Computer Music Journal (1977-)

Language(s): English

Vol. 1, No. 2. 1977 Vol. 1, No. 4. 1977
  • Alles, H. G. (1977). A Portable Digital Sound Synthesis System.

    Computer Music Journal: Vol. 1, No. 4. Menlo Park, CA: People’s Computer Company: 5-6.

  • Piszczalski, Martin, Galler, Bernard A. (1977). Automatic Music Transcription.

    Computer Music Journal: Vol. 1, No. 4. Menlo Park, CA: People’s Computer Company: 24-31.

  • Moorer, James A. (1977). On the Transcription of Musical Sound by Computer.

    Computer Music Journal: Vol. 1, No. 4. Menlo Park, CA: People’s Computer Company: 32-38.

  • Laske, Otto E. (1977). Toward a Theory of Interfaces for Computer Music Systems.

    Computer Music Journal: Vol. 1, No. 4. Menlo Park, CA: People’s Computer Company: 53-60.

Vol. 2, No. 2. 1978 Vol. 2, No. 3. 1978 Vol. 2, No. 4. 1978
  • Laske, Otto (1978). Considering Human Memory in Designing User Interfaces for Computer Music.

    Computer Music Journal: Vol. 2, No. 4. CA: People’s Computer Company: 39-45.

Vol. 3, No. 1. 1979
  • Piszczalski, Martin (1979a). Spectral Surfaces from Performed Music: Part 1.

    Computer Music Journal: Vol. 3, No. 1. CA: People’s Computer Company: 18-24.

  • Roads, Curtis (1979). Grammars as Representations for Music.

    Computer Music Journal: Vol. 3, No. 1. CA: People’s Computer Company: 48-55.

Vol. 3, No. 2. 1979
  • Wessel, David (1979). Timbre Space as Musical Control Structure.

    Computer Music Journal: Vol. 3, No. 2. CA: People’s Computer Company: 42-52.

Vol. 3, No. 3. 1979
  • Cann, Richard (1979). An Analysis/Synthesis Tutorial.

    Computer Music Journal: Vol. 3, No. 3. CA: People’s Computer Company: 6-11.

  • Piszczalski, Martin (1979b). Spectral Surfaces from Performed Music: Part 2.

    Computer Music Journal: Vol. 3, No. 3. CA: People’s Computer Company: 25-27.

Vol. 4, No. 2. 1980
  • Roads, Curtis (1980a). Artificial Intelligence and Music.

    Computer Music Journal: Vol. 4, No. 2. CA: People’s Computer Company: 13-25.

Vol. 4, No. 3. 1980
  • Roads, Curtis (1980b). Interview with Marvin Minsky.

    Computer Music Journal: Vol. 4, No. 3. CA: People’s Computer Company: 25-39.

Vol. 4, No. 4. 1980
  • Roads, Curtis (1980c). Interview with Max Matthews.

    Computer Music Journal: Vol. 4 No. 4. Cambridge, MA: MIT Press: 15-22.

Vol. 5, No. 2. 1981
  • Charbonneau, Gérard R. (1981). Timbre and the Perceptual Effects of Three Types of Data Reduction.

    Computer Music Journal: Vol. 5, No. 2. CA: People’s Computer Company: 10-19.

Vol. 5, No. 4. 1981
  • Morrill, Dexter (1981). Loudspeakers and Performers: Some Problems and Proposals.

    Computer Music Journal: Vol. 5, No. 4. Cambridge, MA: MIT Press: 25-29.
    Also published in: Heifetz, R.J. (ed.) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 155-162.

Vol. 6, No. 1. 1982
  • Haynes, Stanley (1982). The Computer as a Sound Processor: A Tutorial.

    Computer Music Journal: Vol. 6, No. 1. CA: People’s Computer Company: 7-17.

Vol. 6, No. 2. 1982
  • Arveiller, Jacques (1982). Comments on University Instruction in Computer Music Composition.

    Computer Music Journal: Vol. 6, No. 2. CA: People’s Computer Company: 72-78.

