Index   Sounds
D. Keller - touch'n'go: Ecological Models in Composition


Ballas, J.A. (1993). Common factors in the identification of an assortment of brief everyday sounds. Journal of Experimental Psychology: Human Perception and Performance, 19(2), 250-267.

Bartetzki, A. (1997). CMask. Software package. Berlin: STEAM.

Berg, P. (1998). Algorithmic Composer Toolbox. Software package. The Hague.

Boon, J.P., Noullez, A., & Mommen, C. (1990). Complex dynamics and musical structure. Interface, 19, 3-14.

Bosch, P.P.J., & Klaw, A.C. (1994). Modeling, Identification, and Simulation of Dynamical Systems. Boca Ratón, FL: CRC.

Bregman, A.S. (1990). Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge, MA: MIT Press.

Bregman, A.S. (1993). Auditory scene analysis: hearing in complex environments, Thinking in Sound: the Cognitive Psychology of Human Audition, S. McAdams & E. Bigand (Eds.). Oxford: Oxford University Press, 10-36.

Cavaliere, S., & Piccialli, A. (1997). Granular synthesis of musical signals, Musical Signal Processing, C. Roads, S.T. Pope, A. Piccialli, & G. De Poli (Eds.). Lisse: Swets & Zeitlinger, 155-186.

Chafe, C. (1989). Simulating performance on a bowed instrument, Current Directions in Computer Music Research, M.V. Mathews & J.R. Pierce (Eds.). Cambridge, MA: MIT Press.

Clarke, J.M. (1996). Composing at the intersection of time and frequency. Organised Sound, 1(2), 107-117.

Cook, P.R. (1997). Physically informed sonic modeling (PhISM): synthesis of percussive sounds. Computer Music Journal, 21(3), 38-49.

Damper, R.I. (1995). Introduction to Discrete-Time Signals and Systems. London: Chapman & Hall.

Darvishi, A., Munteanu, E., Guggiana, V., Schauer, H., Montavalli, M., & Rauterberg., M. (1995). Designing environmental sounds based on the results of interaction between objects in the real world, Human-Computer Interaction: Interact 1995, N. Knut, P. Helmersen, D.J. Gilmore, S.A. Arnesen (Eds.). London: Chapman & Hall, 38-42.

Darwin, C.J. (1990). Environmental influences on speech perception, Advances in Speech, Hearing and Language Processing, Vol. 1, W.A. Ainsworth (Ed.). London: JAI Press, 219-241.

De Poli, G., & Piccialli, A. (1991). Pitch-synchronous granular synthesis, Representations of Musical Signals, G. De Poli, A. Piccialli, & C. Roads (Eds.). Cambridge, MA: MIT Press.

Di Scipio, A. (1994). Micro-time sonic design and timbre formation. Contemporary Music Review, 10(2), 135-148.

Ellis, D.P.W. (1996). Prediction-driven computational auditory scene analysis, PhD. Thesis in Electrical Engineering. Cambridge, MA: MIT Media Lab.

Fletcher, N.H. (1992). Acoustic Systems in Biology. New York, NY: Oxford University Press.

Gaver, W.W. (1993). Synthesizing auditory icons, Proceedings of the INTERCHI 1993. New York, NY: ACM, 24-29.

Georgescu, C., & Georgescu, M. (1990). A system approach to music. Interface, 19, 15-52.

Gibson, J.J. (1966). The Senses Considered as Perceptual Systems. Boston, MA: Houghton Mifflin.

Gilkey, R.H., & Anderson, T.R. (Eds.) (1997). Binaural and Spacial Hearing in Real and Virtual Environments. Mahwah, NJ: Erlbaum.

Grantham, D.W. (1995). Spatial hearing and related phenomena, Hearing, B.J.C. Moore (Ed.). San Diego, CA: Academic Press, 297-345.

Handel, S. (1995). Timbre perception and auditory object identification, Hearing, B.C.J. Moore (Ed.). New York, NY: Academic Press.

