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Sorensen, A. and A. R. Brown. 2007. "aa-cell in Practice: An Approach to Musical Live Coding." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 2: 292-299.

Spicer, M. 2004. "AALIVENET: An agent based distributed interactive composition environment." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 211-214.

Dannenberg, R. B. 2007. "Abstract Behaviors for Structured Music Programming." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 1: 31-34.

Berg, P. 1996. "Abstracting the Future: The Search for Musical Constructs." Computer Music Journal 20(3): 24-27.

Hiller, L. 1956. "Abstracts: Some Structural Principles of Computer Music." Journal of the American Musicological Society 9(3): 247-248.

Anderson, D. and R. Kuivila. 1986. "Accurately Timed Generation of Discrete Musical Events." Computer Music Journal 10(3): 48-56.

Schaeffer, P. 2004. "Acousmatics." In Audio Culture: Readings in Modern Music. C. Cox and D. Warner, eds. New York: Continuum. 76-81. {amazon}

Gabor, D. 1947. "Acoustical quanta and the theory of hearing." Nature 159(1044): 591-594.

Pressnitzer, D. and S. McAdams. 2000. "Acoustics, Psychoacoustics and Spectral Music." Contemporary Music Review 19(2): 33-59.

Mandelis, J. 2002. "Adaptive hyperinstruments: Applying evolutionary techniques to sound synthesis and performance." In Proceedings NIME 2002: New Interfaces for Musical Expression. 192-193.

Eldridge, A. C. 2002. "Adaptive Systems Music: Algorithmic Process as Musical Form." In Proceedings of Generative Art. Internet: http://www.informatics.sussex.ac.uk/ users/ alicee/ NEWSITE/ ecila_files/ content/ papers/ ACEGenArt02.pdf

Rodet, X. and L. Boynton, J. Duthen, Y. Potard. 1986. "Adding a graphical user interface to FORMES." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 105-108.

Whalley, I. 2004. "Adding Machine Cognition to a Web-based interactive composition." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 197-200.

Leman, M. 1999. "Adequacy Criteria for Models of Musical Cognition." In Otto Laske: Navigating New Musical Horizons. J. Tabor, ed. Westport: Greenwood Press. 93-120. {amazon}

Appelton, J. 1964. "Aesthetic Direction in Electronic Music." The Western Humanities Review 18: 345.

Koenig, G. M. 1983. "Aesthetic Integration of Computer-Composed Scores." Computer Music Journal 7(4): 27-32.

Birkhoff, G. D. 1933. Aesthetic Measure. Cambridge: Harvard University Press. {amazon}

Fishwick, P. A. 2002. "Aesthetic Programming: Crafting Personalized Software." Leonardo 35(4).

Keislar, D. 2001. "Aesthetics in Computer Music." Computer Music Journal 25(1).

Magnus, C. 2007. "Aesthetics, Score Generation, and Sonification in a Game Piece." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 262-265.

Anonymous. 1965. "Age of the Patchwork." Time September 24. Internet: http://www.time.com/ time/ printout/ 0,8816,834382,00.html

Cook, J. 1994. "Agent Reflection in an Intelligent Learning Environment Architecture for Composition." In Music Education: An Artificial Intelligence Approach. M. Smith, A. Smaill and G. A. Wiggins, eds. London: Springer Verlag.

Spicer, M. 2007. "Agents in ChucK: A Timely Programming Experience." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 159-162.

Papadopoulos, G. and G. Wiggins. 1999. "AI Methods for Algorithmic Composition: A Survey, a Critical View and Future Prospects." Internet: http://www.doc.gold.ac.uk/ ~mas02gw/ papers/ AISB99b.pdf

Olson, H. F. and H. Belar. 1961. "Aid to Music Composition Employing a Random Probability System." Journal of the Acoustical Society of America 33(9): 1163-1170.

Belfiore, A. 1982. "ALGOMUSIC: An Algorithm for the Genesis of Musical Structures." In Prceedings of the International Computer Music Conference. San Francisco: International Computer Music Association.

Janzen, T. E. 1992. "AlgoRhythms." In Readings in Computer-Generated Music. D. Baggi, ed. IEEE Computer Society Press.

Scjulz, C. 1987. "Algorithmen, Computer und Komposition: Ein Beispiel. [Algorithms, computers, composition: An example. ]." Musica XLI/2: 151-52.

Stiny, G. and J. Gips. 1978. Algorithmic Aesthetics. Berkeley: University of California Press. Internet: http://www.algorithmicaesthetics.org/ {amazon}

Nelson, G. L. 1989. "Algorithmic approaches to interactive composition." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 219-222.