Vol. 6, No. 3. 1982
  • Truax, Barry (1982). Timbral Construction in Arras as a Stochastic Process.

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

Vol. 6, No. 4. 1982
  • Roads, Curtis (1982). A Conversation with James A. Moorer.

    Computer Music Journal: Vol. 6 No. 4. Cambridge, MA: MIT Press:

Vol. 7, No. 3. 1983
  • Roads, Curtis (1983). Interview with Paul Lansky.

    Computer Music Journal: Vol. 7, No. 3. Cambridge, MA: MIT Press: 16-24.

Vol. 7, No. 4. 1983
  • Polansky, Larry (1983). Interview with David Rosenboom.

    Computer Music Journal: Vol.7, No. 4. Cambridge, MA: MIT Press: 40-44.

Vol. 8, No. 1. 1984
  • Chadabe, Joel (1984). Interactive Composing: An Overview.

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

  • Appleton, Jon (1984). Live and In Concert: Composer/Performer Views of Real-Time Performance Systems.

    Computer Music Journal: Vol. 8, No. 1. Cambridge, MA: MIT Press: 48-51.

Vol. 8, No. 3. 1984
  • Keane, David (1984). The Bourges International Festival of Experimental Music: A Retrospective.

    Computer Music Journal: Vol. 8, No. 3. Cambridge, MA: MIT Press: 51-59.

Vol. 8, No. 4. 1984
  • Boulanger, Richard (1984). Interview with Roger Reynolds, Joji Yuasa and Charles Wuorinen.

    Computer Music Journal: Vol. 8, No. 4. Cambridge, MA: MIT Press: 45-54.

Vol. 9, No. 1. 1985
  • Truax, Barry (1985). The PODX System: Interactive Compositional Software for the DMX-1000.

    Computer Music Journal: Vol. 9, No. 1. Cambridge, MA: MIT Press: 29-38.

  • Gaburo, Kenneth (1985). The Deterioration of an Ideal, Ideally Deteriorized: Reflections on Pietro Grossi’s Paganini Al Computer.

    Computer Music Journal: Vol. 9, No. 1. Cambridge, MA: MIT Press: 39-44.

  • Kaske, Steven (1985). A Conversation with Clarence Barlow.

    Computer Music Journal: Vol. 9 No. 1. Cambridge, MA: MIT Press: 19-28.

  • Risset, Jean-Claude (1985a). Computer Music Experiments 1964-.

    Computer Music Journal: Vol.9, No. 1. Cambridge, MA: MIT Press: 11-18.

Vol. 9, No. 2. 1985
  • Loy, Gareth (1985). About AUDIUM - A Conversation with Stanley Shaff.

    Computer Music Journal: Vol. 9, No. 2. Cambridge, MA: MIT Press: 39-44.

Vol. 10, No. 1. 1986
  • Roads, Curtis (1986a). Symposium on Computer Music Composition.

    Computer Music Journal: Vol. 10, No. 1. Cambridge, MA: MIT Press: 40-63.

Vol. 10, No. 2. 1986
  • Roads, Curtis (1986b). The Tsukaba Musical Robot.

    Computer Music Journal: Vol. 10, No. 2. Cambridge, MA: MIT Press: 39-43.

Vol. 10, No. 3. 1986
  • Janzen, Thomas E. (1986). Aesthetic Appeal in Computer Music.

    Computer Music Journal: Vol. 10, No. 3. Cambridge, MA: MIT Press: 83-88.
    Also published in: Heifetz, R.J. (ed.) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 111-120.

Vol. 10, No. 4. 1986
  • Dolson, Mark (1986). The Phase Vocoder: A Tutorial.

    Computer Music Journal: Vol. 10, No. 4. Cambridge, MA: MIT Press: 83-88.

  • Lohner, Henning (1986a). The UPIC System: A User’s Report.

    Computer Music Journal: Vol. 10, No. 4. Cambridge, MA: MIT Press: 42-49.

  • Lohner, Henning (1986b). Interview with Iannis Xenakis.

    Computer Music Journal: Vol. 10, No. 4. Cambridge, MA: MIT Press: 50-55.

