The Oxford Handbook of Algorithmic Music

ISBN : 9780190226992

Roger T. Dean; Alex McLean
680 ページ
171 x 248 mm
Oxford Handbooks




Featuring chapters by emerging and established scholars as well as by leading practitioners in the field, this Handbook both describes the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music.


Section 1: Grounding algorithmic music; 1. Musical Algorithms as Tools, Languages and Partners: A Perspective; Alex McLean, Roger T. Dean; 2. Algorithmic Music and the Philosophy of Time; Julian Rohrhuber; 3. Action and Perception: Embodying Algorithms and the Extended Mind; Palle Dahlstedt; 4. Origins of Algorithmic Thinking in Music; Nick Collins; 5. Algorithmic Thinking and Central Javanese Gamelan; Charles Matthews; Perspectives on Practice A; 6. Thoughts on Composing with Algorithms; Laurie Spiegel; 7. Mexico and India: Diversifying and Expanding the Live Coding Community; Alexandra Cardenas; 8. Deautomatization of Breakfast Perceptions; Renate Wieser; 9. Why Do We Want Our Computers to Improvise?; George Lewis; Section 2: What can algorithms in music do?; 10. Compositions Created with Constraint Programming; Torsten Anders; 11. Linking Sonic Aesthetics With Mathematical Theories; Andy Milne; 12. Machine Learning and Listening in Composition and Performance; Rebecca Fiebrink and Baptiste Caramiaux; 13. Biologically-Inspired and Agent-Based Algorithms for Music; Alice Eldridge and Oliver Bown; 14. Performing with Patterns of Time; Thor Magnusson, University of Sussex, Alex McLean, FoAM Kernow; 15. Computational Creativity and Live Algorithms; Geraint Wiggins and Jamie Forth; 16. Tensions and Techniques in Live Coding Performance; Charlie Roberts and Graham Wakefield; Perspectives on Practice B; 17. When Algorithms Meet Machines; Sarah Angliss; 18. Notes on Pattern Synthesis; Mark Fell; 19. Performing algorithms; Kristin Erickson; Section 3: Purposes of algorithms for the music maker; 20. Network music and the algorithmic ensemble; David Ogborn; 21. Sonification != music; Carla Scaletti; 22. Color is the Keyboard: Transcoding from Visual to Sonic; Margaret Schedel; 23. Designing Interfaces for Musical Algorithms; Jamie Bullock, Integra Lab, Birmingham Conservatoire; 24. Ecooperatic Music Game Theory; David Kanaga; 25. Algorithmic Spatialisation; Jan C Schacher; Perspectives on Practice C; 26. Form, Chaos and the Nuance of Beauty; Mileece I'Anson; 27. Beyond Me; Kaffe Matthews; 28. Mathematical Theory in Music Practice; Jan Beran; 29. Thoughts on Algorithmic Practice; Warren Burt; Section 4: Algorithmic Culture; 30. The Audience Reception of Algorithmic Music; Mary Simoni; 31. Technology, Creativity and The Social in Algorithmic Music; Christopher Haworth; 32. Algorithms and Computation in Music Education; Andrew Brown; 33. (Micro) Politics of Algorithmic Music: Towards a Tactical Media Archaeology; Geoff Cox and Morten Riis; 34. Algorithmic Music for Mass Consumption and Universal Production; Yuli Levtov; Perspectives on Practice D; 35. Algorithmic Trajectories; Alex McLean and Roger Dean


Roger T. Dean is Professor of Sonic Communication at the MARCS Institute, University of Western Sydney, and is also a composer, improvisor, and researcher. He founded and directs the ensemble austraLYSIS and is the author of several books on computer and algorithmic music.; Alex McLean is Post-Doctoral Researcher in Deutsches Museum on the PENELOPE project, co-founder of the TOPLAP live coding and Algorave algorithmic dance music movements, and co-initator of the International Conference on Live Coding, International Conference on Live Interfaces, and the Festival of Algorithmic and Mechanical Movement.