International Computer Music Conference – Proceedings (1974-)

Language(s):

New York: 1980
  • Truax, Barry (1980b). Timbral Construction as a Stochastic Process.

    In Proceedings of the 1980 International Computer Music Conference - New York. San Francisco, CA: ICMA: 43-60.
    Also published in: Computer Music Journal: Vol. 6, No. 3. CA: People’s Computer Company: 72-77.

  • Keane, David (1980a). Computer Music: Some Problems and Objectives in Applied Aesthetics.

    In Proceedings of the 1980 International Computer Music Conference - New York. San Francisco, CA: ICMA: 512-524.

Texas: 1981
  • Keane, David (1981). The Quest for ‘Musically Interesting’ Structures in Computer Music.

    In Proceedings of the 1981 International Computer Music Conference - Texas. San Francisco, CA: ICMA: 3-18.
    Also published in: Heifetz, R. J. (ed.) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 97-110.

  • Chadabe, Joel (1981). Paths to a Point in a Musical Landscape.

    In Proceedings of the 1981 International Computer Music Conference - Texas. San Francisco, CA: ICMA: 19-28.

  • Laske, Otto (1981). Toward a Definition of Computer Music.

    In Proceedings of the 1981 International Computer Music Conference - Texas. San Francisco, CA: ICMA: 31-56.

Venice: 1982
  • Strawn, John (1982). Research on Timbre and Musical Contexts at CCRMA.

    In Proceedings of the 1982 International Computer Music Conference - Venice. San Francisco, CA: ICMA: 437-456.

New York: 1983
  • Dierbach, Charles (1983). Some Initial Ideas on the Control of Digital Sound Synthesis Through AI Techniques.

    In Proceedings of the 1983 International Computer Music Conference - New York. San Francisco, CA: ICMA: 235-251.

  • Chadabe, Joel (1983). Interactive Composing: An Overview.

    In Proceedings of the 1983 International Computer Music Conference - New York. San Francisco, CA: ICMA: 298-306.
    Also published in: Computer Music Journal: Vol. 8, No. 1. CA: People’s Computer Company: 22-27.

Burnaby, BC: 1985
  • Bernardini, Nicola (1985). Semiotics and Computer Music Composition.

    In Proceedings of the 1985 International Computer Music Conference - Burnaby, BC. San Francisco, CA : ICMA: 169-184.

  • Keane, David (1985). Architecture and Aesthetics: The Construction and the Objectives of Elektronikus Mozaļk.

    In Proceedings of the 1985 International Computer Music Conference - Burnaby, BC. San Francisco, CA : ICMA : 199-206.

The Hague: 1986
  • Yavelow, Christopher (1986). The Impact of MIDI upon Compositional Methodology.

    In Proceedings of the 1986 International Computer Music Conference - The Hague. San Francisco, CA: ICMA: 21-27.

  • Appleton, Jon (1986). The Computer and Live Musical Performance.

    In Proceedings of the 1986 International Computer Music Conference - The Hague. San Francisco, CA: ICMA: 321-326.

  • Cogan, Robert (1986). Imaging Sonic Structure.

    In Proceedings of the 1986 International Computer Music Conference - The Hague. San Francisco, CA: ICMA: 407-412.

Illinois: 1987
  • Moore, F. Richard (1987). The Dysfunctions of MIDI.

    In Proceedings of the 1987 International Computer Music Conference - Illinois. San Francisco, CA: ICMA: 256-263.
    Also published in: Computer Music Journal: Vol. 12, No. 1. Cambridge, MA: MIT Press: 19-28.

Kologne: 1988
  • Cadoz, Claude (1988). Instrumental Gesture and Musical Composition.

    In Proceedings of the 1988 International Computer Music Conference - Kologne. San Francisco, CA: ICMA: 1-12.

  • Goebel, Johannes (1988). Man-Machine Interaction.

    In Proceedings of the 1988 International Computer Music Conference - Kologne. San Francisco, CA: ICMA: 41-48.

Glasgow: 1990
  • Landy, Leigh (1990). Is More than Three Decades of Computer Music Reaching the Public It Deserves?.

    In Proceedings of the 1990 International Computer Music Conference - Glasgow. San Francisco, CA: ICMA: 369-372.

  • Ellis, Phil (1990). A Sound Design.

    In Proceedings of the 1990 International Computer Music Conference - Glasgow. San Francisco, CA: ICMA: 27-30.