Vol. 11, No. 3. 1987
  • Roads, Curtis (1987). Interview with Dexter Morrill.

    Computer Music Journal: Vol. 11, No. 3. Cambridge, MA: MIT Press: 11-16.

Vol. 12, No. 1. 1988
  • Roads, Curtis (1988a). Interview with Morton Subotnik.

    Computer Music Journal: Vol. 12, No. 1. Cambridge, MA: MIT Press: 9-18.

  • Moore, F. Richard (1988). The Dysfunctions of MIDI.

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

Vol. 12, No. 2. 1988
  • Roads, Curtis (1988b). Introduction to Granular Synthesis.

    Computer Music Journal: Vol. 12, No. 2. Cambridge, MA: MIT Press: 11-13.

  • Belkin, Alan (1988). Orchestration, Perception, and Musical Time: A Composer’s View.

    Computer Music Journal: Vol. 12, No. 2. Cambridge, MA: MIT Press: 47-53.

Vol. 12, No. 4. 1988
  • Wishart, Trevor (1988). The Composition of Vox-5.

    Computer Music Journal: Vol. 12, No. 4. Cambridge, MA: MIT Press: 21-27.

Vol. 13, No. 1. 1989
  • Clark, Thomas (1989). Coasts: On the Creative Edge with Composer Larry Austin.

    Computer Music Journal: Vol. 13, No. 1. Cambridge, MA: MIT Press: 21-35.

Vol. 14, No. 1. 1990
  • Pressing, Jeff (1990). Cybernetic Issues in Interactive Performance Systems.

    Computer Music Journal: Vol. 14, No. 1. Cambridge, MA: MIT Press: 12-25.

  • Rubine, Dean, McAvinney Paul, (1990). Programmable Finger-tracking Instrument Controllers.

    Computer Music Journal: Vol. 14, No. 1. Cambridge, MA: MIT Press: 26-41.

Vol. 14, No. 2. 1990
  • Krefeld, Volker (1990). The Hand in the Web: An Interview with Michel Waisvisz.

    Computer Music Journal: Vol. 14, No. 2. Cambridge, MA: MIT Press: 26-41.

  • Boulanger, Richard (1990). Conducting the MIDI Orchestra, Part 1: Interviews with Max Matthews, Barry Vercoe, and Roger Dannenberg.

    Computer Music Journal: Vol. 14, No. 2. Cambridge, MA: MIT Press: 34-46.

  • Kugel, Peter (1990). Myhill’s Thesis: There’s More than Computing in Musical Thinking.

    Computer Music Journal: Vol. 14, No. 2. Cambridge, MA: MIT Press: 34-46.

Vol. 15, No. 1. 1991
  • Green, Tona (1991). Interview with Jean-Claude Eloy.

    Computer Music Journal: Vol. 15, No. 1. Cambridge, MA: MIT Press: 14-19.

Vol. 15, No. 2. 1991
  • Johnson, Roger (1991). Machine Songs 1: Music and the Electronic Media.

    Computer Music Journal: Vol. 15, No. 2. Cambridge, MA: MIT Press: 12-20.

Vol. 15, No. 4. 1991
  • Risset, Jean-Claude (1991a). Some Comments About Future Music Machines.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 32-36.

  • Mathews, Max V. (1991). The Radio Baton and Conductor Program, or: Pitch, the Most Important and Least Expressive Part of Music.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 37-46.

  • Goebel, Johannes (1991). My Dream (Machine?).

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 47-50.

  • Rodet, Xavier (1991). What Would We Like to See Our Music Machines Capable of Doing?.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 51-54.

  • Ashley, Richard (1991). Two Reponses.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 55-61.

  • Puckette, Miller (1991). Something Digital.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 65-69.

  • Bernardini, Nicola (1991). Should Musical Instruments be Dreams?.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 78-81.

  • Wessel, David (1991). Instruments That Learn, Refined Controllers, and Source Model Loudspeakers.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 82-86.

Vol. 16, No. 3. 1992
  • Koblyakov, Lev (1992). Score/Music Orientation: An Interview with Robert Rowe.

