Overview
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Xenakis (1992)
Winsor (1987, 1990, 1991)
Barbaud (1966, 1968)
Hiller & Issacson (1959)
Ames (1987b)
Langston (1989)
Lorrain (1980)
Linked automata
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automaton to represent musical processes: harmonization & counterpoint: (Pope 1986b);
(Chemillier 1992a,b)
Links between automata
evolution of automata & links by internal analysis that change sources, destinations, weights of
links: (Roads 1976, 1984, 1987, 1992a)
Changing linkages affects musical behavior generated; program can be guided by interaction
with performer : (Chadabe & Meyers 1978)
That automata run autonomously implies that the musician has global control over their
behavior: (Baffioni, Guerra, Lalli 1984); (Ozzola, Melzi, & Corghi 1984)
Introduction to form of system theory for music analysis: (Hiller & Levy 1984)
Cellular Automata
CA models of evolution, growth & wave propagation: (Wolfram 1984, 1986).
Applications of CA to pitch, duration, timbre selectors : (Beyls 1989; Millen 1990).
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Applications of CA to sound
granular synthesis: (Bowcott 1989)
self-modifying waveforms : (Chareyron 1990)
amplitude envelopes for additive synthesis : (Beyls 1991)
Musical control flow
Musical control flow that allow for stretching & shrinking event durations: (Garnett 1991); (Dannenberg,
McAvinney, & Rubine 1986); (Dannenberg 1989a, b); (Anderson & Kuivila 1986); (Desain & Honing
1992a).
Euterpe: Programmed specification of musical control structure : (Smoliar 1967a, b 1971)
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PLAY : (Chadabe & Meyers 1978)
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MOXIE: (Collinge 1980); (Colinge & Scheidt 1988)
Pla : (Schottstaedt 1983, 1989)
Flavors Band : (Fry 1984)
4CED: (Abbott 1981)
FORMES : (Rodet & Cointe 1984)
HMSL : (Polansky et al 1988)
Artic : (Dannenberg 1986)
Canon : (Dannenberg 1989a, b)
Petri Nets
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(Haus 1984); (Pope 1986b)
Stochastic Processes
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(Hiller & Isaacson : 1959)
(Xenakis 1992)
Probability table lookup
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(Ames 1987a, b, 1990, 1992); (Lorrain 1980); (Jones 1981); (Bolognesi 1983);
Algom 7 : (Barbaud 1966, 1968); (Lachartre 1969)
Project 1 & 2 : (Koenig 1970a, b); chapter 18
Stochastic Music Program : (Xenakis 1971, 1992); (Myhill 1979 chapter 18);
Probability distributions for stochastic music processes : (Lorrain 1980); (Xenakis 1992)
Markov Chains
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(Pinkerton 1956)
(Brooks et al. 1957)
(Hiller & Isaacson 1959)
(Xenakis 1960, 1971)
(Meyer 1967)
(Olson 1967)
(Moorer 1972)
Complex musical behavior: (Jones 1981)
Interactive composition game, changing the state of Markovian process: (Chadabe 1984, 1992);
(Zicarelli 1987)
Hierarchical Markov Chains : HMSL : Hierarchical Music Specification Language : (Polansky,
Rosenboom, & Burk 1987); (Polansky et al 1987)
(Ames 1989a)
Fractals
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Fractal Dimension: (Mandelbrot 1977); (Gleick 1988)
1/f : (Bartlett 1979); (Clarke & Voss 1978)
Musical processes that refer to events in the past—i.e tonal melodies that wander then return
to tonic: (Bartlett 1979)
Fractal algorithms to generate vibrato effects : (McNabb 1981, 1986)
Fractals to control of timbre : (Waschka & Kurepa 1989)
Self similarity : germ cell elaboration : (Stockhausen 1959, 1963)
Self-similarity in polyphonic music : (Dodge 1988); (Thomas 1991)
Fractal algorithm : (Gardner 1978)
Extensions of 1/f : (Bolognesi 1983)
Levy flight : degree of hierarchical clustering : (Bolognesi 1983); (Mandelbrot 1977)
Fourier transforms : (Moore 1990)
Chaos Generators
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Background: (Gleick 1988), (Holden 1986)
Mapping chaotic behavior & musical parameters with waveforms, notes, high-level structures :
(Pressing 1988); (Bidlack 1992); (Ames 1992); (Di Scipio 1990); (Gogins 1991); (Degazio 1986)
Musical application of grammar
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Musical Applications: (Molino 1975); (Nattiez 1975); (Ruwet 1972, 1975); (Bernstein 1976);
(Lerdahl & Jackendoff 1983); (Lidov & Gabura 1973); (Baroni et al 1984); (Roads 1978b, 1985e);
(Holtzman 1981); (Jones 1981); (Winograd 1968); (Laske 1975); (Bel 1992); (Bel and Kippen
1992)
Practical midi-based grammar system : (Bel 1992); (Bell & Kippen 1992)
Generate and Test (GAT)
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Push Button Bertha : (Klein & Bolitho 1956)
(Hiller 1970, 1981); (Ames 1987a)
Constrained selection: prioritizing values to be tested & organizing them into schedules : (Ames
1983, 1987a) [otherwise known as plan-generate-test in AI : (Rich 1983)]
GAT with backtracking to terminate dead-end searches : (Gill 1963); (Ames 1987a)
Means-end analysis in AI : (Miller, Galanter, & Pribram 1960); (Newell & Simon 1972); (Laske
1975)
Means-end analysis – harmonic progression : (Mathews & Miller 1965)
o With Backtracking – fugul processes : (Reitman 1960, Hiller 1970)
Pattern Matching and Search Techniques
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Precompositional method for pattern-directed search with Prolog : (Dashow 1989)
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Generating dyads : See : Archimedes & Oro, Argento & Legno : (Dashow 1980, 1987)
Protocol : (Ames 1982, 1987b)
Musical Examples of Constraints
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Levitt’s jazz improvisation system : constraint model of tonal consonance : (Levitt 1981, 1983,
1984)
Additional examples : (Courtot 1992) ; (Ebcioglu 1992)
Expert Systems
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EMI : (Cope 1987)
B. Garton - Elthar : interactive signal processing : (Garton 1989)
P. Beyls – Oscar : interactive composing environment: (Beyls 1988)
Expert systems as applied to formal music theory : (Ebcioglu 1980, 1988); (Schwanauer 1988);
(Schottstaedt 1989b); (Cope 1989)
Expert systems & musical learning : (Levitt 1981, 1983)
Neural Networks
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Musical applications : rhythmic analysis, pitch perception, performance planning, tonality &
polyphony
Timbre analysis & synthesis : (Dolson 1989)
Connectionist approach to melodic composition : (Todd 1989)
Melodic interpolation & extrapolation through presentation of melodic structures outside the
training set : (Mathews & Rosler 1968); (Todd 1989); (Lewis 1989)
Analysis in Composition Programs
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PROCESS/ING (Roads 1976);
IOS (Roads 1983)
Emotion & Composition
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(Minsky 1981); (Roads 1985d); (Duisberg 1984); (Katayose & Inokuchi 1989, 1990); (Imberty
1967, 1979); (Meyer 1956); (Coker 1972)
Factors that drive music composition & music listening : (Mandler 1975)