| Title |
Author(s) |
Volume/Issue |
Date |
|
Flood Tide See Further: Sonification as Musical Performance
|
Eacott, John |
vol. 2011
|
2011 |
|
ARE COGNITIVE STYLES AN IMPORTANT FACTOR IN THE DESIGN OF ELECTROACOUSTIC MUSIC SOFTWARE?
|
Eaglestone, Barry; Ford, Nigel; Holdridge, Peter; Carter, Jenny |
vol. 2007
|
2007 |
|
Do Composition Systems Support Creativity? - An evaluation
|
Eaglestone, Barry; Ford, Nigel; Clowes, Mark |
vol. 2001
|
2001 |
|
A ’Pick and Mix’ Approach to the Integration of Composition Tools
|
Eaglestone, Barry; Lundén, Peter |
vol. 1996
|
1996 |
|
TEMA: An "Open" Support Environment for Music Composition
|
Eaglestone, Barry; Lundén, Peter |
vol. 1996
|
1996 |
|
Analytical Tools for Group Additive Synthesis
|
Eaglestone, Barry; Oates, Shaun |
vol. 1990
|
1990 |
|
An Intelligent Music Repository
|
Eaglestone, Barry M.; Verschoor, Albert |
vol. 1991
|
1991 |
|
A Database Environment for Musician-Machine Interaction Experimentation
|
Eaglestone, Barry M. |
vol. 1988
|
1988 |
|
AFFECTIVE JUKEBOX: A CONFIRMATORY STUDY OF EEG EMOTIONAL CORRELATES IN RESPONSE TO MUSICAL STIMULI
|
Eaton, Joel; Williams, Duncan; Miranda, Eduardo |
vol. 2014
|
2014 |
|
An Expert System for Harmonizing Four-Part Chorales
|
Ebcioglu, Kemal |
vol. 1986
|
1986 |
|
An Expert System for Schenkerian Synthesis of Chorales in the Style of J. S. Bach
|
Ebcioğlu, Kemal |
vol. 1984
|
1984 |
|
Computer Counterpoint
|
Ebcioğlu, Kemal |
vol. 1980
|
1980 |
|
StiffNeck: The Electroacoustic Music Performance Venue in a Box
|
Eckel, Gerhard; Rumori, Martin |
vol. 2014
|
2014 |
|
A FRAMEWORK FOR THE CHOREOGRAPHY OF SOUND
|
Eckel, Gerhard; Rumori, Martin; Pirrò, David; González-Arroyo, Ramón |
vol. 2012
|
2012 |
|
On Artistic Research in the Context of the Project Embodied Generative Music
|
Eckel, Gerhard; Pirrò, David |
vol. 2009
|
2009 |
|
Kinetic Sound Sculptures: Stele and Viola Spezzata
|
Eckel, Gerhard |
vol. 1999
|
1999 |
|
Camera Musica: Virtual Architecture as Medium for the Exploration of Music
|
Eckel, Gerhard |
vol. 1996
|
1996 |
|
The Development of GiST, a Granular Synthesis Toolkit Based on an Extension of the FOF Generator
|
Eckel, Gerhard; Iturbide, Manuel Rocha |
vol. 1995
|
1995 |
|
Musically Salient Control Abstractions for Sound Synthesis
|
Eckel, Gerhard; Gonzales-Arroyo, Ramon |
vol. 1994
|
1994 |
|
A Signal Editor for the IRCAM Musical Workstation
|
Eckel, Gerhard |
vol. 1990
|
1990 |
|
A Sun-Mercury Music Workstation
|
Eckel, Gerhard; Rodet, Xavier; Potard, Yves |
vol. 1987
|
1987 |
|
AN INTRODUCTION TO SLIPPERY CHICKEN
|
Edwards, Michael |
vol. 2012
|
2012 |
|
Imaginary Miles: Modeling Musebots After Musicians
|
Eigenfeldt, Arne |
vol. 2018
|
2018 |
|
Realtime Selection of Percussion Samples Through Timbral Similarity in Max/MSP
|
Eigenfeldt, Arne; Pasquier, Philippe |
vol. 2009
|
2009 |
|
MULTI-AGENT MULTIMODAL PERFORMANCE ANALYSIS
|
Eigenfeldt, Arne; Kapur, Ajay |
vol. 2008
|
August 2008 |
|
THE CREATION OF EVOLUTIONARY RHYTHMS WITHIN A MULTI-AGENT NETWORKED DRUM ENSEMBLE