    Computer Music Journal: Vol. 16, No. 3. Cambridge, MA: MIT Press: 22-31.

Vol. 17, No. 1. 1993
  • Sousa, John Phillip (1993). Machine Songs IV: The Menace of Mechanical Music.

    Computer Music Journal: Vol. 17, No. 1. Cambridge, MA: MIT Press: 14-18.

Vol. 17, No. 2. 1993 Vol. 17, No. 3. 1993
  • Palombini, Carlos (1993a). Pierre Schaeffer: from Research into Noises to Experimental Music.

    Computer Music Journal: Vol. 17, no. 3. Cambridge, MA: MIT Press: 14-19.

Vol. 18, No. 2. 1994 Vol. 18, No. 3. 1994
  • Iwatake, Toru (1994). An Interview with Barry Truax.

    Computer Music Journal: Vol. 18, No. 3. Cambridge, MA: MIT Press: 17-24.

  • Johnson, Roger (1994). Technology, Commodity, Power.

    Computer Music Journal: Vol. 18, No. 3. Cambridge, MA: MIT Press: 25-32.

  • Pope, Steven Travis (Ed.) (1994). Music and Computers: NEMO Composers Panel Discussion.

    Computer Music Journal: Vol. 18, No. 3. Cambridge, MA: MIT Press: 33-44.

  • Whitney, John (1994). To Paint on Water: The Audiovisual Duet of Complementarity.

    Computer Music Journal: Vol. 18, No. 3. Cambridge, MA: MIT Press: 45-52.

Vol. 18, No. 4. 1994
  • Fourier, Laurent (1994). Jean-Jaques Perrey and the Ondioline.

    Computer Music Journal: Vol. 18, No. 4. Cambridge, MA: MIT Press: 19-25.

  • Richard, Dominique M. (1994). Computer Music and the Post-modern: A Case of Schizophrenia.

    Computer Music Journal: Vol. 18, No. 4. Cambridge, MA: MIT Press: 26-34.

Vol. 19, No. 1. 1995
  • Thieberger, Ed M. (1995). An Interview with Charles Dodge.

    Computer Music Journal: Vol. 19, No. 1. Cambridge, MA: MIT Press: 11-24.

  • Kimura, Mari (1995). Performance Practice in Computer Music.

    Computer Music Journal: Vol. 19, No. 1. Cambridge, MA: MIT Press: 64-75.

Vol. 19, No. 3. 1995
  • Pope, Steven Travis (1995). Touched by Machine? - Composition and Performance in the Digital Age .

    Computer Music Journal: Vol. 19, No. 3. Cambridge, MA: MIT Press: 13-17.

Vol. 19, No. 4. 1995
  • MacDonald, Alistair (1995). Performance Practice in the Presentation of Electroacoustic Music.

    Computer Music Journal: Vol. 19, No. 4. Cambridge, MA: MIT Press: 88-92.
    Also published in: Journal of Electroacoustic Music. Vol. 11. London: Sonic Arts Network: 21-24. [1998]

Vol. 20, No. 1. 1996
  • Cody, Joshua (1996). An Interview with Paul Lansky.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 19-24.

  • Moore, F. Richard (1996). Dreams of Computer Music - Then and Now.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 25-41.

  • Spiegel, Laurie (1996). That was Then - This is Now.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 42-45.

  • Goebel, Johannes (1996). “Freedom and Precision of Control”.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 46-48.

  • Pierce, John R. (1996). Computer Music, Coming and Going.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 49-51.

  • Dannenberg, Roger B. (1996). A Perspective on Computer Music.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 52-56.

  • Rodet, Xavier (1996). Recent Developments in Computer Sound Analysis and Synthesis.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 57-61.

Vol. 20, No. 2. 1996 Vol. 20, No. 3. 1996
  • Maratti, Adriana (1996). Music and Science: An Interview with Martino Traversa.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 14-19.

  • Roads, Curtis (1996a). Early Electronic Music Instruments: Time Line 1899-1950.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 20-23.