Terzidis, K. 2006. Algorithmic Architecture. Oxford: Architectural Press. {amazon}

Fraietta, A. 1998. Algorithmic Composer Program Description. Honours Thesis, University of Western Sydney. Internet: http://www.smartcontroller.com.au/ publications/ algorithmicComposerThesis.pdf

Fowler, J. W. 1994. "Algorithmic Composition." Computer Music Journal 8-9.

Langsman, M. 2004. Algorithmic Composition. MSc Thesis, University of Edinburgh, The School of Arts, Culture and Environment. Internet: http://www.tardis.ed.ac.uk/ ~mbl/ work/ algorithmicComposition.pdf abstract

Cope, D. 1993. "Algorithmic Composition [re]Defined." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 23-25.

Brown, S. S. 1997. "Algorithmic Composition and Reductionist Analysis: Can a Machine Compose?." Internet: http://www.cus.cam.ac.uk/ ~ssb22/ clara/ article.htm

Jacob, B. 1996. "Algorithmic Composition as a Model of Creativity." Organised Sound 1(3): 157-165. Internet: http://www.ee.umd.edu/ ~blj/ algorithmic_composition/ algorithmicmodel.html

McAuley, T. and P. Hingston. 2003. "Algorithmic Composition in Contrasting Music Styles." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 259-266.

Collins, N. 2001. "Algorithmic Composition Methods for Breakbeat Science." In Proceedings of Music Without Walls. De Montfort University.

Simoni, M. 2003. Algorithmic Composition: A Gentle Introduction to Music Composition Using Common LISP and Common Music. Ann Arbor: Scholarly Publishing Office, the University of Michigan University Library. Internet: http://www.hti.umich.edu/ cgi/ t/ text/ text-idx?type= simple; c= spobooks; cc= spobooks; sid= 4f2c1e1b03b19d2500f65702d1314f0c; rgn= full%20text; q1= simoni; view= toc; subview= short; sort= occur; start= 1; size= 25; idno= bbv9810.0001.001

Bain, R. 1990. "Algorithmic composition: Quantum mechanics and the musical domain." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 276-279.

Jones, K. 1990. "Algorithmic Explorations of Juxtaposition and Simultaneity in Computer-Aided Composition." In Proceedings of the International Computer Music Association. San Francisco: International Computer Music Association. 305-307.

Dobrian, C. 1995. "Algorithmic Generation of Temporal Forms: Hierarchical Organization of Stasis and Transition." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. Internet: http://music.arts.uci.edu/ dobrian/ ICMC.Form.htm

Surrealism Test Center. 2000. "Algorithmic Music." Internet: http://www.sharemation.com/ ~bravedog/ cyberdelia4.htm

Jarvelainen, H. 2000. Algorithmic Musical Composition. Internet: http://www.tml.hut.fi/ Studies/ Tik-111.080/ 2000/ papers/ hanna/ alco.pdf

Surrealism Test Center. 2000. "Algorithmic Text." Internet: http://www.sharemation.com/ ~bravedog/ cyberdelia5.htm

Ariza, C. 2004. "algorithmic.net: A Lexicon of Systems and Research in Computer-Aided Algorithmic Composition." Internet: http://www.algorithmic.net

Reith, D. 1991. "Algorithmische Komposition, dargestellt an drei Projekten aus dem elektronischen Studio der Folkwang-Hochschule Essen." Metzler 66-79.

Harley, J. 1994. "Algorithms Adapted From Chaos Theory." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 209-212.

Matthews, M. 1981. "Algorithms for Harmonic Pitch Structure Generation." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Associations. 110-117.

Lewis, J. P. 1989. "Algorithms for music composition by neural nets: Improved CBR paradigms." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 180-183.

Breinbjerg, M. 1995-1997. "Algoritmisk komposition: Computerens eller komponistens musik?." Caecilia 35-51.

La Motte-Haber, H. de. 1996. "Alles ist Zahl: Formen pythagoreischen Denkens in der Musik. [Everything is numbers: Forms of Pythagorean thinking in music.]." Wiabetaner 153-63.

Kowalski, D. 1987. "An algorithm and a computer program for the construction of self-deriving arrays." In Theory Only 9(5-6): 27-49.

Rader, G. 1973. An algorithm for the automatic composition of simple forms of music based on a variation of formal grammars: Moore School of Electrical Engineering music report. Philadelphia: University of Pennsylvania. {amazon}

Devaney, J. 2003. "An Algorithmic Approach to Composing for Flexible Intonation Ensembles." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 215-217.

