Interactive Arts Programming

READINGS
Spring 2010


Manuals

Cycling '74. Max 5 Online Documentation.

Articles

Apple Computer, Inc. Macintosh Human Interface Guidelines. Apple Computer Inc., Cupertino, CA, 1992. excerpts.

Bregman, Albert S. Auditory scene analysis : the perceptual organization of sound. Cambridge, MA: The MIT Press, 1990. excerpt.

Cope, David. Computers and Musical Style. Madison, WI: A-R Editions, Inc. 1991. pp. 1-26.

Dobrian, Christopher. "Aesthetic Considerations in the Use of 'Virtual' Music Instruments" (.pdf format). (2001) Journal SEAMUS, 2003.

Dobrian, Christopher. "Music and Artificial Intelligence". Ph.D. qualifying examination, 1992. pp. 55-103.

Dobrian, Christopher. "Music Programming". unpublished, 1988.

Dobrian, Christopher. "Programming New Realtime DSP Possibilities with MSP". Proceedings of the the 2nd COST G-6 Workshop on Digital Audio Effects (DAFx99), NTNU, Trondheim, Norway, 1999.

Dobrian, Christopher. "Strategies for Continuous Pitch and Amplitude Tracking in Realtime Interactive Improvisation Software (.pdf format)". Proceedings of the 2004 Sound and Music Computing conference (SMC04) in Paris, France, 2004.

Dobrian, Christopher. "The 'E' In NIME (.pdf format)". Proceedings of the 2006 conference on New Interfaces for Musical Expression (NIME '06) in Paris, France, 2006.

Hofstadter, Douglas R. and the Fluid Analogies Research Group. Fluid Concepts and Creative Analogies. New York: Basic Books, 1995. excerpt.

Hofstadter, Douglas R. and Dennett, Daniel C., eds. The Mind's I. New York: Basic Books, 1981. excerpt.

Lewis, George. "Singing the Alternative Interactivity Blues". Front, 1995, pp. 18-22.

Miller, G. "The magical number 7 +/- 2; some limits on our capacity for processing information". Psychology Review, 63, 1956. pp. 87-91.

Moles, Abraham A. Information theory and esthetic perception. Translated by Joel F. Cohen. Urbana: University of Illinois Press, 1968. (Originally published by Flammarian, Paris, 1958.) excerpt.

Norman, Donald A. The Design of Everyday Things. New York: Doubleday, 1990. (First Published in 1988.) pp. 141-145.

Roads, Curtis. The Computer Music Tutorial. Cambridge, MA: MIT Press, 1996. excerpts.

Rowe, Robert. Interactive Music Systems. Cambridge, MA: MIT Press, 1993. excerpt.

Rowe, Robert. Machine Musicianship. Cambridge, MA: MIT Press, 2001. excerpt.

Schank, Roger C. and Robert P. Abelson. Scripts, plans, goals, and understanding : an inquiry into human knowledge structures. Hillsdale, N.J.: L. Erlbaum Associates, 1977. pp. 3-10, 36-42.

Searle, John. "Minds, Brains, and Programs". The Behavioral Brain Sciences, vol 3. Cambridge: Cambridge University Press, 1980. excerpt.

Turing, Alan M. "Computing Machinery and Intelligence". Mind, 59:236 (1950). excerpt.

Winkler, Todd. Composing Interactive Music: Techniques and Ideas Using Max. Cambridge, MA: MIT Press, 1998. excerpt.

Available on Reserve in the AMC

Anderton, Craig. "The Evolution Toward MIDI", MIDI for Musicians. pp. 1-16.

Apple Computer, Inc. Macintosh Human Interface Guidelines. Apple Computer Inc., Cupertino, CA, 1992. excerpts.

Balzano, Gerald. "The Group-Theoretic Description of 12-Fold and Microtonal Pitch Systems". Computer Music Journal, 4:4 (Winter 1980), MIT, pp. 66-84.

Bidlack, Rick. "Chaotic Systems as SImple (but Complex) Compositional Algorithms". Computer Music Journal, 16:3 (Fall 1992), MIT. pp. 33-47.

Cook, Perry. "Principles for Designing Computer Music Controllers". Proceedings of the 2001 conference on New Interfaces for Musical Expression.

Cope, David. "A Brief Background of Automated Music Composition". Computers and Musical Style. Madison, WI: A-R Editions, Inc. 1991. pp. 1-26.

Dobrian, Christopher. "Algorithmic Generation of Temporal Forms: Hierarchical Organization of Stasis and Transition". Proceedings of the 1996 International Computer Music Conference.

Dobrian, Christopher. "How MSP Works". MSP: The Documentation. Cycling '74, San Francisco, 1999. pp. 23-27.

Dobrian, Christopher. "Algorithmic Generation of Temporal Forms: Hierarchical Organization of Stasis and Transition". Proceedings of the 1996 International Computer Music Conference.

Hiller, Lejaren. "The Aesthetic Problem". Experimental Music. Chapter 2, pp. 11-35.

Holman, Tomlinson. "Capturing the Sound". Surround Professional.

Lewis, George. "Singing the Alternative Interactivity Blues". Front, 1995, pp. 18-22.

MIDI Manufacturers' Association. "Standard MIDI Files 1.0".

Miller, G. "The magical number 7 +/- 2; some limits on our capacity for processing information". Psychology Review, 63, 1956. pp. 87-91.

Norman, Donald A. "The Psychopathology of Everyday Things". The Design of Everyday Things. New York: Doubleday, 1990. (First Published in 1988.) Chapter 1, pp. 1-33.

Ornstein, Robert. "The Problem of Temporal Experience". On the Experience of Time.. Chapter 1, pp. 15-24.

Roads, Curtis. "Granular Synthesis". The Computer Music Tutorial. pp. 168-185.

Rowe, Robert. Interactive Music Systems. Cambridge, MA: MIT Press, 1993. excerpt.

Searle, John. "Minds, Brains, and Programs". The Behavioral Brain Sciences, vol 3. Cambridge: Cambridge University Press, 1980. excerpt.

Sokol, Mike. "You're Surrounded". Electronic Musician, October 2000. pp. 64-80.

Stockhausen, Karlheinz. "How Time Passes". Die Reihe. v. 3, pp. 10-40.

Turing, Alan M. "Computing Machinery and Intelligence". Mind, 59:236 (1950). excerpt.

Zicarelli David. "Music technology as a form of parasite". Remarks delivered at the 1992 International Computer Music Conference.

Unknown Author. "Genetic Algorithms: An Overview."

Unknown Author. "GAs: What Are They?"


Christopher Dobrian
April 1, 2010
dobrian@uci.edu