PLOrk Reader

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The PLOrk Reader

password (included in your syllabus) required for some of these.

Armstrong, N. 2006. An Enactive Approach to Digital Musical Instrument Design. PhD dissertation, Music Department, Princeton University.

Bahn, C., and Trueman, D. 2001. interface—electronic chamber ensemble.CHI Workshop on New Interfaces for Musical Expression,

Bahn, C., Hahn, T., and Trueman, D. 2001. Physicality and Feedback: A Focus on the Body in the Performance of Electronic Music.

Bischoff, J., Gold, R., and Horton, J. 1978. Microcomputer network music. Computer Music Journal 2(3): 24–9.

Bischoff, J. 1991. Software as Sculpture: Creating Music from the Ground Up. Leonardo Music Journal, Vol. 1 #1

Blackwell, A. and Collins, N. 2005. The Programming Language as a Musical Instrument. 17th Workshop of the Psychology of Programming Interest Group, Sussex University

Brown, C., Bischoff, J., and Perkis, T. 1996. Bringing Digital Music to Life. Computer Music Journal 20(2): 28–32.

Burkholder, P. J. 1986. The Twentieth Century and the Orchestra as Museum. In Peyser (ed.) The Orchestra: Origins and Transformations. New York: Scribner.

Cascone, K. 2003. Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music. Contemporary Music Review 22(4): 101–104.

Collins, N. 2003. Generative Music and Laptop Performance. Contemporary Music Review 22(4): 67–79.

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Dhomont, F. 1996. Acousmatic Update. Sonic Arts Network,

Fiebrink, R., D. Trueman, C. Britt, M. Nagai, K. Kaczmarek, M. Early, M.R. Daniel, A. Hege, and P. R. Cook. 2010. Toward understanding human-computer interactions in composing the instrument. Proceedings of the International Computer Music Conference (ICMC), Stony Brook.

Fiebrink, R., G. Wang., and P. Cook. 2007. Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control. Proceedings of the International Conference on New Interfaces for Musical Expression. New York.

Garton, B. 2007. Multi-language Max/MSP

Godøy, R. I. 2001. Imagined Action, Excitation, and Resonance. In R. I. Godøy and H. Jørgensen (eds.) Musical Imagery. The Netherlands: Swets and Zeitlinger, 2001.

Godøy, R. I. 2003. Motor-Mimetic Music Cognition. Leonardo, 26(4): 317–319.

Gresham-Lancaster, S. 1998. The Aesthetics and History of the Hub: the effects of changing technology on network computer music. Leonardo Music Journal 8: 39–44.

Jaeger, T. 2003. The (Anti)-Laptop Aesthetic. Contemporary Music Review 22(4): 53–57.

Jordà, S. 2005. Digital Lutherie: Crafting musical computers for new musics’ performance and improvisation. Doctoral Dissertation, Departament de Tecnologia, Universitat Pompeu Fabreu.

Jordà, S. 2004. Instruments and Players: Some Thoughts on Digital Lutherie. Journal of New Music Research 33(3):321-341.

Lansky, P. 1990. A View From the Bus: When Machines Make Music. Perspectives of New Music 28(2).

Laubier, S. 1998. The Meta-Instrument. Computer Music Journal 22(1): 25–29.

Lewis, George E. 2007. 'Mobilitas Animi: Improvising Technologies, Intending Chance', Parallax,13:4,108 — 122

Lewis, G. 2007. Live Algorithms and The Future of Music.

Lewis, G. 2000. Too Many Notes: Computers, Complexity and Culture in Voyager.

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Max/MSP. Cycling ’74,

McNeill, W. 1995. Keeping Together in Time: Dance and Drill in Human History. Harvard University Press.

Miranda, E. R., and Wanderley, M. 2007. New Digital Musical Instruments

Mimeo. Music in Movement Electronic Orchestra.

Monroe, A. 2003. Ice on the Circuits/Coldness in Crisis: The Re-subordination of Laptop Sound. Contemporary Music Review 22(4): 35–43.

NIME. Proceedings from the New Interfaces for Musical Expression Conferences.

Orchestra-Tech 2001. The American Composers Orchestra.