Punch, B. and M. Sullivan, R. Koehler. 1991. "An Algorithmic Approach to Composition Based on Dynamic Hierarchical Assembly." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 45-52.

Roberts, A. 1966. "An all-FORTRAN music-generating computer program." Journal of the Audio Engineering Society XIV(1): 17.

Squibbs, R. J. 1996. An Analytical Approach to the Music of Iannis Xenakis: Studies of Recent Works. Dissertation, Yale University.

Hamer, J. 2004. "An approach to teaching design patterns using musical composition." In Proceedings of the 9th annual SIGCSE conference on Innovation and technology in computer science education. New York: ACM Press. 156-160. Internet: http://doi.acm.org/ 10.1145/ 1007996.1008038

Meehan, J. R. 1980. "An Artificial Intelligence Approach to Tonal Music Theory." Computer Music Journal 4(2): 60-65.

Dahan, K. 2005. "An Associative Approach to Computer-Assisted Music Composition." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 223-226.

Otsuki, S. 1964. "An attempt at machine composition by machine experience." Information Processing in Japan 4.

Holtzman, S. R. 1979. "An Automated Digital Sound Synthesis Instrument." Computer Music Journal 3(2): 53-61.

Collins, N. 2005. "An Automated Event Analysis System with Compositional Applications." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 575-578.

Giomi, F. 1996. "An Early Case of Algorithmic Composition in Italy." Organised Sound 1(3): 179-182.

Gudwin, R. and J. Manzolli, A. Moroni, F. von Zuben. 1999. "An Evolutionary Approach to Algorithmic Composition." Organised Sound 4(2): 121-125.

Manzolli, J. and A. Moroni, F. von Zuben, R. Gudwin. 1999. "An evolutionary approach to algorithmic composition." Organised Sound 4(2): 121-125.

Brooks, F. P. and A. L. Hopkins, P. Neumann, W. V. Wright. 1957. "An Experiment in Musical Composition." IRE Transcripts on Electronic Computers 6(3): 175-182.

Gómez, F. and E. Thul, G. Toussaint. 2007. "An Experimental Comparison of Formal Measures of Rhythmic Syncopation." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 1: 101-104.

Cope, D. 1987. "An Expert System for Computer-Assisted Music Composition." Computer Music Journal 11(4): 30-46.

Maxwell, H. J. 1988. "An expert system for harmonic analysis of tonal music." Proceedings of the First AAAI Workshop on AI and Music 20.

Ebcioglu, K. 1992. "An Expert System for Harmonizing Chorales in the Style of J. S. Bach." In Understanding Music with AI: Perspectives on Music Cognition. M. Balaban, K. Ebcioglu and O. Laske, eds. Cambridge: AAAI Press / MIT Press. 295-333.

Ebcioglu, K. 1988. "An Expert System for Harmonizing Four-part Chorales." Computer Music Journal 12(3): 43-51.

Ebcioglu, K. 1984. "An Expert System for Schenkerian Synthesis of Chorales in the Style of J. S. Bach." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 135-142.

Schaeffer, M. S. 1964. "An extension of tone-row techniques through electronic pitch control." Journal of the International Folk Music Council 16: 95.

Taube, H. and T. Kunze. 1997. "An HTTP Interface to Common Music." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 204-207.

Spiegel, L. 1998. "An Information Theory Based Compositional Model." Leonardo Music Journal 7. Internet: http://www.retiary.org/ ls/ writings/ info_theory_music.html

Byrd, D. 1977. "An Integrated Computer Music Software System." Computer Music Journal 1(2): 55-60.

Millen, D. 2004. "An Interactive Cellular Automata Music Application in Cocoa." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 51-54.

Scaletti, C. and R. E. Johnson. 1988. "An Interactive environment for object-oriented music composition and sound synthesis." In Conference proceedings on Object-oriented programming systems, languages and applications. New York: ACM Press. 222-233. Internet: http://doi.acm.org/ 10.1145/ 62083.62103

Lewin, D. 1983. "An Interesting Global Rule for Species Counterpoint." In Theory Only VI(8): 19-44.

Roads, C. 1978. "An Interview with Gottfried Michael Koenig." Computer Music Journal 2(3): 11-15, 29.

Roads, C. 1979. "An Interview with Harold Cohen." Computer Music Journal 3(3): 50-57.