Iverson, P., & Krumhansl, C.L. (1991). Measuring similarity of musical timbres. Journal of the Acoustical Society of America, 89(2), 1988.

Jones, M.R. (1976). Time, our lost dimension: toward a new theory of perception, attention, and memory. Psychological Review, 83, 323-355.

Kampis, G. (1991). Self-Modifying Systems in Biology and Cognitive Science. Oxford: Pergamon Press.

Karplus, K., & Strong, A. (1983). Digital synthesis of plucked-string and drum timbres. Computer Music Journal, 7(2), 43-55.

Keller, D. (1998a). The social domain. Unpublished paper. Burnaby, BC: Simon Fraser University.

Keller, D. (1998b). The perceptual domain. Unpublished paper. Burnaby, BC: Simon Fraser University.

Keller, D. (1998c). The acoustic domain. Unpublished paper. Burnaby, BC: Simon Fraser University.

Keller, D. (1999). touch'n'go / toco y me voy. Enhanced Compact Disc. Burnaby, BC: earsay productions.

Keller, D., & Silva, C. (1995). Theoretical outline of a hybrid musical system, Proceedings of the II Brazilian Symposium on Computer Music. Canela, RS: SBC.

Keller, D., & Truax, B. (1998). Ecologically-based granular synthesis, Proceedings of the International Computer Music Conference. Ann Arbor, MI: ICMA.

Kelso, J.A.S. (1995). Dynamic Patterns: The Self-Organization of Brain and Behavior. Cambridge, MA: MIT Press.

Krumhansl, C.L. (1990). Cognitive Foundations of Musical Pitch. New York: Oxford University Press.

Lass, N.J., Eastham, S.K., Parrish, W.C., Scherbick, K.A., & Ralph, D.M. (1982). Listeners’ identification of environmental sounds. Perceptual and Motor Skills, 55, 75-78.

Lynn, P.A., & Fuerst, W. (1994). Digital Signal Processing with Computer Applications. Chichester: John Wiley.

Massaro, D.W., & Cowan, N. (1993). Information processing models: microscopes of the mind. Annual Review of Psychology, 44, 383-425.

McAdams, S. (1987). Music: a science of the mind? Contemporary Music Review, 2, 1-61.

McAdams, S. (1993). Recognition of sound sources and events, Thinking in Sound, S. McAdams and E. Bigand (Eds.). Oxford: Oxford University Press.

McAulay, R.J., & Quartieri, T.F. (1986). Speech analysis/synthesis based on a sinusoidal representation. IEEE Transactions on Acoustics, Speech, and Signal Processing, 34(4), 744-754.

Michaels, C.F., & Carello, C. (1981). Direct Perception. Englewood Cliffs, NJ: Prentice-Hall.

Moore, R.F. (1990). Elements of Computer Music. Englewood Cliffs, NJ: Prentice-Hall.

Orphanidis, S.J. (1996). Introduction to Signal Processing. Englewood Cliffs, NJ: Prentice-Hall.

Parncutt, R. (1989). Harmony: a Psychoacoustic Approach. Berlin: Springer-Verlag.

Risset, J.C., & Wessel, D.L. (1982). Exploration of timbre by analysis and synthesis, The Psychology of Music, D. Deustch (Ed.). Orlando, FL: Academic Press, 26-58.

Roads, C. (1996). The Computer Music Tutorial. Cambridge, MA: MIT Press.

Roads, C. (1997). Sound transformation by convolution, Musical Signal Processing, C. Roads, S.T. Pope, A. Piccialli, & G. De Poli (Eds.). Lisse: Swets & Zeitlinger, 411-438.

Rodet, X. (1984). Time-domain formant wave-function synthesis. Computer Music Journal, 8(3), 9-14.

Schafer, R.M. (1977). The Tuning of the World. New York: Knopf.

