The Role of Nonlinear Dynamics in Musicians' Interactions with Digital and Acoustic Musical Instruments
暂无分享,去创建一个
[1] Stefan Bilbao,et al. The Changing Picture of Nonlinearity in Musical Instruments: Modeling and Simulation , 2014 .
[2] V. Braun,et al. Using thematic analysis in psychology , 2006 .
[3] Shanmuganathan Rajasekar,et al. Nonlinear dynamics : integrability, chaos, and patterns , 2003 .
[4] Christine Anderson. Dynamic Networks of Sonic Interactions: An Interview with Agostino Di Scipio , 2005, Computer Music Journal.
[5] Paul Mulholland,et al. Investigating the effects of introducing nonlinear dynamical processes into digital musical interfaces , 2015 .
[6] Insook Choi,et al. Sound synthesis and composition applying time scaling to observing chaotic systems , 1994 .
[7] R. T. Schumacher,et al. ON THE OSCILLATIONS OF MUSICAL-INSTRUMENTS , 1983 .
[8] Todd Winkler,et al. Making Motion Musical: Gesture Mapping Strategies for Interactive Computer Music , 1995, ICMC.
[9] John Bowers,et al. Simple interfaces to complex sound in improvised music , 2000, CHI Extended Abstracts.
[10] C. Sparrow. The Lorenz Equations: Bifurcations, Chaos, and Strange Attractors , 1982 .
[11] Sanjaye Ramgoolam,et al. A remark on T-duality and quantum volumes of zero-brane moduli spaces , 2000, hep-th/0006159.
[12] Simon Dixon,et al. A Zoomable Mapping of a Musical Parameter Space Using Hilbert Curves , 2014, Computer Music Journal.
[13] Matthew Wright,et al. Problems and Prospects for Intimate Musical Control of Computers , 2002, Computer Music Journal.
[14] Edwin Prévost,et al. Free Improvisation in Music and Capitalism: Resisting Authority and the Cults of Scientism and Celebrity , 2009 .
[15] Derek Bailey. Improvisation: Its nature and practice in music , 1980 .
[16] Yoshisuke Ueda,et al. Steady Motions Exhibited by Duffing's Equation : A Picture Book of Regular and Chaotic Motions (Functional Differential Equations) , 1980 .
[17] Holger H. Hoos,et al. Editors' Notes , 1979, Computer Music Journal.
[18] Nicola Orio,et al. Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI , 2001, Computer Music Journal.
[19] Grebogi,et al. Critical exponents for crisis-induced intermittency. , 1987, Physical review. A, General physics.
[20] Juliana Küster Filipe Bowles. Decomposing Interactions , 2006, AMAST.
[21] Miroslav Spasov,et al. Using Strange Attractors to Control Sound Processing in Live Electroacoustic Composition , 2015, Computer Music Journal.
[22] Paul Mulholland,et al. Dynamical Interactions with Electronic Instruments , 2014, NIME.
[23] Jeff Pressing,et al. Nonlinear Maps as Generators of Musical Design , 1988 .
[24] Chris Kiefer,et al. Musical Instrument Mapping Design with Echo State Networks , 2014, NIME.
[25] Simon Waters. Performance Ecosystems: Ecological approaches to musical interaction , 2006 .
[26] D. Francis. Review of Basics of Qualitative Research Techniques and Procedures for Developing Grounded Theory (2nd edition) , 1999 .
[27] B. Kendall. Nonlinear Dynamics and Chaos , 2001 .
[28] George E. Lewis. Improvised Music after 1950: Afrological and Eurological Perspectives , 1996 .
[29] Stefan Bilbao,et al. Modelling collisions of nonlinear strings against rigid barriers: Conservative finite difference schemes with application to sound synthesis , 2016 .
[30] A Keep. Instrumentalizing: approaches to improvising with sounding objects in experimental music , 2009 .
[31] N. Fletcher,et al. The nonlinear physics of musical instruments , 1999 .
[32] Tom Mudd,et al. Nonlinear Dynamics In Musical Interactions , 2017 .
[33] Andrea Valle,et al. Feedback Systems: An Analytical Framework , 2013, Computer Music Journal.
[34] Edward Kleinhammer,et al. The Art of Trombone Playing , 1999 .
[35] Stefan Bilbao,et al. Numerical Experiments with Non-linear Double Membrane Drums , 2013 .
[36] Stefania Serafin,et al. From Idea to Realization - Understanding the Compositional Processes of Electronic Musicians , 2009 .
[37] A. Strauss,et al. The discovery of grounded theory: strategies for qualitative research aldine de gruyter , 1968 .
[38] Nikolaos Stefanakis,et al. Sound Synthesis Based on Ordinary Differential Equations , 2015, Computer Music Journal.
[39] S. Wiggins. Introduction to Applied Nonlinear Dynamical Systems and Chaos , 1989 .
[40] Dan Slater. Chaotic Sound Synthesis , 1998 .
[41] John R. Lindsay Smith,et al. Clarinet parameter cartography: automatic mapping of the sound produced as a function of blowing pressure and reed force , 2010 .
[42] Stefan Bilbao,et al. Finite difference schemes in musical acoustics: A tutorial , 2018 .
[43] Makis Solomos,et al. Audible Ecosystems and emergent sound structures in Di Scipio's music. Music philosophy helps musical analysis , 2009 .
[44] Cyril Touzé,et al. Modal approach for nonlinear vibrations of damped impacted plates: Application to sound synthesis of gongs and cymbals , 2015 .
[45] Christopher Haworth,et al. Ecosystem or Technical System? Technologically-Mediated Performance and the Music of The Hub , 2014 .
[46] Marcelo M. Wanderley,et al. Instrumental Gestural Mapping Strategies as Expressivity Determinants in Computer Music Performance , 1997 .
[47] Y. Pomeau,et al. Intermittent transition to turbulence in dissipative dynamical systems , 1980 .
[48] Tina Krekels,et al. Loosening the saxophone: entanglements of bodies in the politics of free improvisation , 2019 .
[49] Marcelo M. Wanderley,et al. Mapping performer parameters to synthesis engines , 2002, Organised Sound.
[50] Ross Kirk,et al. Mapping Strategies for Musical Performance , 2000 .
[51] Richard Glover. Minimalism, Technology and Electronic Music , 2013 .
[52] Stefan Bilbao,et al. Improved frequency-dependent damping for time domain modelling of linear string vibration , 2016 .
[53] Anselm L. Strauss,et al. Basics of qualitative research : techniques and procedures for developing grounded theory , 1998 .
[54] Ron Kuivila,et al. Open Sources: Words, Circuits and the Notation-Realization Relation in the Music of David Tudor , 2004, Leonardo Music Journal.
[55] Dylan Menzies. Composing instrument control dynamics , 2002 .
[56] Pauline Oliveros. Acoustic and Virtual Space as a Dynamic Element of Music , 1995 .
[57] Keith Potter,et al. The Ashgate Research Companion to Minimalist and Postminimalist Music , 2013 .