  • Waters, Simon, Ungvary, Tamas (1990). The Sonogram: A Tool for Visual Documentation of Musical Structure.

    In Proceedings of the 1990 International Computer Music Conference - Glasgow. San Francisco, CA: ICMA: 159-162.

San Jose: 1992
  • Zicarelli, David (1992). Music Technology as a Form of Parasite.

    In Proceedings of the 1992 International Computer Music Conference - San Jose. San Francisco, CA: ICMA: 69-72.

  • Dominique, M. Richard (1992). Short Circuit: The Computer Music’s Edison Complex.

    In Proceedings of the 1992 International Computer Music Conference - San Jose. San Francisco, CA: ICMA: 482-485.

  • Umezaki, Kojiro (1992). The Future Role of Japanese Musicians and Composers in Music Technology.

    In Proceedings of the 1992 International Computer Music Conference - San Jose. San Francisco, CA: ICMA: 486-488.

Tokyo: 1993
  • Chowning, John M. (1993). Computer Music: A Grand Adventure and Some Thoughts About Loudness.

    In Proceedings of the 1993 International Computer Music Conference – Tokyo. San Francisco, CA: ICMA: 2-8.

  • Tanaka, Atau (1993). Musical Technical Issues in Using Interactive Instrument Technology with Application to the BioMuse.

    In Proceedings of the 1993 International Computer Music Conference – Tokyo. San Francisco, CA: ICMA: 124-126.

  • Puckette, Miller, Settel, Zack (1993). Nonobvious Roles for Electronics In Performance Enhancement.

    In Proceedings of the 1993 International Computer Music Conference – Tokyo. San Francisco, CA: ICMA: 134-137.

  • Elliot, Kevin (1993). A Behavioural or Actor-Based Paradigm of Sound Production and Studio Composition.

    In Proceedings of the 1993 International Computer Music Conference – Tokyo. San Francisco, CA: ICMA: 176-179.

  • Gerwin, Thomas (1993). The International Digital ElectroAcoustic Music Archive – A new source for research into the history of electroacoustic music.

    In Proceedings of the 1993 International Computer Music Conference – Tokyo, Japan. San Francisco: ICMA: 324-327.

Aarhus: 1994
  • Puckette, Miller (1994). Is There Life After MIDI?.

    In Proceedings of the 1994 International Computer Music Conference - Aarhus. San Francisco, CA: ICMA: p.2.

  • Chambers, Evan K. (1994). The Computer Music World View: Sketch of an Ethnomusicological and Aesthetic Approach.

    In Proceedings of the 1994 International Computer Music Conference - Aarhus. San Francisco, CA: ICMA: 19-22.

  • Young, John (1994). The Extended Environment.

    In Proceedings of the 1994 International Computer Music Conference - Aarhus. San Francisco, CA: ICMA: 23-26.

  • Pressing, Jeff (1994). Novelty, Progress and Research Method in Computer Music Composition.

    In Proceedings of the 1994 International Computer Music Conference - Aarhus. San Francisco, CA: ICMA: 27-30.

  • Emmerson, Simon (1994a). ‘Local/Field’: Towards a Typology of Live Electroacoustic Music.

    In Proceedings of the 1994 International Computer Music Conference - Aarhus. San Francisco, CA: ICMA: 31-34.
    Also published in: Journal of Electroacoustic Music. Vol. 9. London: Sonic Arts Network: 10-13. [1996]

  • Di Scipio, Agostino (1994a). Formal Processes of Timbre Composition Challenging the Dualistic Paradigm of Computer Music: A Study in Composition Theory (II).

    In Proceedings of the 1994 International Computer Music Conference - Aarhus. San Francisco, CA: ICMA: 202-208.

Hong Kong: 1996
  • Brookes, Tim, Tyrell, Andy, Howard, David (1996). Musical Analysis Using a Real-Time Model of Peripheral Hearing.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 79-82.

  • Becker, Barbara, Eckel, Gerhard (1996). On the Use of Computer Systems in Contemporary Composition.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 118-120.

  • Oliverio, James, Pair, Jarrell (1996). Design and Implementation of a Multimedia Opera.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 202-203.

  • Fumarola, Martin Alejandro (1996). An Approach to a LatinAmerican Computer Music.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 266-269.

  • Vertegaal, Roel, Ungvary, Tamas (1996). Towards a Musician’s Cockpit: Transducers, Feedback and Musical Function.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 308-310.

  • Bosma, Hannah (1996). Authorship and Female Voices in Electrovocal Music.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 409-412.