Schumacher, R.T., & Woodhouse, J. (1995). The transient behaviour of models of bowed-string motion. Chaos, 5(3), 509-523.

Shaw, R.E., Turvey, M.T., & Mace, W.M. (1981). Ecological psychology: The consequence of a commitment to realism, Cognition and the Symbolic Processes, W. Weimer & D. Palermo (Eds.). Hillsdale, NJ: Erlbaum. Vol. 2, 159-226.

Shepherd, J. (1992). Musical as cultural text, Companion to Contemporary Musical Thought, Vol.1, J. Paynter, T. Howell, R. Orton, & P. Seymour (Eds.). New York, NY: Routledge, 128-155.

Smalley, D. (1993). Defining transformations. Interface, 22, 279-300.

Smith, J.O. (1991). Viewpoints on the history of digital synthesis, Proceedings of the International Computer Conference. San Francisco: ICMA, 1-10.

Smith, J.O. (1992). Physical modeling using digital waveguides. Computer Music Journal, 16(4), 74-87.

Smith, J.O. (1997). Acoustic modeling using digital waveguides, Musical Signal Processing, C.Roads, S.T. Pope, A. Piccialli, & G. De Poli (Eds.). Lisse: Swets & Zeitlinger, 221-263.

Tróccoli, B.T., & Keller, D. (1996). The function of familiarity in timbre recognition. Technical Report (in portuguese). Brasilia, DF: FAP-DF.

Truax, B. (1988). Real-time granular synthesis with a digital signal processor. Computer Music Journal, 12(2), 14-26.

Truax, B. (1990). Chaotic non-linear systems and digital synthesis: an exploratory study. Proceedings of the International Computer Conference. San Francisco: ICMA, 100-103.

Truax, B. (1992). Electroacoustic music and soundscape: the inner and outer world, Companion to Contemporary Musical Thought, Vol. 1, J. Paynter, T. Howell, R. Orton, & P. Seymour (Eds.). London: Routledge, 374-398.

Truax, B. (1994). Discovering inner complexity: time shifting and transposition with a real-time granulation technique. Computer Music Journal, 18(2), 38-48.

Truax, B. (1996). Soundscape, acoustic communication and environmental sound composition. Contemporary Music Review, 15(1), 47-63.

Varela, F.J., Thompson, E., & Rosch, E. (1991). The Embodied Mind: Cognitive Science and Human Experience. Cambridge, MA: MIT Press.

Vercoe, B. (1993). Csound. Software package. Cambridge, MA: MIT Media Lab.

Warren, W.H., Kim, E.E., & Husney, R. (1987). The way the ball bounces: visual and auditory perception of elasticity and control of the bounce pass. Perception, 16, 309-336.

Warren, W.H., & Verbrugge, R.R. (1984). Auditory perception of breaking and bouncing events: a case study in ecological acoustics. Journal of Experimental Psychology: Human Perception and Performance, 10, 704-712.

Westerkamp, H. (1996). Transformations. Compact Disc. Montreal: Empreites Digitales.

Wishart, T. (1996). On Sonic Art. Amsterdam: Harwood Academic Publishers.

Xenakis, I. (1971). Formalized Music. Bloomington, IN: Indiana University Press.

Young, J. (1996). Imagining the source: The interplay of realism and abstraction in electroacoustic music. Contemporary Music Review, 15(1), 73-93.

Literary References

Borges, J.L. (1962). El jardín de los senderos que se bifurcan (The garden of forking paths), Ficciones. Grove Press. Translated by Helen Temple & Ruthven Todd.

Cortázar, J. (1966). Razones de la cólera, La vuelta al día en ochenta mundos. México: Siglo Veintiuno. (Fifth edition, p. 198).

Hernández, J. (1968). Martín Fierro. Buenos Aires: Centro Editor de América Latina. (First edition published in 1872). Translated by Ivan Roksandic.

Yupanqui, A. (1980). El payador perseguido. Compact Disc. Buenos Aires.