|
Eigenfeldt, Arne |
vol. 2007
|
2007 |
|
DRUM CIRCLE: INTELLIGENT AGENTS IN MAX/MSP
|
Eigenfeldt, Arne |
vol. 2007
|
2007 |
|
Using Singing Voice Vibrato as a Control Parameter in a Chamber Opera
|
Einarsson, Anna; Friberg, Anders |
vol. 2015
|
2015 |
|
Introducing CatOracle: Corpus-based concatenative improvisation with the Audio Oracle algorithm
|
Einbond, Aaron; Schwarz, Diemo; Borghesi, Riccardo; Schnell, Norbert |
vol. 2016
|
2016 |
|
Fine-tuned Control of Concatenative Synthesis with CATART Using the BACH Library for MAX
|
Einbond, Aaron; Trapani, Christopher; Agostini, Andrea; Ghisi, Daniele; Schwarz, Diemo |
vol. 2014
|
2014 |
|
PRECISE PITCH CONTROL IN REAL TIME CORPUS-BASED CONCATENATIVE SYNTHESIS
|
Einbond, Aaron; Trapani, Christopher; Schwarz, Diemo |
vol. 2012
|
2012 |
|
Spatializing Timbre With Corpus-Based Concatenative Synthesis
|
Einbond, Aaron; Schwarz, Diemo |
vol. 2010
|
2010 |
|
Corpus-Based Transcription as an Approach to the Compositional Control of Timbre
|
Einbond, Aaron; Schwarz, Diemo; Bresson, Jean |
vol. 2009
|
2009 |
|
EmbodiComp: Embodied Interaction for Mixing and Composition
|
El-Shimy, Dalia; Cowan, Steve; Cooperstock, Jeremy R. |
vol. 2014
|
2014 |
|
Modes of Sonic Interaction in Circus: Three Proofs of Concept
|
Elblaus, Ludvig; Goina, Maurizio; Robitaille, Marie-Andrée; Bresin, Roberto |
vol. 2014
|
2014 |
|
Fractal Structures and Formalized Composition
|
Eldénius, Magnus |
vol. 1995
|
1995 |
|
GENERATIVE SOUND ART AS POEITIC POETRY FOR AN INFORMATION SOCIETY
|
Eldridge, Alice |
vol. 2012
|
2012 |
|
Computer Music Compositional Style Variation Between Genders and the Role of Education
|
Eliot-Kahn, Karen |
vol. 1997
|
1997 |
|
Spatialization Symbolic Music Notation at ICST
|
Ellberger, Emile; Toro Perez, Germán; Schuett, Johannes; Zoia, Giorgio; Cavaliero, Linda |
vol. 2014
|
2014 |
|
The Sound Studios of the Banff Centre for the Arts
|
Elliot, Kevin |
vol. 1993
|
1993 |
|
A Behavioral or Actor-Based Paradigm of Sound Production and Studio Composition
|
Elliot, Kevin |
vol. 1993
|
1993 |
|
Timescale Modification and Wavelet Representations
|
Ellis, Daniel P. W. |
vol. 1992
|
1992 |
|
A Wavelet Based Sinusoid Model of Sound for Auditory Signal Separation
|
Ellis, Daniel P. W.; Vercoe, Barry L. |
vol. 1991
|
1991 |
|
MODALYS DEMONSTRATION
|
Ellis, Nicholas; Bensoam, Joël; Caussé, René |
vol. 2005
|
2005 |
|
A Sound Design
|
Ellis, Phil |
vol. 1990
|
1990 |
|
Estimation of Vocal Duration in Monaural Mixtures
|
Elowsson, Anders; Schön, Ragnar; Höglund, Matts; Zea, Elias; Friberg, Anders |
vol. 2014
|
2014 |
|
Sound-types: a new framework for symbolic sound analysis and synthesis
|
Emanuele Cella, Carmine |
vol. 2011
|
2011 |
|
Music – Imagination - Technology
|
Emmerson, Simon |
vol. 2011
|
2011 |
|
'Local/field': towards a typology of live electroacoustic music
|
Emmerson, Simon |
vol. 1994
|
1994 |
|
Computers and Live Electronic Music: Some Solutions, Many Problems
|
Emmerson, Simon |
vol. 1991
|
1991 |
