Relevant bibliographies by topics / Electronic; music; composition

Academic literature on the topic 'Electronic; music; composition'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Electronic; music; composition"

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Collins, Nick. "Corposing a History of Electronic Music." Leonardo Music Journal 27 (December 2017): 47–48. http://dx.doi.org/10.1162/lmj_a_01010.

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A current research project led by the author has collated nearly 2,000 historic electronic music works for the purposes of musicology; nonetheless, this collection is highly amenable to composition. New pieces can be realized by rendering a selected chronology of electronic music history. The context is a wider field of compositional endeavor in “corposition” over large audio databases especially opened up by new research in music information retrieval.
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Chagas, Paulo C. "Composition in circular sound space: Migration 12-channel electronic music (1995–97)." Organised Sound 13, no. 3 (November 3, 2008): 189–98. http://dx.doi.org/10.1017/s1355771808000289.

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AbstractHow does production and spatial environment shape the aesthetics of electroacoustic music? Can the physical space, technology and network of relationships associated with studio activities environment be deeply embedded in the actual composition itself? Using my 12-channel electronic piece Migration as an example, this article demonstrates how the ‘materiality’ of the former Studio für Elektronische Musik of the WDR Radio, Cologne, Germany influenced the conception of ‘circular sound space’. Space in electroacoustic music is considered as embodiment of gestural experience driven by performance and composition. The discussion gives insights into the development of circular approaches of sound space in relationship to analogue and digital machinery. Particular attention is paid to the correlation between sound synthesis and sound space as a structuring principle of multi-channel electroacoustic music composition.
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Nevels, Daniel L. "Using music software in the compositional process: A case study of electronic music composition." Journal of Music, Technology and Education 5, no. 3 (January 1, 2013): 257–71. http://dx.doi.org/10.1386/jmte.5.3.257_1.

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IVERSON, JENNIFER. "The Emergence of Timbre: Ligeti's Synthesis of Electronic and Acoustic Music in Atmosphères." Twentieth-Century Music 7, no. 1 (March 2010): 61–89. http://dx.doi.org/10.1017/s1478572211000053.

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AbstractIn 1957, soon after his emigration from Hungary, György Ligeti began an internship at the electronic music studio of Westdeutscher Rundfunk (WDR) in Cologne. The three electronic works Ligeti produced there constitute a small portion of his oeuvre, but it is commonly acknowledged that his experiences in the studio were crucial for his stylistic development. This article makes specific analytical connections between the techniques of elektronische Musik that Ligeti encountered at the WDR and his sound-mass techniques in acoustic composition. The discourses in circulation in the electronic studio of the 1950s – especially as articulated by Karlheinz Stockhausen, Karel Goeyvaerts, and Gottfried Michael Koenig – reveal a collective obsession with gaining compositional control over timbre. By internalizing and reusing mainstream elektronische Musik techniques such as additive synthesis, filtering, and Bewegungsfarbe in an acoustic form, Ligeti brought timbre forward as the central compositional problem in the acoustic work Atmosphères.
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Anderson, Christopher, Arne Eigenfeldt, and Philippe Pasquier. "The Generative Electronic Dance Music Algorithmic System (GEDMAS)." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 5 (June 30, 2021): 5–8. http://dx.doi.org/10.1609/aiide.v9i5.12649.

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The Generative Electronic Dance Music Algorithmic System (GEDMAS) is a generative music system that composes full Electronic Dance Music (EDM) compositions. The compositions are based on a corpus of transcribed musical data collected through a process of detailed human transcription. This corpus data is used to analyze genre-specific characteristics associated with EDM styles. GEDMAS uses probabilistic and first order Markov chain models to generate song form structures, chord progressions, melodies and rhythms. The system is integrated with Ableton Live, and allows its user to select one or several songs from the corpus, and generate a 16 tracks/parts composition in a few clicks.
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Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN." Imaji 17, no. 1 (June 27, 2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.

