The OM Composer's Book .3

Preface
Roger Dannenberg

Introduction
Jean Bresson, Carlos Agon, Gérard Assayag

Variazioni su AlDo ClEmenti
Michele Zaccagnini

Folk material transformations and elaborations in A Vida é Nossa
Gonçalo Gato

Tri Bhuwana for 12 voices and Balinese gamelan: Three worlds/tripartite world
Philippe Boivin

Programming modular progressions in OpenMusic
Matthew Lane

Musicalising sonification: Image-to-music conversions using OpenMusic
Luiz Castelões

On "slow" computer-aided composition
Julien Vincenot

OM-Darwin: Generative and descriptive aspects of genetic algorithms
Geof Holbrook

Computer-aided composition in the creation of As I ride the late night freeways
Matthew Schumaker

Materials and techniques in D’improvviso da immobile s’illumina for bass clarinet, two orchestras, piano, and percussion
Federico Bonacossa

Musique instrumentale concrète: Timbral transcription in What the Blind See and Without Words
Aaron Einbond

Recomposing Beethoven with Music Neurotechnology
Eduardo Reck Miranda and Anders Vinjar

Composing for the resonance: Finding new relationships between architecture and musical composition
Ambrose Field

Sketching, synthesis, spatialisation: The integrated workflow of Cognitive Consonance
Christopher Trapani

Germination
Jean-Luc Hervé and Serge Lemouton

Dialogue with OpenMusic in the process of composing Nothing that is not there and the Nothing that is
Takéshi Tsuchiya

Koch’s Space
Julián Ávila

Electronic sound creation in Balænoptera for bass clarinet, electronic sounds, and live electronics
Fabio De Sanctis De Benedictis

Modelling a gesture: Tak-Sim for string quartet and live electronics
Alireza Farhang

Electronic dramaturgy and computer-aided composition in Re Orso
Marco Stroppa and Jean Bresson

Rima Flow: Oral tradition and composition
Alessandro Ratoci

Ab-Tasten: Atomic sound modelling with a computer-controlled grand piano
Marlon Schumacher