Raw bibliography [many additions and exclusions to come]
Complex Systems :
[1]
V. S. Colella, E. Klopfer, e M. Resnick, Adventures in Modeling: Exploring Complex, Dynamic Systems with StarLogo. ERIC, 2001.
[2]
S. F. Railsback e V. Grimm, Agent-Based and Individual-Based Modeling: A Practical Introduction. Princeton University Press, 2011.
[3]
R.-C. Damaceanu, Agent-based Computational Social Sciences using NetLogo: Theory and applications. LAP LAMBERT Academic Publishing, 2011.
[4]
N. Gilbert, Agent-Based Models, Annotated edition. Sage Publications, Inc, 2007.
[5]
R. Robbes, N. Bouraqadi, e S. Stinckwich, “An aspect-based multi-agent system”, ESUG 2004 Research Track, p. 65, 2004.
[6]
J. H. Miller e S. E. Page, Complex Adaptive Systems: An Introduction to Computational Models of Social Life. Princeton University Press, 2007.
[7]
P. Cilliers, Complexity and postmodernism: Understanding complex systems. Routledge, 1998.
[8]
T. Salamon, Design of Agent-Based Models. Tomas Bruckner, 2011.
[9]
S. E. Page, Diversity and Complexity, 1o ed. Princeton University Press, 2010.
[10]
H. P. HOWARD, “Dynamic and linguistic modes of complex systems”, International Journal Of General System, vol. 3, no 4, p. 259–266, 1977.
[11]
B. Brehmer, “Dynamic decision making: Human control of complex systems”, Acta psychologica, vol. 81, no 3, p. 211–241, 1992.
[12]
Q. Qiu, Q. Wu, e M. Pedram, “Dynamic power management of complex systems using generalized stochastic Petri nets”, in Proceedings of the 37th Annual Design Automation Conference, 2000, p. 352–356.
[13]
G. F. Franklin, J. D. Powell, A. Emami-Naeini, e J. D. Powell, Feedback control of dynamic systems, vol. 3. Addison-Wesley Reading, MA, 1994.
[14]
S. Thiriot e J. D. Kant, “Generate country-scale networks of interaction from scattered statistics”, in The fifth conference of the European social simulation association, Brescia, Italy, 2008, vol. 240.
[15]
K. J. Vicente, “Improving dynamic decision making in complex systems through ecological interface design: A research overview”, System Dynamics Review, vol. 12, no 4, p. 251–279, 1998.
[16]
H. Haken, Information and self-organization: A macroscopic approach to complex systems, vol. 40. Springer, 2006.
[17]
J. D. Sterman, “Learning in and about complex systems”, System Dynamics Review, vol. 10, no 2–3, p. 291–330, 1994.
[18]
S. Stinckwich, “Modèles organisationnels et réflexifs des architectures à objets concurrents. Implémentation en Smalltalk-80”, 1994.
[19]
N. Boccara, Modeling Complex Systems, 2nd Edition. Springer, 2010.
[20]
J. D. Kant e S. Thiriot, “Modeling one human decision maker with a multi-agent system: the codage approach”, in Proceedings of the fifth international joint conference on Autonomous agents and multiagent systems, 2006, p. 50–57.
[21]
J. D. Kant, “Modélisation et mise en oeuvre de processus cognitifs de catégorisation à l’aide d’un réseau connexionniste”, 1996.
[22]
V. Grimm, E. Revilla, U. Berger, F. Jeltsch, W. M. Mooij, S. F. Railsback, H. H. Thulke, J. Weiner, T. Wiegand, e D. L. DeAngelis, “Pattern-oriented modeling of agent-based complex systems: lessons from ecology”, science, vol. 310, no 5750, p. 987–991, 2005.
[23]
A. G. Ivakhnenko, “Polynomial theory of complex systems”, Systems, Man and Cybernetics, IEEE Transactions on, no 4, p. 364–378, 1971.
[24]
D. Harel, “Statecharts: A visual formalism for complex systems”, Science of computer programming, vol. 8, no 3, p. 231–274, 1987.
