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.

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.

Cone, E. 1968. Musical Form and Musical Performance. New York: Norton.

Cook, P. 2004. Remutualizing the Musical Instrument: Co-design of Synthesis Algorithms and Controllers. Journal of New Music Research 33(3): 315–320.

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

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 andH. 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.

Leppert, R. 1995. The Sight of Sound. Berkeley and Los Angeles: University of California Press.

Max/MSP. Cycling ’74,

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.

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.

Smallwood, S., Trueman, D., Wang, G., and Cook, P. 2007. Composing for Laptop Orchestra. Computer Music Journal forthcoming.

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

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

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.

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/San Francisco.

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., Trueman, D., Smallwood, S., Cook, P. 2007. The Laptop Orchestra as Classroom. Computer Music Journal forthcoming.

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 throughgestures and controllers. Organised Sound 10(3).