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Republiken adalah penganut ketatanegaraan yang berbentuk republik. Istilah Republiken menunjukkan suatu kesatuan masyarakat yang berbangsa dan berdaulat. Republiken dalam kaitannya dengan karya seni ini adalah suatu bentuk semangat berbangsa melalui seni, dalam hal ini musik, menunjukkan bahwa perbedaan ras atau suku bukanlah masalah untuk bangsa Indonesia menjadi semangat yang satu. Karya komposisi musik yang berjudul “Republiken”, diharapkan dapat menunjukkan semangat berbangsa melalui beberapa karakteristik musik-musik nusantara yang diekspresikan melalui EDM atau Elektronik Dance Music yang merupakan sebuah rumah besar untuk genre-genre musik, seperti disco, dupstep dan sebagainya, karena sebagian alat musiknya menggunakan alat-alat elektronik seperti gitar elektrik, keyboard, synthesiezer dan lauchpad yang dewasa ini menjadi alat musik yang banyak digunakan dalam penciptaan musik EDM “REPUBLIKEN” UNITES IN DIFFERENCESAbstractRepubliken are followers of republic constitutions. The term Republiken shows a united nation and sovereign community. In relation to this work of art, Republiken is a form of nationalism spirit through art—in this case music—showing that racial or ethnic differences are not a problem for Indonesian people to be one spirit. The music composition works entitled "Republiken", are expected to show the spirit of nationalism through several characteristics of archipelago music expressed through EDM or Electronic Dance Music which is a big house for music genres, such as disco, dupstep and so on, because some of the music tools uses electronic devices like electric guitars, keyboards, synthesizers and lauchpads which today are a musical instrument that is widely used in EDM music creation
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Li, Qiuxiao. "Characteristics of Early Electronic Music Composition in China’s Mainland." Contemporary Music Review 37, no. 1-2 (March 4, 2018): 135–46. http://dx.doi.org/10.1080/07494467.2018.1453347.

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Payling, Dave. "Approaches to Composition in Visual Music: An Artist’s Reflection on Three Original Pieces." Leonardo Music Journal 29 (December 2019): 62–66. http://dx.doi.org/10.1162/lmj_a_01065.

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This article discusses the author’s visual music compositional practice in the context of similar work in this field. It specifically examines three pieces created between 2015 and 2017 that fused digital animation techniques with electronic sound. This approach contrasted with the author’s earlier compositions, which featured electroacoustic music and video concrète.
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Zhang, Shuang. "Feasibility of Music Composition Using Deep Learning-Based Quality Classification Models." Wireless Communications and Mobile Computing 2022 (May 26, 2022): 1–9. http://dx.doi.org/10.1155/2022/8123671.

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Polyphonic music technique is the foundation of students’ understanding of musical works. The mastery of polyphonic music techniques enables students to better understand the meaning of musical works and get in touch with the soul of music. Hence, teaching polyphonic music is a compulsory course for composition theory. In the past, all the concepts taught in the composition theory class included the use of the main key, and the minimal amount of polyphonic music works was covered. Also, even if students encountered polyphonic music, a brief inclusion of the same would be included in teaching, creating difficulties for the students to understand polyphonic music well. Intelligent music composition, however, refers to a formalized process that allows the composer to create music with the help of a computer, ensuring minimal human intervention. With the popularity of the Internet and the rapid development of multimedia technology, the majority of the users now use online music applications. Therefore, the need to automatically organize and manage the huge amount of music data effectively has evolved. Studying intelligent music composition helps to understand and simulate the way of thinking of composers in making compositions. It also helps to assist composers in making music, in addition to entertaining people. Considering the aforementioned, the present paper uses a deep learning-based quality classification model for music composition feasibility. The experimental results show that the algorithm has the advantages of fast detection speed and high quality. It helps composers to compose music, greatly reduces the workload, and also ensures certain promotion value.
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Hope, Cat. "The Future is Graphic: Animated notation for contemporary practice." Organised Sound 25, no. 2 (August 2020): 187–97. http://dx.doi.org/10.1017/s1355771820000096.