Taube, H. 1997. "An Introduction to Common Music." Computer Music Journal 21(1): 29-34.

Endrich, A. 2000. "An Introduction to Cscore." In The Csound Book CD-ROM. R. Boulanger, ed. Cambridge: MIT Press.

Ashby, R. 1956. An Introduction to Cybernetics. London: Chapman & Hall Ltd. Internet: http://pcp.vub.ac.be/ books/ IntroCyb.pdf

Brown, A. and T. Opie. 2007. "An Introduction to Eco-Structuralism." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 9-12.

Cooke, A. 2004. "An Introduction to Rytmo." Internet: http://www.acooke.org/ jara/ rytmo/ rytmo-examples/ discussion.html

Moore, F. R. 1978. "An Introduction to the Mathematics of Digital Signal Processing: Part I: Algebra, Trigonometry, and The Most Beautiful Formula in Mathematics." Computer Music Journal 2(1): 38-47.

Moore, F. R. 1978. "An Introduction to the Mathematics of Digital Signal Processing: Part II: Sampling, Transforms, and Digital Filtering." Computer Music Journal 2(2): 38-60.

Chadabe, J. 1978. "An Introduction to the Play Program." Computer Music Journal 2(1).

Flint, E. R. 1989. An Investigation of Real Time as Evidenced by the Structural and Formal Multiplicities in Iannis Xenakis' Psappha. Dissertation, Graduate School of the University of Maryland.

Ariza, C. 2004. "An Object Oriented Model of the Xenakis Sieve for Algorithmic Pitch, Rhythm, and Parameter Generation." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 63-70. abstract

Assayag, G. and C. Agon, J. Fineberg, P. Hanappe. 1997. "An Object Oriented Visual Environment for Musical Composition." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 364-367.

Ariza, C. 2005. An Open Design for Computer-Aided Algorithmic Music Composition: athenaCL. Ph.D. Dissertation, New York University. Internet: http://www.flexatone.net/ caac.html abstract {amazon}

Das, S. 1994. An organization for high-level interactive programmatic control of computer-generated sound. Ph.D. dissertation, University of Illinois, Chicago.

Roads, C. 1984. "An Overview of Music Representations." In Musical Grammars and Computer Analysis. Firenze: Leo S. Olschki. 7-37. {amazon}

Jenkins, M. 2007. Analog Synthesizers: Understanding, Performing, Buying. Boston: Focal Press.

Reith, D. 1997. "Analyse und Interpretation in der algorithmischen Komposition." Pfau 47-56.

Baroni, M. and R. Jacoboni. 1975. "Analysis and generation of Bach's chorale melodies." In Proceedings of the 1st International Congress on the Semiotics of Music. G. Stefani, ed. Pesaro: Centro di Iniziativa Culturale.

Farbood, M. and B. Schoner. 2001. "Analysis and Synthesis of Palestrina-Style Counterpoint Using Markov Chains." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. Internet: http://www.media.mit.edu/ ~schoner/ papers/ ICMC01_PALESTRINA.pdf

Cann, R. 1979. "Analysis/synthesis tutorial." Computer Music Journal 3(3): 6-11.

Ueda, L. K. and F. Kon. 2004. "Andante: Composition and Performance with Mobile Musical Agents." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 604-611.

Wexelblat, R. L. 1973. "Another Comment on Computer Music." Communications of the ACM 16(5).

Schedel, M. 2002. "Anticipating interactivity: Henry Cowell and the Rhythmicon." Organised Sound 7(3): 247-254.

Guéret, N. and N. Monmarché, M. Sliumane. 2004. "Ants can play music." In Fourth International Workshop on Ant Colony Optimization and Swarm Intelligence (ANTS 2004), Université Libre de Bruxelles, Belgique, 5-8 September. Internet: http://www.hant.li.univ-tours.fr/ webhant/ pub/ GueMonSli04a.ants.pdf

Theberge, P. 1997. Any Sound You Can Imagine: Making Music / Consuming Technology. Hanover: Wesleyan University Press. {amazon}

Fischman, R. 2002. "Application of Mathematical Models to the Generation of Organic Musical Structure and Discourse in Composition: Research Summary." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 516-521.

Ram, V. 1995. "Applications of algorithmic composition." International Library of African Music 125-129.

McAlpine, K. 1999. Applications of Dynamical Systems to Music Composition. Ph.D. dissertation, Department of Mathematics, University of Glassgow.