[25]
A. Ray, “Symbolic dynamic analysis of complex systems for anomaly detection”, Signal Processing, vol. 84, no 7, p. 1115–1130, 2004.
[26]
B. P. Zeigler, H. Praehofer, e T. G. Kim, Theory of modeling and simulation: Integrating discrete event and continuous complex dynamic systems. Academic Pr, 2000.
[27]
M. R. Endsley, “Toward a theory of situation awareness in dynamic systems”, Human Factors: The Journal of the Human Factors and Ergonomics Society, vol. 37, no 1, p. 32–64, 1995.
[28]
S. Thiriot e J. D. Kant, “Using Associative Networks To Represent Adopters’beliefs In A Multiagent Model Of Innovation Diffusion”, Advances in Complex Systems, vol. 11, no 02, p. 261–272, 2008.
Music & Computation:
[1]
S. M. Kostka, A bibliography of computer applications in music. J. Boonin, 1974.
[2]
J. L. Curry, A computer-aided analytical study of Kyries in selected masses by Johannes Ockeghem. University Microfilms, 1972.
[3]
N. O. Rubenstein, A Fortran computer program for transcribing Franconian rhythm. Washington Univ., 1970.
[4]
R. Erickson, “A General-Purpose System for Computer Aided Musical Studies”, Journal of Music Theory, p. 276–294, 1969.
[5]
M. Edwards, “Algorithmic composition: computational thinking in music”, Communications of the ACM, vol. 54, no 7, p. 58–67, 2011.
[6]
A. Pazos, A. Santos, B. Arcay, J. Dorado, J. Romero, e J. Rodriguez, “An Application Framework for Building Evolutionary Computer Systems in Music”, Leonardo, vol. 36, no 1, p. 61–64, jan. 2003.
[7]
C. Ames, “Automated Composition in Retrospect: 1956-1986”, Leonardo, vol. 20, no 2, p. 169–185, jan. 1987.
[8]
D. Cope, “Computer Analysis and Composition Using Atonal Voice-Leading Techniques”, Perspectives of New Music, vol. 40, no 1, p. 121–146, jan. 2002.
[9]
B. H. Alphonce, “Computer Applications: Analysis and Modeling”, Music Theory Spectrum, vol. 11, no 1, p. 49–59, abr. 1989.
[10]
D. M. Richard, “Computer Music and the Post-Modern: A Case of Schizophrenia”, Computer Music Journal, vol. 18, no 4, p. 26–34, dez. 1994.
[11]
J.-C. Risset, “Computer Music Experiments 1964 - ...”, Computer Music Journal, vol. 9, no 1, p. 11–18, abr. 1985.
[12]
T. Noll, M. Andreatta, C. Agon, e E. Amiot, “Computer-Aided Transformational Analysis with Tone Sieves”, Sound Music Computing, 2006.
[13]
P. Manning, “Computers and Music Composition”, Proceedings of the Royal Musical Association, vol. 107, p. 119–131, jan. 1980.
[14]
R. Hirs e B. Gilmore, Contemporary compositional techniques and OpenMusic : [the OM book series : including an interview with Tristan Murail]. [Paris]; Sampzon: IRCAM ; Delatour, 2009.
[15]
R. Whorley, G. A. Wiggins, C. Rhodes, e M. Pearce, “Development of techniques for the computational modelling of harmony”, in First International Conference on Computational Creativity, 2010, p. 11–15.
[16]
C. G. Johnson, “Exploring Sound-Space with Interactive Genetic Algorithms”, Leonardo, vol. 36, no 1, p. 51–54, jan. 2003.
[17]
C. Agon, M. Andreatta, G. Assayag, e S. Schaub, “Formal Aspects of Iannis Xenakis’‘ Symbolic Music’: A Computer-Aided Exploration of Compositional Processes”, Journal of New Music Research, vol. 33, no 2, p. 145–159, 2004.
[18]
X. Rodet e P. Cointe, “FORMES: Composition and Scheduling of Processes”, Computer Music Journal, vol. 8, no 3, p. 32–50, out. 1984.