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A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and the subdivision of metre for acoustic instruments, graphic and animated notations may provide an opportunity for the representation and communication of electronic music. If there is a future for notating electronic music, the micro-tonality, interactivity, non-linear structures, improvisation, aleatoricism and lack of conventional rhythmic structures that are features of it will not be facilitated by common practice notation. This article proposes that graphic and animated notations do have this capacity to serve electronic music, and music that combines electronic and acoustic instruments, as they enable increased input from performers from any musical style, reflect the collaborative practices that are a signpost of current music practice. This article examines some of the ways digitally rendered graphic and animated notations can represent contemporary electronic music-making and foster collaboration between musicians and composers of different musical genres, integrating electronic and acoustic practices.
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Dissertations / Theses on the topic "Electronic; music; composition"

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Thiebaut, Jean-Baptiste. "Sketching music : representation and composition." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/406.

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The process of musical composition is sometimes conceived of as an individual, internal, cognitive process in which notation plays a passive role of transmitting or recording musical ideas. This thesis questions the role played by representations in musical composition practices. We begin by tracing how, historically, compositional practices have co-evolved with musical representations and technologies for music production. We present case studies to show that the use of graphical sketches is a characteristic feature of the early stages of musical composition and that this practice recurs across musical genres ranging from classical music to contemporary electroacoustic composition. We describe the processes involved in sketching activities within the framework of distributed cognition and distinguish an intermediate representational role for sketches that is different from what is ‘in the head’ of the composer and from the functions of more formal musical notations. Using evidences from the case studies, we argue in particular that as in other creative design processes, sketches provide strategically ambiguous, heterogeneous forms of representation that exploit vagueness, indeterminacy and inconsistency in the development of musical ideas. Building on this analysis of the functions of sketching we describe the design and implementation of a new tool, the Music Sketcher, which attempts to provide more under-specified and flexible forms of ‘sketch’ representation than are possible with contemporary composition tools. This tool is evaluated through a series of case studies which explore how the representations constructed with the tool are interpreted and what role they play in the compositional process. We show that the program provides a similar level of vagueness to pen and paper, while also facilitating re-representation and re-interpretation, thus helping bridge the gap between early representations and later stages of commitment.
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Mayall, Jeremy Mark. "Composition Portfolio." The University of Waikato, 2006. http://hdl.handle.net/10289/2398.

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The works in this portfolio of original compositions cover a wide spectrum of genres, styles, approaches, and musical techniques. The aim was to demonstrate mastery of the various musical languages and techniques characteristic of each genre. The calculatedly low-fi 'alt.rock meets computer games' approach of the concept album They No Longer Sleep Alone is of folk-like simplicity, deliberately eschewing the various polishing processes available to producers now in the digital mastering situation. The intention was to preserve a naturalness of sound and song making. On the other hand, live electronic effects are utilized to expand the sonorities and textures obtained from a solo bassoon in The Effect of Bundled Sticks on Sounds. Today is the Tomorrow takes this idea further, being a completely electronic work mixing live musical performance (turntables) with pre-recorded sounds, these interacting with live video and prepared animation. De Feo, inspired by graffiti artists, was written for a virtuoso pair of performers in the unusual combination of alto saxophone and viola, with no electronics being required. The Big Fat Jazz Bastard Theme Song and Espacio were written for particular performers and approaches to music making, while Saturday Afternoon and Late Night Specials are film scores. Swamp Treasures and Bungamucka - the Alarmist were commissioned for theatrical productions and thus were designed to fulfil specific functions determined by the stage directors. By way of contrast, ...seconds unwind...generated noise...racecar... is an abstract work that utilizes the sophistication and subtleties of timbre, rhythm and texture available from a professional chamber orchestra.
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Davies, Robin 1975. "Toolkit : specialized software tools for electronic music composition." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32905.