  • Milicevic, Mladen (1996). The Impact of Fractals, Chaos, and Complexity Theory on Computer Music Composition.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 473-476.

  • Pecquet, Frank (1996). Music and Technology.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 487-490.
    Also published in: Journal of Electroacoustic Music. Vol. 9. London: Sonic Arts Network: 13-20.

Thessaloniki: 1997
  • Clarke, Eric (1997). Perception and Critique: Ecological Acoustics, Critical Theory and Music.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 19-22.

  • Gerwin, Thomas (1997b). On Acoustic Ecology and “Integral Art”.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 59-61.

  • Igoudin, Alex Lane (1997). Impact of MIDI on Electroacoustic Art Music.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 66-69.

  • Pope, Steven Travis (1997). Web.La.Radia: Comments on the Social, Economic, and Political Aspects of Media Art and Art Technology.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 74-77.

  • Richard, Dominique (1997a). The Beast’s Glove: The Tactile and the Digital in Computer Music.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 149-151.

  • Marrin, Teresa, Paradiso, Joseph (1997). The Digital Baton: A Versatile Performance Instrument.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 313-316.

  • Bekhtin, Yuri (1997). Musical Informatics: Curriculum or a New Area of Musicology.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 442-445.

Ann Arbor: 1998
  • Fumarola, Martin Alejandro (1998). Change and Permanence in LatinAmerican Electroacoustic and Computer Music: A Compositional Approach.

    In Proceedings of the 1998 International Computer Music Conference - Ann Arbor. San Francisco, CA: ICMA: 80-83.

  • Marrin, Teresa, Picard, Rosalind (1998). The “Conductors Jacket”: A Device for Recording Expressive Musical Gestures.

    In Proceedings of the 1998 International Computer Music Conference - Ann Arbor. San Francisco, CA: ICMA: 215-219.

Beijing: 1999
  • Landy, Leigh (1999b). Heightening Access and Cohesion within the Worlds of Electroacoustic Music: The Promotion of Triangulation in Creativity, Development and Scholarship.

    In Proceedings of the 1999 International Computer Music Conference - Beijing. San Francisco, CA: ICMA: 100-103.

  • Clarke, Michael (1999a). Composing with Multi-channel Spatialisation as an Aspect of Synthesis.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 17-19.

  • Siegel, Wayne (1999a). Two Compositions for Interactive Dance.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 56-59.

  • Ying, Yu (1999). Sound of China: Computer Music.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 70-73.

  • Berry, Rodney (1999). Feeping Creatures.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 94-96.

  • Li, Tang-Chun (1999). Creating Music in a Machine Age: The Relationships Between Computer Tools, Composers and Music Making Machines.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 204-207.

  • Leng, Censong (1999). From Timbre Modulation Method to Research Relation Between Electronic Music and Chinese Musical Tradition.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 212-215.

  • De Ritis, Anthony (1999). Cathedral: An Interactive Work for the Web.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 224-227.

  • Siegel, Wayne, Jacobsen, Jens (1999b). Composing for the Digital Dance Interface.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 276-277.

  • Simoni, Mary H., Broening, Benjamin, Rozell, Christopher, Meek, Colin, Wakefield, Gregory H. (1999). A Theoretical Framework for Electro-Acoustic Music.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 333-336.

  • Paradiso, Joseph, Hsiao, Kai-Yuh, Hu, Eric (1999). Interactive Music for Instrumental Dancing Shoes.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 453-456.

  • Fields, Kenneth (1999). PostFormalism.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 531-534.

  • Clarke, Michael (1999b). Revisiting Kontakte: Issues of History, Performance and Intuition.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 535-537.

  • Milicevic, Mladen (1999a). Aesthetics of Designing an Adaptive Fuzzy System for Evaluation of the Computer Music.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 538-541.

  • Miksch, Bonnie, Couch III, Leon W. (1999). ’Blip, Buzz, Blurp’: The Challenge of Teaching New Ways to Listen.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 515-517.

  • Georgaki, Anastasia (1999b). Proteļc Voices in the Computer Music Repertory (1972-1997).

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 553-556.

  • Hettergott, Alexandra (1999). Human Voice Treatment in Various Types of Electroacoustic Music.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 557-560.

  • Byrne, Madelyn (1999). Speech-Based Computer Music: Selected Works by Charles Dodge and Paul Lansky.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 561-564.

