With the ongoing development of algorithmic composition programs and communities of practice expanding, algorithmic music faces a turning point. Joining dozens of emerging and established scholars alongside leading practitioners in the field, chapters in this Handbook both describe the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music. Organized into four sections, chapters explore the music's history, utility, community, politics, and potential for mass consumption. Contributors address such issues as the role of algorithms as co-performers, live coding practices, and discussions of the algorithmic culture as it currently exists and what it can potentially contribute society, education, and ecommerce. Chapters engage particularly with post-human perspectives - what new musics are now being found through algorithmic means which humans could not otherwise have made - and, in reciprocation, how algorithmic music is being assimilated back into human culture and what meanings it subsequently takes. Blending technical, artistic, cultural, and scientific viewpoints, this Handbook positions algorithmic music making as an essentially human activity.
Table of Contents
ContentsSection 1: Grounding algorithmic music1. Musical Algorithms as Tools, Languages and Partners: A PerspectiveAlex McLean, Roger T. Dean2. Algorithmic Music and the Philosophy of TimeJulian Rohrhuber3. Action and Perception: Embodying Algorithms and the Extended MindPalle Dahlstedt4. Origins of Algorithmic Thinking in MusicNick Collins5. Algorithmic Thinking and Central Javanese GamelanCharles MatthewsPerspectives on Practice A6. Thoughts on Composing with AlgorithmsLaurie Spiegel7. Mexico and India: Diversifying and Expanding the Live Coding CommunityAlexandra Cardenas8. Deautomatization of Breakfast PerceptionsRenate Wieser9. Why Do We Want Our Computers to Improvise?George LewisSection 2: What can algorithms in music do?10. Compositions Created with Constraint ProgrammingTorsten Anders11. Linking Sonic Aesthetics With Mathematical TheoriesAndy Milne12. Machine Learning and Listening in Composition and PerformanceRebecca Fiebrink and Baptiste Caramiaux13. Biologically-Inspired and Agent-Based Algorithms for MusicAlice Eldridge and Oliver Bown14. Performing with Patterns of TimeThor Magnusson, University of Sussex, Alex McLean, FoAM Kernow15. Computational Creativity and Live AlgorithmsGeraint Wiggins and Jamie Forth16. Tensions and Techniques in Live Coding PerformanceCharlie Roberts and Graham WakefieldPerspectives on Practice B17. When Algorithms Meet MachinesSarah Angliss18. Notes on Pattern SynthesisMark Fell19. Performing algorithmsKristin EricksonSection 3: Purposes of algorithms for the music maker20. Network music and the algorithmic ensembleDavid Ogborn21. Sonification != musicCarla Scaletti22. Color is the Keyboard: Transcoding from Visual to SonicMargaret Schedel23. Designing Interfaces for Musical AlgorithmsJamie Bullock, Integra Lab, Birmingham Conservatoire24. Ecooperatic Music Game TheoryDavid Kanaga25. Algorithmic SpatialisationJan C SchacherPerspectives on Practice C26. Form, Chaos and the Nuance of BeautyMileece I'Anson27. Beyond MeKaffe Matthews28. Mathematical Theory in Music PracticeJan Beran29. Thoughts on Algorithmic PracticeWarren BurtSection 4: Algorithmic Culture30. The Audience Reception of Algorithmic MusicMary Simoni31. Technology, Creativity and The Social in Algorithmic MusicChristopher Haworth32. Algorithms and Computation in Music EducationAndrew Brown33. (Micro) Politics of Algorithmic Music: Towards a Tactical Media ArchaeologyGeoff Cox and Morten Riis34. Algorithmic Music for Mass Consumption and Universal ProductionYuli LevtovPerspectives on Practice D35. Algorithmic TrajectoriesAlex McLean and Roger Dean