[19]
E. Amiot, T. Noll, C. Agon, e M. Andreatta, “Fourier oracles for computer-aided improvisation”, in Proceedings of the ICMC: Computer Music Conference. Tulane University, New Orleans, 2006.
[20]
J. Harley, “Generative Processes in Algorithmic Composition: Chaos and Music”, Leonardo, vol. 28, no 3, p. 221–224, jan. 1995.
[21]
D. Cope, Hidden structure: music analysis using computers, vol. 23. AR Editions, 2008.
[22]
M. Andreatta e C. Agon, “Implementing algebraic methods in OpenMusic.”, in Proceedings of the International Computer Music Conference, Singaphore, 2003.
[23]
P. Cruz-Alcázar e E. Vidal-Ruiz, “Learning regular grammars to model musical style: Comparing different coding schemes”, Grammatical Inference, p. 211–222, 1998.
[24]
P. Desain, “LISP as a Second Language: Functional Aspects”, Perspectives of New Music, vol. 28, no 1, p. 192–222, jan. 1990.
[25]
R. Erickson, “Music Analysis and the Computer”, Journal of Music Theory, vol. 12, no 2, p. 240–263, dez. 1968.
[26]
B. Vercoe, “Music Computation Conference: A Report and Commentary”, Perspectives of New Music, vol. 13, no 1, p. 234–238, out. 1974.
[27]
S. T. Pope, “Music Notations and the Representation of Musical Structure and Knowledge”, Perspectives of New Music, vol. 24, no 2, p. 156–189, abr. 1986.
[28]
P. Dahlstedt e P. McBurney, “Musical Agents: Toward Computer-Aided Music Composition Using Autonomous Software Agents”, Leonardo, vol. 39, no 5, p. 469–470, jan. 2006.
[29]
R. F. Erickson, “Musical analysis and the computer: A report on some current approaches and the outlook for the future”, Computers and the Humanities, vol. 3, no 2, p. 87–104, 1968.
[30]
M. Battier e J. Arveiller, Musique et informatique: une bibliographie indexée. Elmeratto, 1978.
[31]
E. R. Miranda, “On the Music of Emergent Behavior: What Can Evolutionary Computation Bring to the Musician?”, Leonardo, vol. 36, no 1, p. 55–59, jan. 2003.
[32]
J. Bresson, C. Agon, e G. Assayag, “OpenMusic: visual programming environment for music composition, analysis and research”, in Proceedings of the 19th ACM international conference on Multimedia, 2011, p. 743–746.
[33]
A. Gerzso, “Paradigms and Computer Music”, Leonardo Music Journal, vol. 2, no 1, p. 73–79, jan. 1992.
[34]
J. Rahn, “Processing Musical Abstraction: Remarks on LISP, the NeXT, and the Future of Musical Computing”, Perspectives of New Music, vol. 28, no 1, p. 180–191, jan. 1990.
[35]
I. Xenakis e J. Rahn, “Sieves”, Perspectives of New Music, vol. 28, no 1, p. 58–78, jan. 1990.
[36]
M.-H. Serra, “Stochastic Composition and Stochastic Timbre: GENDY3 by Iannis Xenakis”, Perspectives of New Music, vol. 31, no 1, p. 236–257, jan. 1993.
[37]
J. Clough, “TEMPO: A Composer’s Programming Language”, Perspectives of New Music, vol. 9, no 1, p. 113–125, out. 1970.
[38]
O. Laske, “The Computer as the Artist’s Alter Ego”, Leonardo, vol. 23, no 1, p. 53–66, jan. 1990.
[39]
C. Roads, The computer music tutorial. MIT press, 1996.
[40]
J. L. Divilbiss, “The Real-Time Generation of Music with a Digital Computer”, Journal of Music Theory, vol. 8, no 1, p. 99–111, abr. 1964.
[41]
J. W. Reid, The treatment of dissonance in the works of Guillaume Dufay: a computer aided study. University of Colorado at Boulder, 1981.
[42]
G. Marino, M.-H. Serra, e J.-M. Raczinski, “The UPIC System: Origins and Innovations”, Perspectives of New Music, vol. 31, no 1, p. 258–269, jan. 1993.