DuBois, R. L. 2003. Applications of Generative String Substitution Systems in Computer Music. D.M.A. Dissertation, Columbia University. Internet: http://www.music.columbia.edu/ ~luke/ dissertation/

Ames, C. 1985. "Applications of Linked Data Structures to Automated Composition." In Proceedings of the International Computer Music Conference. International Computer Music Association. 251-258.

Parncutt, R. and H. Strasburger. 1994. "Applying psychoacoustics in composition: 'Harmonic' progressions of 'nonharmonic' sonorities." Perspectives of New Music 32(1): 1-42.

McDaniel, W. 2006. "aproximation." Internet: http://www.aproximation.org/ abstract

Wüst, O. and S. Jordà. 2001. "Architectural Overview of a System for Collaborative Music Composition over the Web." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association.

Kalay, V. E. 2004. Architecture's New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge: The MIT Press. {amazon}

Eaglestone, B. and N. Ford, P. Holdridge, J. Carter. 2007. "Are Cognitive Styles an Important Factor in the Design of Electroacoustic Music Software." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 1: 466-473.

Barbaud, P. 1970. "Ars nova." Automatisme 15: 423-428.

McCormack, J. 2003. "Art and the mirror of nature." Digital Creativity 14(1): 3-22.

Meyer, L. B. 1960. "Art by Accident." Horizon 3: 1.

Watz, M. and J. Winderen. 2005. "Art from code — Generator.x." Internet: http://www.generatorx.no/

Shostakovich, D. 1962. "Art must reflect reality!." Music Journal 20: 20.

Bringsjord, S. and D. Ferrucci. 2000. Artificial Intelligence and Literary Creativity: Inside the Mind of Brutus, a Storytelling Machine. Mahwah: Lawrence Erlbaum.

Roads, C. 1980. "Artificial Intelligence and Music." Computer Music Journal 4(2): 13-25.

Smith, B. 2000. "Artificial Intelligence and Music Education." In Readings in Music and Artificial Intelligence. E. R. Miranda, ed. Amsterdam: Harwood Academic Publishers. 221-237. {amazon}

Laske, O. 1992. "Artificial Intelligence and Music: A Cornerstone of Cognitive Musicology." In Understanding Music with AI: Perspectives on Music Cognition. M. Balaban, K. Ebcioglu and O. E. Laske, eds. Cambridge: AAAI Press / MIT Press. 3-28. {amazon}

Camurri, A. 2000. "Artificial Intelligence Architectures for Composition and Performance Environment." In Readings in Music and Artificial Intelligence. E. R. Miranda, ed. Amsterdam: Harwood Academic Publishers. 163-188. {amazon}

Holland, S. 2000. "Artificial Intelligence in Music Education: A Critical Review." In Readings in Music and Artificial Intelligence. E. R. Miranda, ed. Amsterdam: Harwood Academic Publishers. 239-274. {amazon}

Copeland, B. J. 1993. Artificial Intelligence: A Philosophical Introduction. Oxford: Blackwell. {amazon}

Horner, A. and A. Assad, N. Packard. 1993. "Artificial Music: The Evolution of Musical Strata." Leonardo 3: 81.

Leman, M. 1992. "Artificial Neural Networks in Music Research." In Computer Representation and Models in Music. A. Marsden and A. Pople, eds. Academic Press. 266-301. {amazon}

Chomsky, N. 1965. Aspects of the Theory of Syntax. Cambridge: MIT Press. {amazon}

Zemanek, H. H. 2000. "Aspekte der Informationsverarbeitung und Computeranwendung in der Musik." 59-72.

Phillips, D. 2005. "At the Sounding Edge: Introducing KeyKit." LINUX Journal. Internet: http://www.linuxjournal.com/ article/ 8153

Ariza, C. 2005. athenaCL Tutorial Manual. 2nd ed. Internet: http://www.flexatone.net/ athenaDocs abstract

Ariza, C. 2001. "athenaCL: Set Class Utility and Algorithmic Composition in Csound."

Lallouet, A. and J. Vautard. 2007. "Auralization of a Constraint Solver." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 564-571.

Barlow, C. 1990. "Autobusk: An algorithmic real-time pitch and rhythm improvisation programme." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 166-168.

Ariza, C. 2007. "Automata Bending: Applications of Dynamic Mutation and Dynamic Rules in Modular One-Dimensional Cellular Automata." Computer Music Journal 31(1): 29-49. Internet: http://www.mitpressjournals.org/ doi/ abs/ 10.1162/ comj.2007.31.1.29

Englert, G. 1981. "Automated Composition and Composed Automation." Computer Music Journal 5(4): 30-35.