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This research presents new audio creation and processing tools for the virtual electronic music studio. The Tools were created by the author in the Max/MSP authoring environment. Some Tools model analog production techniques lost when studios moved inside computers, and provide additional functionality only possible in the digital world. Others make use of traditional processing ideas but add a level of control difficult to find in today's audio software plug-ins. The Tools are small, simple, real-time, and user-controllable devices for working with sound.
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Payling, David. "Visual music composition with electronic sound and video." Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2047/.

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This research project investigated techniques for composing visual music and achieving balance in the relationship between sound and image. It comprises this thesis and a portfolio of compositions. The investigation began with an interest in the relationships between colour and sound and later expanded to include form and motion, the remaining factors of Thomas Wilfred’s lumia (1947). Working with a cohesive theme, such as lumia, proved to be an effective way of creating a coherent aesthetic in portfolio pieces. Other themes were therefore investigated including composing with visual and audio materials recorded from the single source of Thailand, the wave phenomena of refraction and diffraction and a filmed natural sunset interpreted in electroacoustic music. Two distinct compositional techniques were used, material transference, where qualities were transferred between sound and image, and compositional thinking, which assisted in creating audio-visual compositions that possessed musical qualities. Material transference proved to be the most productive technique during composing and it was discovered that effectuating it algorithmically created a strong bond between sound and image. Compositional thinking assisted in creating the form of the portfolio pieces and was found to apply to both video and music. Compositional thinking was found to be useful at the macro level, where structural form was designed, and material transference worked at a finer micro level, transferring individual qualities between sound and video objects.
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So, Ka Wai. "Sound and image : musical compositions in realization of intermedia." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1197.

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Horn, Maria. "Pressure and movements : Gender constructions in experimental electronic music." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1637.

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The aim of this text is to examine the field of experimental electronic music with a focus on gender constructions and in particular electronic music's relationship to masculinity. What are some of the recurring ideals and group cultures? Can these suggest causes or in some way explain the gender imbalance in the field? Due to the expansiveness of the topic, the following text will be divided in to five sections which focus on some of its aspects. In "Male identification and control" gendered stereotypes are analyzed along with suggestions of how they may shape our relationship to technology. "Militaristic symbolism" examines the history of some tools used to make electronic music and its relation to militarism. "Neutrality" criticizes the idea of technology as neutral and "Defensive learning climates" goes in to analyzing the learning environments of electronic music and related technological fields. "Gendered expectations" focuses on how we are socialized to "perform our gender" and how gendered expectations shape us. “Concluding thoughts” will briefly summarize the previous topics and present ideas about how to work more practically with constructions of gender within experimental electronic music environments.

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McDonald, Iain. "Playing with technology an approach to composition /." Connect to e-thesis, 2007. http://theses.gla.ac.uk/669/.

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Thesis (MMus) - University of Glasgow, 2007.
MMus. thesis submitted to the Faculty of Arts, Department of Music, University of Glasgow, 2007. Includes bibliographical references. Print version also available.
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Byron, Robert Griffin. "Variations on the theme of metamorphosis as applied to musical compositional structure." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/1890.

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Anderson, Jonathan Douglas. "The Creative Process in Cross-Influential Composition." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28386/.

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This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.
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Vanoni, Gabriele Carlo. "Sculpting Sounds and Colors: Works 2008-2013." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10906.

