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.: Computer Music :.
International Computer Music Conference Proceedings
Wessel, David, B. Smith. Psychoacoustic Aids for the Musician's Exploration of New Material. (1977)
Beauchamp, James. Review of Acoustics Research and Sound Analysis/Synthesis Techniques (1981)
McAdams, Stephen. A General Synthesis Package Based on Principles of Auditory Perception. (1981)
Rosenboom, David. A Model for Detection and Analysis of Information Processing Modalities in the Nervous System Through an Adaptive, In...(1975)
Stautner, John. Analysis and Synthesis of Music Using a Model of the Auditory Transform. (1982)
Lifton, John. Some Technical and Aesthetic Considerations in Software for Live Interactive Performances. (1985)
Holland, Anthony. New Cognitive Theories of Harmony Applied to Direct Manipulation Tools for Novices. (1987)
Tanaka, Atau. Musical Technical Issues in Using Interactive Instrument Technology with Application to the BioMuse. (1993)
Katayose, Haruhiro, Tsutomu Kanamori, Satosi Simura, Seiji Inokuchi. Gesture Sensor in Virtual Performer. (1993)
Elliot, Kevin. A Behavioral or Actor-Based Paradigm of Sound Production and Studio Composition. (1993)
Katayose, Haruhiro, Tsutomu Kanamori, Seiji Inokuchi. An Environment for Interactive Art - Sensor Integration and Applications. (1996).
Tobey, Forest, Ichiro Fujinaga. Extraction of Conducting Gestures in 3D Space (1996).
Selected Chapters from Various Texts
Boulez, Pierre. Timbre and Composition - Timbre and Language. in Stephen McAdams (ed.) Contemporary Music Review. Vol 2, Part 1. New York, New York: Harwood Academic Publishers, 1987.
Dodge, Charles, Thomas A. Jerse. Real-time Performance of Computer Music. in Computer Music: Synthesis, Composition and Performance. London, Schirmer Books, 1997.
MacAdams, Stephen. Music: A Science of the Mind? in Stephen McAdams (ed.) Contemporary Music Review. Vol 2, Part 1. New York, New York: Harwood Academic Publishers, 1987.
Pierce, John R. Residues and Summation Tones - What do We Hear? from Max Mathews and John Pierce. Current Directions in Computer Music Research. Cambridge, Massachusetts, MIT Press, 1989
Reynolds, Roger. A Perspective on Form and Experience. in Stephen McAdams (ed.) Contemporary Music Review. Vol 2, Part 1. New York, New York: Harwood Academic Publishers, 1987.
Risset, Jean-Claude. Paradoxical Sounds. from Max Mathews and John Pierce. Current Directions in Computer Music Research. Cambridge, Massachusetts, MIT Press, 1989.
Rossing, Thomas D., F. Richard Moore, Paul A. Wheeler. Electronic Music Technology. in The Science of Sound, 3rd ed. Boston, Addison Wesley, 2002.
Note
Interdisciplinary integration has always been present in computer music although it is rarely presented as such. Whether delving into the research of adaptive environments, or cognition and computer music, to see the almost limitless directions that some of this work points too merely takes an open perspective and a willingness to embrace alternative applications of existing technology.
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