[43]
M. Babbitt, “The Use of Computers in Musicological Research”, Perspectives of New Music, vol. 3, no 2, p. 74–83, abr. 1965.
[44]
M. Andreatta, C. A. Amado, T. Noll, E. Amiot, e C. Perpignan, “Towards pedagogability of mathematical music theory: algebraic models and tiling problems in computer-aided composition”, in Bridges. Mathematical Connections in Art, Music and Science, 2006.
[45]
S. Dubnov, G. Assayag, O. Lartillot, e G. Bejerano, “Using machine-learning methods for musical style modeling”, Computer, vol. 36, no 10, p. 73–80, 2003.
[46]
A. Moroni, J. Manzolli, F. von Zuben, e R. Gudwin, “Vox Populi: An Interactive Evolutionary System for Algorithmic Music Composition”, Leonardo Music Journal, vol. 10, p. 49–54, jan. 2000.
Music & Information Theory
[1]
A. A. Moles, “Approche informationnelle de la perception et de la creation musicale”, International Review of the Aesthetics and Sociology of Music, vol. 17, no 2, p. 273–297, dez. 1986.
[2]
L. Knopoff e W. Hutchinson, “Entropy as a Measure of Style: The Influence of Sample Length”, Journal of Music Theory, vol. 27, no 1, p. 75–97, abr. 1983.
[3]
G. Wagner, “Exaktwissenschaftliche Musikanalyse und Informationsästhetik”, International Review of the Aesthetics and Sociology of Music, vol. 7, no 1, p. 63–76, jun. 1976.
[4]
E. Coons e D. Kraehenbuehl, “Information as a Measure of Structure in Music”, Journal of Music Theory, vol. 2, no 2, p. 127–161, nov. 1958.
[5]
L. Hiller e C. Bean, “Information Theory Analyses of Four Sonata Expositions”, Journal of Music Theory, vol. 10, no 1, p. 96–137, abr. 1966.
[6]
L. Knopoff e W. Hutchinson, “Information Theory for Musical Continua”, Journal of Music Theory, vol. 25, no 1, p. 17–44, abr. 1981.
[7]
J. Kasem-Bek, “Informationstheorie und Analyse musikalischer Werke”, Archiv für Musikwissenschaft, vol. 35, no 1, p. 62–75, jan. 1978.
Music & Maths :
[1]
T. Raines, “An Inconsistency in Kassler’s First Twelve-Note-Class System”, Perspectives of New Music, vol. 14, no 1, p. 209–212, out. 1975.
[2]
R. W. Hall e P. Klingsberg, “Asymmetric Rhythms and Tiling Canons”, The American Mathematical Monthly, vol. 113, no 10, p. 887–896, dez. 2006.
[3]
C. NOLAN, “Combinatorial Space in Nineteenth- and Early Twentieth-Century Music Theory”, Music Theory Spectrum, vol. 25, no 2, p. 205–241, out. 2003.
[4]
G. Mazzola e M. Andreatta, “Diagrams, gestures and formulae in music”, Journal of Mathematics and Music, vol. 1, no 1, p. 23–46, 2007.
[5]
D. L. Reiner, “Enumeration in Music Theory”, The American Mathematical Monthly, vol. 92, no 1, p. 51–54, jan. 1985.
[6]
G. Mazzola e M. Andreatta, “From a categorical point of view: K-nets as limit denotators”, Perspectives of New Music, vol. 44, no 2, p. 88, 2006.
[7]
M. Naranjo e A. Koffi, “Geometric Image Modelling of the Musical Object”, Leonardo. Supplemental Issue, vol. 1, p. 69–72, jan. 1988.
[8]
M. Andreatta, “Gruppi di Hajós, Canoni e Composizioni”, Tesi di Laurea, Facoltà di Matematica dell’Università degli Studi di Pavia, 1996.
[9]
M. Andreatta, “La Théorie mathématique de la musique de Guerino Mazzola et les canons rythmiques”, Rapport de dea, ATIAM-Université Paris IV, 1999.