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This dissertation contains seven works from the last 5 years, from solo works to large ensemble, as well as works with electronics. Composing for me is the result of an imaginative attitude, an alert intuition and a suitable use of technique. It originates from reality, followed by singling out one or more musical ideas, and ends up, as Gustav Mahler puts it, in "building a new world with every available technical means." What drives my compositional interests, and represents the core of the works presented here, is the desire to shape and reify these musical worlds. I strive to find and detail the qualities of these worlds through an approach to composition that is based on "sculpting" gestures, figures and colors, contextualized in a form that is as controlled and thoughtful as possible. I also pursue a distinctive vision of the relationship between microtonal and tempered harmony, mixing the two in a harmonic domain that produces an extremely attractive and worth exploring musical ambiguity, enriched by a systematic approach to timbre. This dissertation offers different examples on this exploration, where musical parameters from an ever-changing palette as well as extra-musical element such as visual arts and literature contribute in offering an image of the gradual unfolding of my "voice," a search that is the core of my daily composing and represents a never-ending process. N.B. One of the works, Winds, is a solo electronic multi-channel soundfile, and a paper version of the works does not exist and cannot be included.
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Books on the topic "Electronic; music; composition"

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Electronic music composition for beginners. Dubuque, Iowa: Wm. C. Brown, 1986.

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Electronic music composition for beginners. 2nd ed. Dubuque, IA: Brown & Benchmark, 1992.

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Composing at the electronic keyboard. Harlow: Longman, 1988.

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Haines, Nicholas. Composing at the electronic keyboard. Cambridge: Cambridge University Press, 1996.

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1944-, Barrière Françoise, and Bennett Gerald, eds. Composition/Diffusion en musique electroacoustique =: Composition/diffusion in electroacoustic music. Bourges: Mnemosyne, 1998.

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Strange, Allen. Electronic music: Systems, techniques, and controls. New York: McGraw-Hill, Primis Custom Publishing, 1997.

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A, Jerse Thomas, ed. Computer music. New York, NY: Schirmer, 1985.

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Krasilʹnikov, Igorʹ Mikhaĭlovich. Ėlektronnoe muzykalʹnoe tvorchestvo v sisteme khudozhestvennogo obrazovanii︠a︡. Dubna: Feniks+, 2007.

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Cacavas, John. The art of writing music: A practical book for composers and arrangers of instrumental, choral, and electronic music as applied to publication, films, television, recordings, and schools. Van Nuys, CA: Alfred Pub. Co., 1993.

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Cacavas, John. The art of writing music: A practical book for composers and arrangers of instrumental, choral, and electronic music as applied to publication, films, television, recordings, and schools. Los Angeles: Alfred Pub. Co, 1993.

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Book chapters on the topic "Electronic; music; composition"

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Manzo, V. J. "Algorithmic Composition." In Teaching Electronic Music, 103–19. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815349-8.

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Zattra, Laura. "Collaborating on composition." In Live Electronic Music, 59–80. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-4.

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Rajan, Rishabh. "Sound Design and Compositional Process in Skrillex." In Teaching Electronic Music, 75–89. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815349-6.

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Vidolin, Alvise. "Re-synthesis of analogue electronic music compositions by computer: a teaching experience." In De Diversis Artibus, 227–35. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.dda-eb.4.00614.

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Holmes, Thom. "Electronic Music Composition by Process." In Electronic and Experimental Music, 45–53. Routledge, 2020. http://dx.doi.org/10.4324/9780429425585-5.

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Holmes, Thom. "Tape Composition and Sound Editing." In Electronic and Experimental Music, 106–27. Routledge, 2020. http://dx.doi.org/10.4324/9780429425585-9.

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Essl, Karlheinz. "Algorithmic Composition." In The Cambridge Companion to Electronic Music, 104–22. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316459874.008.

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Essl, Karlheinz. "Algorithmic composition." In The Cambridge Companion to Electronic Music, 107–25. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521868617.008.

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Adu-Gilmore, Leila. "Seeded Composition (Advanced)." In The Music Technology Cookbook, 147–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0023.

