コンピュータ音楽 (Japanese Wikipedia)

Analysis of information sources in references of the Wikipedia article "コンピュータ音楽" in Japanese language version.

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13doi.org

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6web.archive.org

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4jstor.org

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3ircam.fr

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2theguardian.com

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2sony.fr

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1kotobank.jp

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1ugent.be

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1academia.edu

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1bbc.co.uk

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1unimelb.edu.au

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1bl.uk

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1archive.org

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1scribd.com

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1gizmag.com

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1harvard.edu

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1nih.gov

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1leeds.ac.uk

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1telegraph.co.uk

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1arstechnica.com

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1newscientist.com

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1jatit.org

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1books.google.com

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1francoispachet.fr

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1princeton.edu

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academia.edu

Doornbusch, Paul (9 July 2017). “MuSA 2017 – Early Computer Music Experiments in Australia, England and the USA”. MuSA Conference. https://www.academia.edu/34234640 2017年10月18日閲覧。.

archive.org

Bogdanov, Vladimir (2001). All Music Guide to Electronica: The Definitive Guide to Electronic Music. Backbeat Books. p. 320. ISBN 978-0-87930-628-1 2013年12月4日閲覧。

arstechnica.com

Cheng, Jacqui (2009年9月30日). “Virtual Composer Makes Beautiful Music and Stirs Controversy”. Ars Technica. 2022年10月2日閲覧。

bbc.co.uk

news.bbc.co.uk

Fildes, Jonathan (2008年6月17日). “Oldest computer music unveiled”. BBC News Online 2008年6月18日閲覧。

bl.uk

blogs.bl.uk

“Restoring the first recording of computer music – Sound and vision blog”. British Library (2016年9月13日). 2017年8月28日閲覧。

books.google.com

Jan Pavelka; Gerard Tel; Miroslav Bartosek, eds (1999). Factor oracle: a new structure for pattern matching; Proceedings of SOFSEM'99; Theory and Practice of Informatics. Springer-Verlag, Berlin. pp. 291–306. ISBN 978-3-540-66694-3 2013年12月4日閲覧. "Lecture Notes in Computer Science 1725"

doi.org

Doornbusch, Paul (2017). “Early Computer Music Experiments in Australia and England”. Organised Sound (Cambridge University Press) 22 (2): 297–307 [11]. doi:10.1017/S1355771817000206.
Doornbusch, Paul (March 2004). “Computer Sound Synthesis in 1951: The Music of CSIRAC”. Computer Music Journal 28 (1): 11–12. doi:10.1162/014892604322970616.
Shimazu, Takehito (1994). “The History of Electronic and Computer Music in Japan: Significant Composers and Their Works”. Leonardo Music Journal (MIT Press) 4: 102–106 [104]. doi:10.2307/1513190. JSTOR 1513190 2012年7月9日閲覧。.
Mathews, Max (1 November 1963). “The Digital Computer as a Musical Instrument”. Science 142 (3592): 553–557. Bibcode: 1963Sci...142..553M. doi:10.1126/science.142.3592.553. PMID 17738556. "The generation of sound signals requires very high sampling rates.... A high speed machine such as the I.B.M. 7090 ... can compute only about 5000 numbers per second ... when generating a reasonably complex sound."
“Music without Musicians but with Scientists Technicians and Computer Companies” (2017年). 2022年10月2日閲覧。
Giomi, Francesco (1995). “The Work of Italian Artist Pietro Grossi: From Early Electronic Music to Computer Art”. Leonardo 28 (1): 35–39. doi:10.2307/1576152. JSTOR 1576152.
Doornbusch, Paul. "3: Early Hardware and Early Ideas in Computer Music: Their Development and Their Current Forms". In Dean (2009). doi:10.1093/oxfordhb/9780199792030.013.0003
Berg, Paul (1996). “Abstracting the future: The Search for Musical Constructs”. Computer Music Journal (MIT Press) 20 (3): 24–27 [11]. doi:10.2307/3680818. JSTOR 3680818.
Shlomo Dubnov, Gérard Assayag, Olivier Lartillot, Gill Bejerano, "Using Machine-Learning Methods for Musical Style Modeling", Computers, 36 (10), pp. 73–80, October 2003. doi:10.1109/MC.2003.1236474
Dubnov, S. (1999). "Stylistic randomness: About composing NTrope Suite." Organised Sound, 4(2), 87–92. doi:10.1017/S1355771899002046
"Using factor oracles for machine improvisation", G. Assayag, S. Dubnov, (September 2004) Soft Computing 8 (9), 604–610 doi:10.1007/s00500-004-0385-4
Collins, N.; McLean, A.; Rohrhuber, J.; Ward, A. (2004). “Live coding in laptop performance”. Organised Sound 8 (3): 321–330. doi:10.1017/S135577180300030X.
Collins, Nick (2003). “Generative Music and Laptop Performance”. Contemporary Music Review 22 (4): 67–79. doi:10.1080/0749446032000156919.

francoispachet.fr

“:: Continuator”. 2014年11月1日時点のオリジナルよりアーカイブ。2014年5月19日閲覧。

gizmag.com

Cattermole, Tannith (2011年5月9日). “Farseeing inventor pioneered computer music”. Gizmag. 2022年10月2日閲覧。 “In 1957 the MUSIC program allowed an IBM 704 mainframe computer to play a 17-second composition by Mathews. Back then computers were ponderous, so synthesis would take an hour.”

harvard.edu

ui.adsabs.harvard.edu

Mathews, Max (1 November 1963). “The Digital Computer as a Musical Instrument”. Science 142 (3592): 553–557. Bibcode: 1963Sci...142..553M. doi:10.1126/science.142.3592.553. PMID 17738556. "The generation of sound signals requires very high sampling rates.... A high speed machine such as the I.B.M. 7090 ... can compute only about 5000 numbers per second ... when generating a reasonably complex sound."

