The OM Composer's Book .3
Table Of contents
- 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