ( Accessed: 2015-13-12).
   Google Scholar
• Assayag, G., Rueda, C., Laurson, M., Agon, C., & Delerue, O. (1999). Computer assisted composition at Ircam: From patchwork to OpenMusic. Computer Music Journal, 23, 59–72.
   Web of Science ®Google Scholar
• Assayag, G., Block, G., Chemillier, M., Cont, A., & Dubnov, S. (2006). Omax brothers: A dynamic topology of agents for improvization learning. In Proceedings of the 1st ACM workshop on Audio and music computing multimedia (pp. 125–132). New York, NY: ACM.
   Google Scholar
• Bigo, L., Ghisi, D., Spicher, A., & Andreatta, M. (2015). Representation of musical structures and processes in simplicial chord spaces. Computer Music Journal, 39, 11–27.
   Web of Science ®Google Scholar
• Bresson, J. (2006). Sound processing in openmusic. Proceedings of the 9th International Conference on Digital Audio Effects (DAFx-06). Montreal, Canada.
   Google Scholar
• Bresson, J. (2014). Reactive visual programs for computer-aided music composition. IEEE Symposium on Visual Languages and Human-centric Computing. Melbourne, Australia.
   Google Scholar
• Didkovsky, N., & Hajdu, G. (2008). Maxscore: Music notation in Max/MSP. Proceedings of the International Computer Music Conference, Belfast, N. Ireland.
   Google Scholar
• Einbond, A., Trapani, C., Agostini, A., Ghisi, D., & Schwarz, D. (2014). Fine-tuned control of concatenative synthesis with CataRT using the Bach library for Max. Proceedings of the International Computer Music Conference. Athens, Greece.
   Google Scholar
• Fineberg, J. (1993). Esquisse---Library-reference manual (code de Tristan Murail, J. Duthen and C. Rueda), Ircam, Paris.
   Google Scholar
• Fober, Y., Orlarey, Y., & Letz, S. (2012). An environment for the design of live music scores. Proceedings of the Linux Audio Conference, CCRMA, Stanford University, Stanford, CA.
   Google Scholar
• Ghisi, D., Agostini, A., & Maestri, E. (2016). Recreating Gérard Grisey’s Vortex temporum with cage. Proceedings of the International Computer Music Conference. Utrecht, Nederlands.
   Google Scholar
• Harte, C., Sandler, M., & Gasser, M. (2006). Detecting harmonic change in musical audio. Proceedings of Audio and Music Computing for Multimedia Workshop, Santa Barbara, CA.
   Google Scholar
• Hirs, R. & Gilmore, B. (Eds.). (2009). Contemporary compositional techniques and OpenMusic. Paris: Delatour/Ircam.
   Google Scholar
• Hofstadter, D. R. (1999). Gödel, Escher, Bach. New York (NY): Basic Books.
   Google Scholar
• Johnson, T. (2011). Three notes for 3 jugglers, Paris.
   Google Scholar
• Laurson, M., & Duthen, J. (1989). Patchwork, a graphical language in preform. Proceedings of the International Computer Music Conference (pp. 172–175). Miami, USA.
   Google Scholar
• Laurson, M. & Kuuskankare, M. (2002). PWGL: A novel visual language based on common Lisp, CLOS and OpenGL. Proceedings of International Computer Music Conference (pp. 142–145). Gothenburg, Sweden.
   Google Scholar
• Macauley, M. (2003). Braids and juggling patterns (Senior thesis). Department of Mathematics, Harvey Mudd College, Claremont, CA.
   Google Scholar
• Malt, M., & Schilingi, J. B. (1995). Profile---libreria per il controllo del profilo melodico per Patchwork [Profile — a Patchwork library for the control of melodic profiles]. In Proceedings of the XI Colloquio di Informatica Musicale (CIM) (pp. 237–238). Bologna, Italia.
   Google Scholar
• Orlarey, Y., Letz, S., & Fober, D. (2014). Version librairie du compilateur faust [Library version of the Faust compiler] (tech. rep.).
   Google Scholar
• Rueda, C. & Bonnet, A. (1998). Un Langage Visuel Basé sur les Contraintes pour la Composition Musicale [A constraint-based visual language for musical composition].
   Google Scholar
• Schnell, N., Borghesi, R., Schwarz, D., Bevilacqua, F., & Müller, R. (2005). FTM---Complex data structures for Max. Proceedings of the International Computer Music Conference, Barcelona, Spain.
   Google Scholar
• Schnell, N., Röbel, A., Schwarz, D., Peeters, G., & Borghesi, R. (2009). MuBu & friends---Assembling tools for content based real-time interactive audio processing in Max/MSP. Proceedings of the International Computer Music Conference. Montreal, Canada.
   Google Scholar
• Schwarz, D., Beller, G., Verbrugghe, B., & Britton, S. (2006). Real-time corpus-based concatenative synthesis with CataRT. In Proceedings of the International Conference on Digital Audio Effects (pp. 279-282), Montréal, Canada.
   Google Scholar
• Stroppa, M. (2000). Paradigms for the high level musical control of digital signal processing. Proceedings of the International Conference on Digital Audio Effects (DAFx-00). Verona, Italy.
   Google Scholar
• Taube, H. (1991). Common Music: A music composition language in common Lisp and CLOS. Computer Music Journal, 15, 21–32.
   Web of Science ®Google Scholar
• Truchet, C., Assayag, G., & Codognet, P. (2003). OMClouds, Petits Nuages de Contraintes dans OpenMusic [OMClouds, little constraint clouds in OpenMusic]. Proceedings of the Journées d’Informatique Musicale. Montbéliard, France.
   Google Scholar