ircam.fr

repmus.ircam.fr

jatit.org

Mauricio Toro, Carlos Agon, Camilo Rueda, Gerard Assayag. "GELISP: A Framework to Represent Musical Constraint Satisfaction Problems and Search Strategies", Journal of Theoretical and Applied Information Technology 86, no. 2 (2016): 327–331.

jstor.org

Shimazu, Takehito (1994). “The History of Electronic and Computer Music in Japan: Significant Composers and Their Works”. Leonardo Music Journal (MIT Press) 4: 102–106 [104]. doi:10.2307/1513190. JSTOR 1513190 2012年7月9日閲覧。.
Gaburo, Kenneth (Spring 1985). “The Deterioration of an Ideal, Ideally Deteriorized: Reflections on Pietro Grossi's 'Paganini AI Computer'”. Computer Music Journal 9 (1): 39–44. JSTOR 4617921.
Giomi, Francesco (1995). “The Work of Italian Artist Pietro Grossi: From Early Electronic Music to Computer Art”. Leonardo 28 (1): 35–39. doi:10.2307/1576152. JSTOR 1576152.
Berg, Paul (1996). “Abstracting the future: The Search for Musical Constructs”. Computer Music Journal (MIT Press) 20 (3): 24–27 [11]. doi:10.2307/3680818. JSTOR 3680818.

kotobank.jp

『コンピュータ音楽』 - コトバンク

leeds.ac.uk

archive.researchdata.leeds.ac.uk

“Pietro Grossi's Experience in Electronic and Computer Music by Giuditta Parolini” (2016年). 2022年10月2日閲覧。

newscientist.com

“Computer composer honours Turing's centenary”. New Scientist. (5 July 2012).

nih.gov

pubmed.ncbi.nlm.nih.gov

Mathews, Max (1 November 1963). “The Digital Computer as a Musical Instrument”. Science 142 (3592): 553–557. Bibcode: 1963Sci...142..553M. doi:10.1126/science.142.3592.553. PMID 17738556. "The generation of sound signals requires very high sampling rates.... A high speed machine such as the I.B.M. 7090 ... can compute only about 5000 numbers per second ... when generating a reasonably complex sound."

princeton.edu

soundlab.cs.princeton.edu

Wang G. & Cook P. (2004) "On-the-fly Programming: Using Code as an Expressive Musical Instrument", In Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME) (New York: NIME, 2004).

scribd.com

Shimazu, Takehito (1994). “The History of Electronic and Computer Music in Japan: Significant Composers and Their Works”. Leonardo Music Journal (MIT Press) 4: 102–106 [104]. doi:10.2307/1513190. JSTOR 1513190 2012年7月9日閲覧。.

sony.fr

csl.sony.fr

Pachet, F., The Continuator: Musical Interaction with Style Archived 14 April 2012 at the Wayback Machine.. In ICMA, editor, Proceedings of ICMC, pages 211–218, Göteborg, Sweden, September 2002. ICMA.
Pachet, F. Playing with Virtual Musicians: the Continuator in practice Archived 14 April 2012 at the Wayback Machine.. IEEE MultiMedia,9(3):77–82 2002.

telegraph.co.uk

Leach, Ben (2009年10月22日). “Emily Howell: the computer program that composes classical music”. The Daily Telegraph 2017年10月6日閲覧。

theguardian.com

“First recording of computer-generated music – created by Alan Turing – restored”. The Guardian (2016年9月26日). 2017年8月28日閲覧。
Ball, Philip (2012年7月1日). “Iamus, classical music's computer composer, live from Malaga”. The Guardian. 2013年10月25日時点のオリジナルよりアーカイブ。2021年11月15日閲覧。

ugent.be

computing-conference.ugent.be

“Algorhythmic Listening 1949–1962 Auditory Practices of Early Mainframe Computing”. AISB/IACAP World Congress 2012. 2017年11月7日時点のオリジナルよりアーカイブ。2017年10月18日閲覧。

unimelb.edu.au

csse.unimelb.edu.au

Doornbusch, Paul. “The Music of CSIRAC”. Melbourne School of Engineering, Department of Computer Science and Software Engineering. 2012年1月18日時点のオリジナルよりアーカイブ。2022年10月2日閲覧。

web.archive.org

“Algorhythmic Listening 1949–1962 Auditory Practices of Early Mainframe Computing”. AISB/IACAP World Congress 2012. 2017年11月7日時点のオリジナルよりアーカイブ。2017年10月18日閲覧。
Doornbusch, Paul. “The Music of CSIRAC”. Melbourne School of Engineering, Department of Computer Science and Software Engineering. 2012年1月18日時点のオリジナルよりアーカイブ。2022年10月2日閲覧。
Ball, Philip (2012年7月1日). “Iamus, classical music's computer composer, live from Malaga”. The Guardian. 2013年10月25日時点のオリジナルよりアーカイブ。2021年11月15日閲覧。
Pachet, F., The Continuator: Musical Interaction with Style Archived 14 April 2012 at the Wayback Machine.. In ICMA, editor, Proceedings of ICMC, pages 211–218, Göteborg, Sweden, September 2002. ICMA.
Pachet, F. Playing with Virtual Musicians: the Continuator in practice Archived 14 April 2012 at the Wayback Machine.. IEEE MultiMedia,9(3):77–82 2002.
“:: Continuator”. 2014年11月1日時点のオリジナルよりアーカイブ。2014年5月19日閲覧。