  • Berg, Paul (1996). Abstracting the Future: The Search for Musical Constructs.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 24-27.

  • Hirano, Karl (1996). A Review of Electronic Instruments.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 28-30.

  • Dal Farra, Ricardo (1996). A Southerner’s Perspective.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 36-37.

  • Cook, Perry R. (1996). Singing Voice Synthesis: History, Current Work and Future Directions.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 38-46.

Vol. 20. No. 4. 1996
  • Robindoré, Brigitte (1996). Eskhaté Ereuna: Extending the Limits of Musical Thought-Comments On and By Iannis Xenakis.

    Computer Music Journal: Vol. 20, No, 4. Cambridge, MA: MIT Press: 11-16.

  • Tono, Tanami (1996). The Synthesis of Tradition and Technology.

    Computer Music Journal: Vol. 20, No, 4. Cambridge, MA: MIT Press: 17-20.

  • Lippe, Cort (1996). Real-Time Interactive Digital Signal Processing: A View of Computer Music.

    Computer Music Journal: Vol. 20, No, 4. Cambridge, MA: MIT Press: 21-24.

  • Kimura, Mari (1996). Computers for Performers-Crossing the Boundaries for the Future.

    Computer Music Journal: Vol. 20, No, 4. Cambridge, MA: MIT Press: 25-26.

  • Truax, Barry (1996f). Computer Music as Commercial or Public Culture: A Personal View.

    Computer Music Journal: Vol. 20, No, 4. Cambridge, MA: MIT Press: 27-28.

Vol. 21, No. 3. 1997
  • Desantos, Sandra (1997). Acousmatic Morphology: An Interview with François Bayle.

    Computer Music Journal: Vol. 21, no.3. Cambridge, MA: MIT Press: 11-19.

Vol. 22, No. 1. 1998
  • Laubier, Serge de (1998). The Meta-instrument.

    Computer Music Journal: Vol. 22, no.1. Cambridge, MA: MIT Press: 25-29.

Vol. 22, No.3. 1998
  • Robindore, Brigitte (1998). Luc Ferrari: Interview with an Intimate Iconoclast.

    Computer Music Journal: Vol. 22, no.3. Cambridge, MA: MIT Press: 8-16.

  • Karjalainen, Matti, Valimaki, Vesa (1998). Plucked-String Models: From the Karplus-Strong Algorithm to Digital Waveguides and Beyond.

    Computer Music Journal: Vol. 22, no.3. Cambridge, MA: MIT Press: 17-32.

Vol. 23, No. 1. 1999
  • Fumarola, Martin A. (1999). Electroacoustic Music Practice in Latin America: An Interview with Juan Amenábar.

    Computer Music Journal: Vol. 23, no.1. Cambridge, MA: MIT Press: 41-48.

Vol. 23, No. 2. 1999 Vol 23, No. 4. 1999 Vol. 24, No. 1. 2000
  • Smith, Ronald B. (2000). An Interview with Tristan Murail.

    Computer Music Journal: Vol. 24, no.1. Cambridge, MA: MIT Press: 11-19.

  • Bailey, Nick, Cooper, David (2000). Perceptually Smooth Timbral Guides by State-Space Analysis of Phase-Vocoder Parameters.

    Computer Music Journal: Vol. 24, no.1. Cambridge, MA: MIT Press: 32-42.

Vol. 24, No. 2. 2000
  • Wishart, Trevor (2000). Sonic Composition in Tongues of Fire.

    Computer Music Journal: Vol. 24, no.2. Cambridge, MA: MIT Press: 22-30.

  • Verma, Tony S., Meng, Teresa H. Y. (2000). Extending Spectral Modeling Synthesis with Transient Modeling Synthesis.

    Computer Music Journal: Vol. 24, no.2. Cambridge, MA: MIT Press: 47-59.

  • Austin, Larry (2000). Sound Diffusion in Composition and Performance: An Interview with Denis Smalley.

    Computer Music Journal: Vol. 24, No. 2. Cambridge, MA: MIT Press: 10-21.

