コンピュータ音楽 (Japanese Wikipedia)

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), pp. 44–80. 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 (Global: low place; Japanese: low place)

“:: 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 (Global: 7,208^th place; Japanese: low place)

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 (Global: 18^th place; Japanese: 107^th place)

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 (Global: low place; Japanese: low place)

repmus.ircam.fr

jatit.org (Global: low place; Japanese: low place)

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 (Global: 26^th place; Japanese: 275^th place)

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 (Global: 178^th place; Japanese: 12^th place)

『コンピュータ音楽』 - コトバンク

leeds.ac.uk (Global: 5,235^th place; Japanese: low place)

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 (Global: 774^th place; Japanese: 1,286^th place)

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

nih.gov (Global: 4^th place; Japanese: 24^th place)

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 (Global: 741^st place; Japanese: 1,856^th place)

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 (Global: 482^nd place; Japanese: 1,504^th place)

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 (Global: low place; Japanese: low place)

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 (Global: 30^th place; Japanese: 177^th place)

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 (Global: 12^th place; Japanese: 120^th place)

“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 (Global: 3,695^th place; Japanese: low place)

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 (Global: 3,221^st place; Japanese: 6,085^th place)

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 (Global: 1^st place; Japanese: 1^st place)

“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。

コンピュータ音楽 (Japanese Wikipedia)

academia.edu (Global: 121st place; Japanese: 1,248th place)

archive.org (Global: 6th place; Japanese: 146th place)

arstechnica.com (Global: 388th place; Japanese: 1,331st place)

bbc.co.uk (Global: 8th place; Japanese: 73rd place)

news.bbc.co.uk

bl.uk (Global: 1,234th place; Japanese: 4,423rd place)

blogs.bl.uk

books.google.com (Global: 3rd place; Japanese: 61st place)

doi.org (Global: 2nd place; Japanese: 6th place)

francoispachet.fr (Global: low place; Japanese: low place)

gizmag.com (Global: 7,208th place; Japanese: low place)

harvard.edu (Global: 18th place; Japanese: 107th place)

ui.adsabs.harvard.edu

ircam.fr (Global: low place; Japanese: low place)

repmus.ircam.fr

jatit.org (Global: low place; Japanese: low place)

jstor.org (Global: 26th place; Japanese: 275th place)

kotobank.jp (Global: 178th place; Japanese: 12th place)

leeds.ac.uk (Global: 5,235th place; Japanese: low place)

archive.researchdata.leeds.ac.uk

newscientist.com (Global: 774th place; Japanese: 1,286th place)

nih.gov (Global: 4th place; Japanese: 24th place)

pubmed.ncbi.nlm.nih.gov

princeton.edu (Global: 741st place; Japanese: 1,856th place)

soundlab.cs.princeton.edu

scribd.com (Global: 482nd place; Japanese: 1,504th place)

sony.fr (Global: low place; Japanese: low place)

csl.sony.fr

telegraph.co.uk (Global: 30th place; Japanese: 177th place)

theguardian.com (Global: 12th place; Japanese: 120th place)

ugent.be (Global: 3,695th place; Japanese: low place)

computing-conference.ugent.be

unimelb.edu.au (Global: 3,221st place; Japanese: 6,085th place)

csse.unimelb.edu.au

web.archive.org (Global: 1st place; Japanese: 1st place)

academia.edu (Global: 121^st place; Japanese: 1,248^th place)

archive.org (Global: 6^th place; Japanese: 146^th place)

arstechnica.com (Global: 388^th place; Japanese: 1,331^st place)

bbc.co.uk (Global: 8^th place; Japanese: 73^rd place)

bl.uk (Global: 1,234^th place; Japanese: 4,423^rd place)

books.google.com (Global: 3^rd place; Japanese: 61^st place)

doi.org (Global: 2^nd place; Japanese: 6^th place)

gizmag.com (Global: 7,208^th place; Japanese: low place)

harvard.edu (Global: 18^th place; Japanese: 107^th place)

jstor.org (Global: 26^th place; Japanese: 275^th place)

kotobank.jp (Global: 178^th place; Japanese: 12^th place)

leeds.ac.uk (Global: 5,235^th place; Japanese: low place)

newscientist.com (Global: 774^th place; Japanese: 1,286^th place)

nih.gov (Global: 4^th place; Japanese: 24^th place)

princeton.edu (Global: 741^st place; Japanese: 1,856^th place)

scribd.com (Global: 482^nd place; Japanese: 1,504^th place)

telegraph.co.uk (Global: 30^th place; Japanese: 177^th place)

theguardian.com (Global: 12^th place; Japanese: 120^th place)

ugent.be (Global: 3,695^th place; Japanese: low place)

unimelb.edu.au (Global: 3,221^st place; Japanese: 6,085^th place)

web.archive.org (Global: 1^st place; Japanese: 1^st place)