Brooks, S. and B. J. Ross. 1996. "Automated Composition from Computer Models of Biological Behavior." Leonardo Music Journal 6: 27-31.

Ames, C. 1987. "Automated Composition in Retrospect: 1956-1986." Leonardo 20(2): 169-185.

Hiller, L. and C. Ames, R. Franki. 1985. "Automated Composition: An Installation at the 1985 International Exposition in Tsukuba, Japan." Perspectives of New Music 23(2): 196-215.

Roads, C. 1978. "Automated Granular Synthesis of Sound." Computer Music Journal 2(2): 61-62.

Winsor, P. 1989. Automated Music Composition. Denton: University of North Texas. {amazon}

de la Puente, A. O. and R. S. Alfonso, M. A. Moreno. 2002. "Automatic composition of music by means of grammatical evolution." In Proceedings of the 2002 conference on APL: array processing languages: lore, problems, and applications. New York: ACM Press. Internet: http://doi.acm.org/ 10.1145/ 602231.602249

Bolognese, T. 1983. "Automatic Composition: Experiments with Self-similar Music." Computer Music Journal 7(1): 25-36.

Bolognesi, T. 1983. "Automatic Composition: Experiments with Self-Similar Music." Computer Music Journal 7(1): 25-36.

Schottstaedt, W. 1989. "Automatic Counterpoint." In Current Directions in Computer Music Research. M. V. Mathews and J. R. Pierce, eds. Cambridge: MIT Press. 199-214. {amazon}

Hamanaka, M. and K. Hirata, S. Tojo. 2005. "Automatic Generation of Metrical Structure Based on GTM." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 53-56.

Barrett, G. D. and M. Winter, H. Wulfson. 2007. "Automatic Notation Generators." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 1: 25-30.

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Niitsuma, M. and H. Saito. 2007. "Automatic Thorough-Bass Realization in Baroque Music." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 2: 425-428.

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Ayers, L. M. 1996. "Ayers, Lydia Merapi: A composition for gamelan and computer-generated tape." Leonardo Music Journal 29(6): 7-14.

Maurer, J. A. 1998. "A Bartók Engine/Kaleidoscore: An Automated Composition Project." Internet: http://ccrma-www.stanford.edu/ ~blackrse/ bartok.html

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Cope, D. 2000. "A Brief History." Internet: http://arts.ucsc.edu/ faculty/ cope/ history.html

Maurer, J. A. 1999. "A Brief History of Algorithmic Composition." Internet: http://ccrma-www.stanford.edu/ ~blackrse/ algorithm.html

Doornbusch, P. 2002. "A Brief Survey of Mapping in Algorithmic Compositions." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 205-210.

Ames, C. 1992. "A Catalog of Sequence Generators: Accounting for Proximity, Pattern, Exclusion, Balance and/or Randomness." Leonardo Music Journal 2(1): 55-72.

Ames, C. 1991. "A Catalog of Statistical Distributions: Techniques for Transforming Random, Determinate and Chaotic Sequences." Leonardo Music Journal 1(1): 55-70.

McAlpine, K. B. and E. R. Miranda, S. G. Hoggar. 1997. "A cellular automata-based music algorithm: A research report." Sociedade Brasileira de Computacao 7-18.

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Buxton, W. 1977. "A Composer's Introduction to Computer Music." Interface 6(2).

Battier, M. 1979. "A Composing Program for a Portable Sound Synthesis System." Computer Music Journal 3(3): 50-53.

Duthen, J. and M. Laurson. 1990. "A Compositional Environment based on PreFORM II, PatchWork, and Esquisse." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 228-230.

Jones, D. E. 2000. "A Computational Composer's Assistant for Atonal Counterpoint." Computer Music Journal 24(4): 33-43.

Harry, H. and R. Scha. 1996. "A Computational Perspective on Twenty-First Century Music." Contemporary Music Review 15(3-4): 151-157.

Smoliar, S. 1980. "A Computer Aide for Schenkerian Analysis." Computer Music Journal 4(2): 41-59.

Maia, Adolfo, Jr. and R. Do Valle, J. Manzolli, L. N. Pereira. 1999. "A computer environment for polymodal music." Organised Sound 4(2): 111-114.

Cope, D. 1993. "A Computer Model of Music Composition." MIT Press 403-425.

Schottstaedt, W. 1989. "A Computer Music Language." In Current Directions in Computer Music Research. M. V. Mathews and J. R. Pierce, eds. Cambridge: MIT Press. 215-224. {amazon}

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