Vol 24, No. 3. 2000
  • Budon, Osvaldo (2000). Composing with Objects, Networks, and Time Scales: An Interview with Horacio Vaggione.

    Computer Music Journal: Vol. 24, no.3. Cambridge, MA: MIT Press: 9-22.

Vol 24, No. 4. 2000
  • Loubet, Emmanuelle (2000). Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere.

    Computer Music Journal: Vol. 24, no.4. Cambridge, MA: MIT Press: 19-32.

  • Cascone, Kim (2000). The Aesthetics of Failure: “Post-Digital Tendencies in Contemporary Computer Music.

    Computer Music Journal: Vol. 24, No. 4. Cambridge, MA: MIT Press: 12-18.

  • Chadabe, Joel (2000b). Remarks on Computer Music Culture.

    Computer Music Journal: Vol. 24, No. 4. Cambridge, MA: MIT Press: 9-11.

Vol 25, No. 1. 2001
  • Emmerson, Simon (2001b). From Dance to Dance: Distance and Digits.

    Computer Music Journal: Vol. 25, no.1. Cambridge, MA: MIT Press: 13-20.

  • Garnett, Guy E. (2001). The Aesthetics of Interactive Computer Music.

    Computer Music Journal: Vol. 25, no.1. Cambridge, MA: MIT Press: 21-33.

  • Link, Stan (2001). The Work of Reproduction in the Mechanical Aging of an Art: Listening to Noise.

    Computer Music Journal: Vol. 25, no.1. Cambridge, MA: MIT Press: 34-47.

  • Supper, Martin (2001). A Few Remarks on Algorithmic Composition.

    Computer Music Journal: Vol. 25, no.1. Cambridge, MA: MIT Press: 48-53.

  • Vaggione, Horacio (2001). Some Ontological Remarks about Music Composition Processes.

    Computer Music Journal: Vol. 25, no.1. Cambridge, MA: MIT Press: 54-61.

Vol. 25, No. 3. 2001
  • Courchene, Kim S. (2001). A Conversation with Beatriz Ferreyra.

    Computer Music Journal: Vol. 25, no. 3. Cambridge, MA: MIT Press: 14-21.

Vol 25, No. 4. 2001
  • Austin, Larry (2001). Sound Diffusion in Composition and Performance Practice II: An Interview with Ambrose Field.

    Computer Music Journal: Vol. 25, no. 4. Cambridge, MA: MIT Press: 21-30.

  • Malham, David G. (2001). Toward Reality Equivalence in Spatial Sound Diffusion.

    Computer Music Journal: Vol. 25, no. 4. Cambridge, MA: MIT Press: 31-38.

  • Cheng, Corey I. (2001). Moving Sound Source Synthesis for Binaural Electroacoustic Music Using Interpolated Head-Related Transfer Functions (HRTFs).

    Computer Music Journal: Vol. 25, no. 4. Cambridge, MA: MIT Press: 57-80.

  • Clozier, Christian (2001). The Gmebaphone Concept and the Cybernéphone Instrument.

    Computer Music Journal: Vol. 25, no. 4. Cambridge, MA: MIT Press: 81-90.

Vol 26, No. 1. 2002
  • Pape, Gerard (2002). Iannis Xenakis and the ’Real’ of Musical Composition.

    Computer Music Journal: Vol. 26, no. 1. Cambridge, MA: MIT Press: 16-21.

  • Di Scipio, Agostino (2002b). Systems of Embers, Dust, and Clouds: Observations after Xenakis and Brün.

    Computer Music Journal: Vol. 26, no. 1. Cambridge, MA: MIT Press: 22-32.

  • Harley, James (2002). The Electroacoustic Music of Iannis Xenakis.

    Computer Music Journal: Vol. 26, no. 1. Cambridge, MA: MIT Press: 33-57.

Vol 26, No. 3. 2002
  • Jordà, Sergi (2002a). FMOL: Toward User-Friendly, Sophisticated New Musical Instruments.

    Computer Music Journal: Vol. 26, no. 3. Cambridge, MA: MIT Press: 23-39.