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This open electronic music compositional activity is designed as preparation for a university-level final assignment in any style, including electroacoustic music, electronic dance music, hip-hop, and song. Working with a seed requires discipline and creativity, and when used in the context of electronic music, it pushes composers to learn the ins and outs of the platform they are using. In addition, there is also a reflective written element (scratchpad) embedded in this activity, which is intended to percolate students’ creative goals. Finally, this activity is designed to induce a rigorous, fulfilling, and well-paced compositional process for an autonomous yet supported final piece.
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"Tape Composition and Fundamental Concepts of Electronic Music." In Electronic and Experimental Music, 172–93. Routledge, 2012. http://dx.doi.org/10.4324/9780203128428-13.

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Conference papers on the topic "Electronic; music; composition"

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Armitage, Joanne, and Ng Kia. "Multimodal Music Composition." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.7.

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Crampes, M., S. Ranwez, F. Velickovski, C. Mooney, and N. Mille. "An integrated visual approach for music indexing and dynamic playlist composition." In Electronic Imaging 2006, edited by Surendar Chandra and Carsten Griwodz. SPIE, 2006. http://dx.doi.org/10.1117/12.642329.

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Chen, Yang. "Analysis on the Application of Artificial Intelligence Technology in Electronic Music Composition Creation." In ICISCAE 2021: 2021 IEEE 4th International Conference on Information Systems and Computer Aided Education. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3482632.3483114.

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Oliveira, Vinicius César, and José Henrique Padovani. "Mapping, Triggering, Scoring, and Procedural Paradigms of Machine Listening Application in Live-Electronics Compositions." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19445.

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Since the advent of real-time computer music environments, composers have increasingly incorporated DSP analysis, synthesis, and processing algorithms in their creative practices. Those processes became part of interactive systems that use real-time computational tools in musical compositions that explore diverse techniques to generate, spatialize, and process instrumental/vocal sounds. Parallel to the development of these tools and the expansion of DSP methods, new techniques focused on sound/musical information extraction became part of the tools available for music composition. In this context, this article discusses the creative use of Machine Listening and Musical Information Retrieval techniques applied in the composition of live-electronics works. By pointing out some practical applications and creative approaches, we aim to circumscribe, in a general way, the strategies for employing Machine Listening and Music Information Retrieval techniques observed in a set of live-electronics pieces, categorizing four compositional approaches: namely, mapping, triggering, scoring, and procedural paradigms of application of machine listening techniques in the context of live-electronics music compositions.
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Sabitha, R., Sankararao Majji, M. Kathiravan, S. Gopa Kumar, K. G. Kharade, and Santhoshachandra Rao Karanam. "Artificial Intelligence Based Music Composition System-Multi Algorithmic Music Arranger(MAGMA)." In 2021 Second International Conference on Electronics and Sustainable Communication Systems (ICESC). IEEE, 2021. http://dx.doi.org/10.1109/icesc51422.2021.9532706.

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Nandekar, Abhishek, Preeth Khona, Rajani MB, Anindya Sinha, and Nithin Nagaraj. "Causal Analysis of Carnatic Music Compositions." In 2021 IEEE International Conference on Electronics, Computing and Communication Technologies (CONECCT). IEEE, 2021. http://dx.doi.org/10.1109/conecct52877.2021.9622710.

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Liang, Liang, and Jie Liu. "An exploration of the application of computer music production software in music composition." In 2021 IEEE Asia-Pacific Conference on Image Processing, Electronics and Computers (IPEC). IEEE, 2021. http://dx.doi.org/10.1109/ipec51340.2021.9421093.

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Lopez-Rincon, Omar, Oleg Starostenko, and Gerardo Ayala-San Martin. "Algoritmic music composition based on artificial intelligence: A survey." In 2018 International Conference on Electronics, Communications and Computers (CONIELECOMP). IEEE, 2018. http://dx.doi.org/10.1109/conielecomp.2018.8327197.

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9

Hananoi, Shunsuke, Kazuki Muraoka, and Yasushi Kiyoki. "A music composition system with time-series data for sound design in next-generation sonification environment." In 2016 International Electronics Symposium (IES). IEEE, 2016. http://dx.doi.org/10.1109/elecsym.2016.7861035.

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