bibliography
This folder holds the following references to publications, sorted by year and author.
There are 469 references in this bibliography folder.
Pedersen B, and Ellermeier W (2005).
Temporal and spectral interaction in loudness perception.
J. Acoust. Soc. Am., 117:2397-2397.
Pouliot M, and Grondin S (2005).
A response-time approach for estimating sensitivity to auditory tempo changes.
Music Perception, 22(3):389-399.
Rohrhuber J, de Campo A, and Wieser R (2005).
Algorithms today - notes on language design for just in time programming.
In: Proceedings of the International Computer Music Conference, Barcelona.
Schnell N, and Schwarz D (2005).
Gabor, Multi-Representation Real-Time Analysis/Synthesis.
In: COST-G6 Conference on Digital Audio Effects (DAFx), pp. 122-126, Madrid.
Schnell N, Borghesi R, Schwarz D, Bevilacqua F, and Müller R (2005).
FTM — Complex data structures for Max.
In: Proc. of the ICMC, ICMA, Barcelona.
Snyder JS, Hannon EE, Large EW, and Christiansen MH (2005).
Synchronization and continuation tapping to complex meters.
In: Rhythm Perception and Production Workshop (RPPW10), Rijkhoven-Bilzen, Belgium.
Soraghan C, Ward T, Villing R, and Timoney J (2005).
Perceptual centre correlates in evoked potentials.
In: 3rd European Medical and Biological Engineering Conference (EMBEC 05).
Sorensen A (2005).
Impromptu: an interactive programming environment for composition and performance.
In: Proceedings of the Australasian Computer Music Conference, pp. 149-153.
Thaut M (2005).
Rhythm, Music, and the Brain.
Routledge, New York.
Trogemann G, and Viehoff J (2005).
CodeArt - Eine elementare Einführung in die Programmierung als künstlerische Praxis.
Springer, Wien. (ISBN: 3211204385).
Witten IH, and Frank E (2005).
Data Mining: Practical Machine Learning Tools and Techniques.
Morgan Kaufmann Publishers, 2nd ed.
Wolf H, Roock S, and Lippert M (2005).
eXtreme Programming .
dpunkt.verlag, Heidelberg, 2nd ed.
(2004-2007).
TOPLAP mailing list archives.
Webpublished.
Alexander A (2004).
Live coding is not synaesthesia.
Webpublished, http://www.toplap.org/index.php/LivecodingIsNotSynaesthesia.
Alonso M, David B, and Richard G (2004).
Tempo and beat estimation of musical signals.
In: Proc. Int. Symp. on Music Information Retrieval.
Beamish T, Maclean K, and Fels S (2004).
Manipulating music: multimodal interaction for DJs.
In: Proceedings of CHI'04, pp. 327–334.
Bello JP, Daudet L, Abdallah S, Duxbury C, Davies M, and Sandler SB (2004).
A tutorial on onset detection in music signals.
IEEE Transactions on Speech and Audio Processing.
Brossier P, Bello JP, and Plumbley MD (2004).
Real-time temporal segmentation of note objects in music signals.
In: Proc. Int. Computer Music Conference.
Brown JC, and Smaragdis P (2004).
Independent component analysis for automatic note extraction from musical trills.
J. Acoust. Soc. Am., 115(5):2295-2306.
Burnett M, Cook C, and Rothermel G (2004).
End-user software engineering.
Communications of the ACM, 47(9):53–58.
Collins N (2004).
Some thoughts (on live coding).
Webpublished, http://www.toplap.org/index.php/Some_thoughts.
Collins N (2004).
Beat induction and rhythm analysis for live audio processing: 1st year PhD report.
University of Cambridge, Technical report.
Collins N (2004).
On onsets on-the-fly: Real-time event segmentation and categorisation as a compositional effect.
In: Sound and Music Computing (SMC04), pp. 219-224, Paris, IRCAM.
de Campo A, and Rohrhuber J (2004).
else if – Live Coding, Strategien später Entscheidung.
In: Digitale Transformationen. Medienkunst als Schnittstelle von Kunst,
Wissenschaft, Wirtschaft und Gesellschaft, ed. by Monika Fleischmann, Ulrike Reinhard. whois verlagsundvertriebsgesellschaft, Heidelberg, chap. ??, pp. ??.
Derrett N (2004).
Heckel's law: conclusions from the user interface design of a music appliance—the bassoon.
Personal and Ubiquitous Computing, 8(3-4):208–212.