  • Ulyate, Ryan, Bianciardi, David (2002). The Interactive Dance Club: Avoiding Chaos in a Multi-Participant Environment.

    Computer Music Journal: Vol. 26, no. 3. Cambridge, MA: MIT Press: 40-49.
    Also published in: Proceedings of the 2001 Conference on New Interfaces for Musical Expression (NIME-01). Seattle, WA.

  • Robson, Dominic (2002). PLAY: Sound Toys for Non-Musicians.

    Computer Music Journal: Vol. 26, no. 3. Cambridge, MA: MIT Press: 50-61.
    Also published in: Proceedings of the 2001 Conference on New Interfaces for Musical Expression (NIME-01). Dublin, Ireland.

  • Wanderley, Marcelo, Orio, Nicola (2002). Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI.

    Computer Music Journal: Vol. 26, no. 3. Cambridge, MA: MIT Press: 62-76.

  • Wessel, David, Wright, Matthew (2002). Problems and Prospects for Intimate Musical Control of Computers.

    Computer Music Journal: Vol. 26, no. 3. Cambridge, MA: MIT Press: 11-22.
    Also published in: Proceedings of the 2001 Conference on New Interfaces for Musical Expression (NIME-01). Seattle, WA.

Vol 26, No. 4. 2002
  • Puckette, Miller (2002). Max at Seventeen.

    Computer Music Journal: Vol. 26, no. 4. Cambridge, MA: MIT Press: 31-43.

  • Zicarelli, David (2002). How I Learned to Love a Program That Does Nothing.

    Computer Music Journal: Vol. 26, no. 4. Cambridge, MA: MIT Press: 44-51.

Vol 27, No. 2. 2003 Vol 27, No. 3. 2003
  • Makan, Keeril (2003). An Interview with Gerard Pape.

    Computer Music Journal: Vol. 27, no. 3. Cambridge, MA: MIT Press: 21-33.

Vol 28, No. 1. 2004 Vol. 28, No. 4. 2004
  • Makan, Keeril (2004). An Interview with Edmund Campion.

    Computer Music Journal: Vol. 28, No. 4. Cambridge, MA: MIT Press: 16-24.

Vol. 29, No. 1. 2005
  • Robindoré, Brigitte (2005). Forays into Uncharted Territories: An Interview with Curtis Roads.

    Computer Music Journal: Vol. 29, No. 1. Cambridge, MA: MIT Press: 11-20.

Vol. 29, No. 2. 2005
  • Weinberg, Gil (2005a). Interconnected Musical Networks: Toward a Theoretical Framework.

    Computer Music Journal: Vol. 29, No. 2. Cambridge, MA: MIT Press: 23-39.

Vol. 29, No. 3. 2005
  • Anderson, Christine (2005). Dynamic Networks of Sonic Interactions: An Interview with Agostino Di Scipio.

    Computer Music Journal: Vol. 29, No. 3. Cambridge, MA: MIT Press: 11-28.

Vol. 29, No. 4. 2005
  • Dannenberg, Roger B. (2005). Interactive Visual Music: A Personal Perspective.

    Computer Music Journal: Vol. 29, No. 4. Cambridge, MA: MIT Press: 25-35.

  • Rudi, Jøran (2005a). Computer Music Video: A Composer’s Perspective.

    Computer Music Journal: Vol. 29, No. 4. Cambridge, MA: MIT Press: 36-44.

  • Alves, Bill (2005). Digital Harmony of Sound and Light.

    Computer Music Journal: Vol. 29, No. 4. Cambridge, MA: MIT Press: 45-54.

Vol. 31, No. 2. 2007
  • Otondo, Felipe (2007). Creating Sonic Spaces: An Interview with Natasha Barrett .

    Computer Music Journal: Vol. 31, No. 2. Cambridge, MA: MIT Press: 10-19.

Vol. 31, No. 3. 2007
  • Zattra, Laura (2007). The Assembling of Stria by John Chowning: A Philological Investigation.

    Computer Music Journal: Vol. 31, No. 3. Cambridge, MA: MIT Press: 38-64.

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