[10]
F. Jedrzejewski, Mathematical theory of music. Ircam-Centre Pompidou, 2006.
[11]
M. Andreatta, “Méthodes algébriques dans la musique et la musicologie du XXème siècle: aspects théoriques, analytiques et compositionnels”, Ecole des Hautes Etudes en Sciences Sociales (EHESS), 2003.
[12]
G. D. Halsey e E. Hewitt, “More on the Superparticular Ratios in Music”, The American Mathematical Monthly, vol. 79, no 10, p. 1096–1100, dez. 1972.
[13]
F. Jedrzejewski, M. Andreatta, e T. Johnson, “Musical Experiences with Block Designs”, Mathematics and Computation in Music, p. 154–165, 2009.
[14]
R. Wille, Musiktheorie und Mathematik. Technische Hochschule Darmstadt, Fachbereich Mathematik, 1985.
[15]
M. Andreatta, “On group-theoretical methods applied to music: some compositional and implementational aspects”, Perspectives in Mathematical Music Theory, 2004.
[16]
M. Andreatta e D. T. Vuza, “On some properties of periodic sequences in anatol vieru’s modal theory”, Tatra Mt. Math. Publ, vol. 23, no 1, p. 1–15, 2001.
[17]
S. W. Smoliar, “Process Structuring and Music Theory”, Journal of Music Theory, vol. 18, no 2, p. 308–336, out. 1974.
[18]
J. Rothgeb, “Some Uses of Mathematical Concepts in Theories of Music”, Journal of Music Theory, vol. 10, no 2, p. 200–215, dez. 1966.
[19]
A. Moreno, N. Thomas, A. Carlos, e A. Gerard, “The geometrical groove: rhythmic canons between theory, implementation and musical experiment”, 8’(3)-’,-’$-4, p. 93–98, 2001.
[20]
G. Mazzola e G. M. S. Müller, The Topos of Music: Geometric Logic of Concepts, Theory, and Performance. Birkhäuser, 2002.
[21]
E. Amiot, M. Andreatta, e C. Agon, “Tiling the (musical) line with polynomials: some theoretical and implementational aspects”, in Proceedings of the International Computer Music Conference, Barcelona, 2005.
Music Analysis [Some pieces and composers I'll be probably analysing]:
Boulez
[1]
J. J. Nattiez, “Boulez à l’âge postmoderne: Le temps de Répons’”, Le combat de Chronos et d’Orphée, p. 159–216, 1993.
[2]
O. Meston, Eclat de Pierre Boulez: musique & analyse. Michel de Maule, 2001.
[3]
A. Bonnet, “Ecriture and perception: on Messagesquisse by Pierre Boulez”, Contemporary Music Review, vol. 2, no 1, p. 173–209, 1987.
[4]
A. Bonnet, “Écriture et perception: à propos de Messagesquisse de Pierre Boulez”, Harmoniques, vol. 3, p. 211–243, 1988.
[5]
L. Grison, “Espace et musique: Répons de Boulez”, Espace géographique, vol. 29, no 1, p. 87–89, 2000.
[6]
C. Deliège, “Moment de Pierre Boulez, sur l’introduction orchestrale de Répons”, Répons Boulez, p. 45–69, 1988.
[7]
L. Deyoung, “Pitch Order and Duration Order in Boulez’Structure Ia”, Perspectives of New Music, p. 27–34, 1978.
Grisey
[1]
J. L. Hervé, Dans le vertige de la durée: Vortex Temporum de Gérard Grisey. Harmattan, 2001.
[2]
J. Baillet, Gérard Grisey: fondements d’une écriture. Editions L’Harmattan, 2000.
[3]
Capelle, Thibaut., “La transfiguration du temps musical dans quatre chants pour franchir le seuil de Gérard Grisey.”, 2006.
[4]
D. Cohen-Lévinas, Org., Le temps de l’écoute: Gérard Grisey, ou la beauté des ombres sonores. Editions L’Harmattan, 2004.
Ligeti
[1]
M. K. Tsong, “ Etudes Pour Piano, Premier Livre” of György Ligeti: Studies in Composition and Pianism. UMI Dissertation Services, 2002.
