The OM Composer's Book .2

Table Of contents

  • 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
    • OpenMusic
    • About the authors

openmusic/ombook/ombook2-toc.txt · Dernière modification: 2017/03/02 09:49 par Jean Bresson