Berlin: 2000
  • Okkels, Ingeborg, Conrad, Anders (2000). Bricoleur and Engineer in Computer Music.

    In Proceedings of the 2000 International Computer Music Conference - Berlin. San Francisco, CA: ICMA: 8-11.

  • Garcia, Denise (2000). Body Representations in the Electroacoustic Music.

    In Proceedings of the 2000 International Computer Music Conference - Berlin. San Francisco, CA: ICMA: 16-19.

  • Barrett, Natasha (2000b). A Compositional Methodology Based on Data Extracted from Natural Phenomena.

    In Proceedings of the 2000 International Computer Music Conference - Berlin. San Francisco: ICMA: 20-23.

  • Rubin, Anna (2000). Forźt Profonde by Francis Dhomont - Representations of the Unconscious.

    In Proceedings of the 2000 International Computer Music Conference - Berlin: San Francisco, CA: ICMA: 28-31.

  • Giannakis, Kostas, Smith, Matt (2000). Auditory-Visual Associations for Music Compositional Processes: A Survey.

    In Proceedings of the 2000 International Computer Music Conference - Berlin: San Francisco, CA: ICMA: 12-15.

Havana: 2001
  • Landy, Leigh (2001b). Measuring Intention against Reception in Electroacoustic Music: a new opportunity for analysis.

    In Proceedings of the 2001 International Computer Music Conference - Havana: San Francisco, CA: ICMA: 26-29.

  • Jordą, Sergi (2001b). Improvising with Computer: A Personal Survey (1989-2001).

    In Proceedings of the 2001 International Computer Music Conference - Havana. San Francisco, CA: ICMA: 1-8.

  • Eaglestone, Barry, Ford, Nigel, Clowes, Mark (2001). Do Composition Systems Support Creativity? – An Evaluation.

    In Proceedings of the 2001 International Computer Music Conference - Havana. San Francisco, CA: ICMA: 22-25.

  • Burns, Christopher (2001). Realizing Lucier and Stockhausen: Case Studies in Electroacoustic Performance Practice.

    In Proceedings of the 2001 International Computer Music Conference - Havana. San Francisco, CA: ICMA: 40-43.

  • Bahn, Curtis, Hahn, Tomie, Trueman, Dan (2001). Physicality and Feedback: A Focus on the Body in the Performance of Electronic Music.

    In Proceedings of the 2001 International Computer Music Conference – Havana, Cuba. San Francisco: ICMA: 44-51.

Gotėborg: 2002
  • Doornbusch, Paul (2002b). A Brief Survey of Mapping in Algorithmic Composition.

    In Proceedings of the 2002 International Computer Music Conference - Gotėborg: San Francisco, CA: ICMA: 205-210.

  • Boehm, Carola (2002). Between Technology and Creativity, Challenges and Opportunities for Music Technology in Higher Education.

    In Proceedings of the 2002 International Computer Music Conference - Gotėborg: San Francisco, CA: ICMA: 236-243.

  • Young, John (2002a). The Interaction of Sound Identities in Electroacoustic Music.

    In Proceedings of the 2002 International Computer Music Conference - Gotėborg: San Francisco, CA: ICMA: 342-348.

  • Weinberg, Gil (2002b). The Aesthetics, History, and Future Challenges of Interconnected Music Networks.

    In Proceedings of the 2002 International Computer Music Conference - Gotėborg: San Francisco, CA: ICMA: 349-356.

  • Nuhn, Ralf, Eaglestone, Barry, Ford, Nigel, Moore, Adrian, Brown, Guy (2002). A Qualitative Analysis of Composers at Work.

    In Proceedings of the 2002 International Computer Music Conference - Gotėborg: San Francisco, CA: ICMA: 572-580.

  • Burns, Christopher (2002b). Tracing Compositional Process: Software Synthesis Code as Documentary Evidence.

    In Proceedings of the 2002 International Computer Music Conference - Gotėborg: San Francisco, CA: ICMA: 568-571.

Singapore: 2003
  • Landy, Leigh, Atkinson, Simon (2003b). Introducing the ElectroAcoustic Resource Site (EARS).

    In Proceedings of the 2003 International Computer Music Conference - Singapore. San Francisco, CA: ICMA: 115-118

Copenhagen: 2007
  • Landy, Leigh (2007c). The ElectroAcoustic Resource Site (EARS) Approaches Its Next Phase: Going global and addressing the young.

    International Computer Music Conference 2007 proceedings (Copenhagen): 141–144.

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