bibliography
Dieses Verzeichnis enthält folgenden Referenzen zu Publikationen (sortiert nach Erscheinungsjahr und Autor):
Es befinden sich 469 Einträge in diesem Literaturverzeichnis.
Danks M (1996).
The Graphics Environment for Max.
In: Proceedings of the International Computer Music Conference, pp. 67–70, International Computer Music Association.
Dannenberg RB, and Brandt E (1996).
A Flexible Real-Time Software Synthesis System.
In: Proceedings of the International Computer Music Conference, pp. 270–273, International Computer Music Association.
Franklin S, and Graesser A (1996).
Is it an Agent, or just a Program?: A Taxonomy for Autonomous Agents.
In: Proceedings of the Third International Workshop on Agent Theories, Architectures, and Languages, Springer.
Green TR, and Petre M (1996).
Usability analysis of visual programming environments: a 'cognitive dimensions' approach.
Journal of Visual Languages and Computing, 7:131–174.
Hopkin B (1996).
Musical Interface Design: Practical Information for Instrument Making.
See Sharp Press, Tucson, AZ. (ISBN: 1884365086).
Kortekaas RW, Hermes DJ, and Meyer GF (1996).
Vowel-onset detection by vowel-strength measurement, cochlear-nucleus simulation, and multilayer perceptron.
J. Acoust. Soc. Am., 99(2):1185-99.
Masri P, and Bateman A (1996).
Improved modelling of attack transients in music analysis-resynthesis.
In: Proc. Int. Computer Music Conference.
McCartney J (1996).
SuperCollider: A New Real-Time Sound Synthesis Language.
In: The International Computer Music Conference, pp. 257-258, International Computer Music Association, San Francisco.
Puckette MS (1996).
Pure Data.
In: Proc. of the ICMC, pp. 269-272, International Computer Music Association, San Francisco.
Puckette MS (1996).
Pure Data: another integrated computer music environment.
In: Proceedings of the Second Intercollege Computer Music Concerts, pp. 37-41, Tachikawa, Japan.
Roads C (1996).
The Computer Music Tutorial.
MIT Press, Cambridge, MA.
Scheirer ED (1996).
Bregman's chimerae: Music perception as auditory scene analysis.
In: Proc. Int. Conf. on Music Perception and Cognition.
Sobel JM, and Friedman DP (1996).
An Introduction to Reflection-Oriented Programming.
In: Reflection 96.
Todd NP, and Brown GJ (1996).
Visualisation of rhythm, time and metre.
Artificial Intelligence Review, 10:253-273.
Agawu VK (1995).
African Rhythm: A Northern Ewe Perspective.
Cambridge University Press, Cambridge.
Demers FN, and Malenfant J (1995).
Reflection in logic, functional and object-oriented programming: a Short Comparative Study.
In: Proc. of the IJCAI’95 Workshop on Reflection and Metalevel Architectures and their Applications in AI, pp. 29–38.
Kivy P (1995).
Authenticities: Philosophical Reflections on Musical Performance.
Cornell University Press, Ithaca and London. (ISBN: 978-0801484803).
Moore BC (ed.) (1995).
Hearing.
Academic Press, San Diego, CA.
Newman A (1995).
Bach and the Baroque.
Pendragon Press, Stuyvesant, NY, 2nd ed.
Pausch R, Burnette T, Capeheart A, Conway M, Cosgrove D, DeLine R, Durbin J, Gossweiler R, Koga S, and White J (1995).
Alice: Rapid Prototyping System for Virtual Reality.
IEEE Computer Graphics and Applications, 15(3):8--11.
Petre M (1995).
Why Looking Isn't Always Seeing: Readership Skills and Graphical Programming.
Communications of the ACM, 38(6):33--44.
Roederer JG (ed.) (1995).
The Physics and Psychophysics of Music.
Springer-Verlag, New York, 2nd ed.
Taruskin R (1995).
Text and Act: Essays on Music and Performance.
Oxford University Press, USA. (ISBN: 978-0195094589).
Wooldridge M, and Jennings NR (1995).
Intelligent agents: Theory and practice.
Knowledge Engineering Review, 10(2).
Brown GJ, and Cooke MP (1994).
Computational auditory scene analysis.
Computer Speech and Language, 8:297-336.