[2]
G. A. Daum, An analysis and performance study of Ramifications by György Ligeti. 1972.
[3]
R. S. Power, “An analysis of transformation procedures in Gyorgy Ligeti’s String Quartet No. 2”, 1995.
[4]
Q. WANG e Y. LIU, “An analysis on Ligdti’s micropolyphony canon works [J]”, Journal of Xinghai Conservatory of Music, vol. 2, p. 005, 2007.
[5]
A. Ashby, “Analysis and Performance aspects of György Ligeti’s Études pour Piano: Fanfares and Arc-en-ciel”, The Ohio State University, 2007.
[6]
Z. Yanli, “Analytical Report on Ligeti’s Piano Music——Musica Ricercata [J]”, Explorations in Music, vol. 3, p. 023, 2009.
[7]
B. Spies, “Facilitating access to atonal music: Ligeti’s second string quartet”, Journal of the Musical Arts in Africa, vol. 2, no 1, p. 55–69, 2005.
[8]
M. Scherzinger, “György Ligeti and the Aka Pygmies Project”, Contemporary Music Review, vol. 25, no 3, p. 227–262, 2006.
[9]
H. Kinzler, “György Ligeti: Decision and automatism in ‘Désordre’, 1re étude, premier livre”, Journal of New Music Research, vol. 20, no 2, p. 89–124, 1991.
[10]
R. Doati, “György Ligeti’s Glissandi: An analysis...”, Journal of New Music Research, vol. 20, no 2, p. 79–87, 1991.
[11]
I. Baca-Lobera, “György Ligeti’s melodien, a work of transition”, Journal of New Music Research, vol. 20, no 2, p. 65–78, 1991.
[12]
J. Baik, “György Ligeti’s Piano Études: A Polyryhthmic Study”, 2009.
[13]
J. J. Iverson, “Historical memory and Gyorgy Ligeti’s sound-mass music 1958-1968”, 2010.
[14]
J. W. Bernard, “Inaudible Structures, Audible Music: Ligeti’s Problem, and His Solution”, Music Analysis, p. 207–236, 1987.
[15]
C. Callender, “Interactions of the Lamento Motif and Jazz Harmonies in György Ligeti’s Arc-en-ciel”, Intégral, p. 41–77, 2007.
[16]
J. W. Bernard, “Ligeti’s restoration of interval and its significance for his later works”, Music theory spectrum, p. 1–31, 1999.
[17]
M. Searby, “Ligeti’s’ third way’:’non-atonal’elements in the Horn trio”, Tempo, p. 17–22, 2001.
[18]
L. I. U. Juan-juan, “On the Rule of Ligeti’s Micro-Polyphony Thoughts [J]”, Huangzhong (Journal of Wuhan Conservatory of Music, China), vol. 2, p. 004, 2006.
[19]
Y. U. Everett, “Signification of Parody and the Grotesque in György Ligeti’s Le Grand Macabre”, Music Theory Spectrum, vol. 31, no 1, p. 26–56, 2009.
[20]
C. Hong-duo, “The Characteristics, Form and Significance of Gyorgy Ligeti’s Structural Thinking [J]”, Musicology In China, vol. 4, p. 021, 2005.
[21]
B. R. Levy, “The Electronic Works of György Ligeti and Their Influence on His Later Style”, 2006.
[22]
C. XU e Y. ZUO, “The Micro-Polyphony used in Ligeti’s Lux aeterna”, Huangzhong (Journal of Wuhan Conservatory of Music, China), vol. 1, p. 004, 2009.
[23]
P. J. Edwards, “The Music of György Ligeti and his Violin Concerto : A Study in Analysis, Reception and the Listening Experience”, dez. 2005.
[24]
J. P. Clendinning, “The pattern-meccanico compositions of györgy ligeti”, Perspectives of New Music, p. 192–234, 1993.
[25]
G. Ligeti’s, “Unlocking the Mystery in Ligeti’s Lux Aeterna”, 2011.
[26]
J. W. Bernard, “Voice leading as a spatial function in the music of Ligeti”, Music Analysis, p. 227–253, 1994.