The OM Composer's Book .2

Preface
David Cope

Introduction
Jean Bresson

Some Considerations on Brian Ferneyhough's Musical Language Through His Use of CAC: Part I - Time and Rhythmic Structures
Mikhaïl Malt

Livre Premier de Motets: The Concept of TimeBlocks in OpenMusic
Karim Haddad

Creation of Polyphonic Sequences in the Form of Rhythmic and Melodic Canons
Eric Daubresse and Philippe Hurel

Knitting and Weaving: Using OpenMusic to Generate Canonic Musical Material
Serge Lemouton and Asbjørn Schaathun

Six Metal Fugue
Christopher Melen

Starbog: the Garden Virtuoso and the Turing Machine
Simon Mawhinney

CAC as Maieutics: OM-Virtuoso and Concerto
Elvio Cipollone

Memex and Composer Duets: Computer-Aided Composition Using Style Mixing
Shlomo Dubnov and Gérard Assayag (with afterword by Richard Moore)

Architecture as Virtual Music (Re-Actualizing Zonnestraal)
Christian Jaksjø

The Model of the Model in VOI(REX)
Philippe Leroux

Two Examples of a Free Transposition of Audio Processing Techniques into the Domain of Notes: "Dói-me o luar" and Ressonâncias - Memórias
António de Sousa Dias

Locus: rien n'aura eu lieu que le lieu
Claudy Malherbe

About TreeTorika: Rhetoric, CAAC and Mao
PerMagnus Lindborg

Langage de l'ombre: An Example of Computer-Aided Composition
Grégoire Lorieux

The Control of Microsound Synthesis - Transiciones de fase by Manuel Rocha Iturbide
Laurent Pottier

The Use of OpenMusic for Sound Composition
Hans Tutschku

Some Considerations on Brian Ferneyhough's Musical Language Through His Use of CAC: Part II - Spatialization As a Musical Parameter
Gilbert Nouno

Maquette as Data Structure and Synthesis Agent in Metathesis
Tolga Tüzün

Microtonal Composition
Alain Bancquart, Moreno Andreatta and Carlos Agon

Appendix