Surface relations between music and language as compositional aidsFootnote¹

The following paper is in part based on one given by the author at the International Computer Music Conference 1982 in Venice (“Surface Control of Computer Music”). The present article is somewhat more elaborate, and discusses generalizations of the LIMID program which did not exist at the time of the Venice conference; the earlier paper provides somewhat more detail about the operation of the program.

Notes

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• Harweg . 1968 . “Language and Music: An Immanent and Sign Theoretic Approach” . Foundations of Language , 4 : 270 – 281 .
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• The following paper is in part based on one given by the author at the International Computer Music Conference 1982 in Venice (“Surface Control of Computer Music”). The present article is somewhat more elaborate, and discusses generalizations of the LIMID program which did not exist at the time of the Venice conference; the earlier paper provides somewhat more detail about the operation of the program.
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