Ostertag, B. 2002. Human Bodies, Computer Music. Leonardo Music Journal 12: 11–14.

Rasch, R. 2000. Timing and Synchronization in Ensemble Performance. In Sloboda (ed.) Generative Processes in Music. Oxford: Oxford, 2000.

Ryan, J. 1991. Some remarks on musical instrument design at STEIM. Contemporary Music Review, 6(1):3–17.

Spitzer, J. and Zaslaw, N. 2004. The Birth of the Orchestra. Oxford: Oxford.

Scott Smallwood, Perry R. Cook, Dan Trueman, and Lawrence McIntyre. 2009. Don't Forget the Loudspeaker: A History of Hemispherical Speakers at Princeton, Plus a DIY Guide. Proceedings of New Interfaces for Musical Expression (NIME), Pittsburgh.

Smallwood, S., D. Trueman, G. Wang, and P. Cook. 2007. Composing for Laptop Orchestra. Computer Music Journal Spring 2008, Vol. 32, No. 1: 9–25.

Stuart, C. 2003. The Object of Performance: Aural Performativity in Contemporary Laptop Music. Contemporary Music Review 22(4): 59–65.

Trayle, M. 1991. Nature, Networks, Chamber Music. Leonardo Music Journal, Vol. 1 #1.

Trueman, D. 2007. Why a Laptop Orchestra? Organised Sound, 12:2.

Trueman, D. 2010. Clapping Machine Music Variations. 'Proceedings of the International Computer Music Conference. ' Stony Brook.

Trueman, D. 2010. Digital Instrument Building and the Laptop Orchestra invited paper for the US Frontiers of Engineering Symposium.

Trueman, D., Cook, P., Smallwood, S., and Wang, G. PLOrk: The Princeton Laptop Orchestra, Year 1. Proceedings of the International Computer Music Conference. New Orleans.

Trueman, D., Cook, P. 2000. BoSSA: The Deconstructed Violin Reconstructed. Journal of New Music Research 29(2).

Trueman, D., Bahn, C., Cook, P. 2000. Alternative Voices for Electronic Sound. Proceedings of the International Computer Music Conference. Berlin/San Francisco: ICMA.

Trueman, D. 2006. The Instrumental Fetish. Invited article for Chamber Music Magazine, pp. 116–121.

Trueman, D. 2005. Discovering and Electric Violin. Invited article for American Composers Orchestra.

Wang, G. 2007. A History of Programming and Music. (draft) Cambridge Companion to Electronic Music. Nick Collins and Julio D'Escrivan Eds. Cambridge University Press (forthcoming)

Wang, G., and P. R. Cook. 2003. ChucK: A Concurrent, On-the-fly Audio Programming Language. Proceedings of the International Computer Music Conference. Singapore.

Wang, G. and P. R. Cook. 2004. On-the-fly Programming: Using Code as an Expressive Musical Instrument. Proceedings of the International Conference on New Interfaces for Musical Expression. Hamamatsu, Japan.

Wang, G. and P. R. Cook. 2004. The Audicle: A Context-sensitive, On-the-fly Audio Programming Environ/mentality. Proceedings of the International Computer Music Conference. Miami.

Wang, G., A. Misra, and P. R. Cook. 2006. Building Collaborative interFaces in the Audicle. Proceedings of the International Conference on New Interfaces for Musical Expression. Paris. See also the POSTER.

Wang, G., D. Trueman, S. Smallwood, P. Cook. 2007. The Laptop Orchestra as Classroom. Computer Music Journal Spring 2008, Vol. 32, No. 1: 26–37.

Weidenbaum, M. 2006. Serial Port: A Brief History of Laptop Music. NewMusicBox.

Weinberg, G. 2002. Playpens, Fireflies, and Squeezables: New Musical Instruments for Bridging the Thoughtful and the Joyful. Leonardo Music Journal 12: 43–51.

Weinberg, G. 2005. Interconnected Musical Networks: Toward a Theoretical Framework. Computer Music Journal 29(2): 23–39.

Weinberg, G. 2005. Local Performance Networks: musical interdependency through gestures and controllers. Organised Sound 10(3).