Non-Programming+Audio+Software


 * Books and Articles**

Wolvington, J. W. (1987) “[|Digital Audio Post-Production: Sound Editing Transformed].” //Motion Imaging Journal//, 96(1): 34-36. Society of Motion Picture & Television Engineers.

Chaudhary, A., Freed, A. and Wright, M. (1999) “[|An open architecture for real-time audio processing software].” Audio Engineering Society 1999 Convention.

Savage, J. and Challis, M. (2002) “A digital arts curriculum? Practical ways forward.” //Music Education and Research//, 4(1): 7-23. Taylor & Francis.

Devaney, J. (2003) “[|Reasonable Influences: The Advantages and Obstacles encountered with Commercial Software Packages used in Introductory Undergraduate Electronic Music Courses].” In //Proceedings of the ICMC// (Singapore).

Duignan, M., Noble, J., Barr, P. and Biddle, R. (2004) “[|Metaphors for electronic music production in Reason and Live].” //Lecture Notes in Computer Science// [Computer Human Interaction], 3101: 111-120. Springer.

Eyers, D. (2004) “‘[|Ambiguous Live’ – Exploring Collaborative, Dynamic Control of MIDI Sequencers].” //Lecture Notes in Computer Science// [Computer Music Modeling and Retrieval], 2771: 54-63. Springer.

Pejrolo, A. (2005) //[|Creative Sequencing Techniques for Music Production: a Practical Guide for Logic, Digital Performer, Cubase and Pro Tools]//. Oxford: Focal Press.

Smith, J. (2005) “[|Review: Andrea Pejrolo, Creative Sequencing Techniques for Music Production: a Practical Guide for Logic, Digital Performer, Cubase and Pro Tools].” Organised Sound, 10(3): 275-276.

Doloswala, K. N. (2006) “[|Creativity and access in electronic music: cracked and pirated software instruments].” DRUID Summer Conference 2006 (Copenhagen, Denmark).

Noack, H. (2006) “[|Linux and music out of the box].” In //Proceedings of the Linux Audio Conference// (LAC2006).

Burns, C. and Surges, G. (2008) “[|NRCI: Software Tools for Laptop Ensemble].” In //Proceedings of the ICMC// (SARC, Belfast, N. Ireland).

Phillips, D. (2008) “[|State of the art: Linux audio 2008].” //Linux Journal//, 2008(173). Houston, TX : Belltown Media.

Väkevä, L. (2010) “[|Garage Band or GarageBand®? Remixing musical features].” //British Journal of Music Education// [Special Issue – Informal Learning in Music Education], 27(1): 59-70. Cambridge, UK: Cambridge University Press.

Väisänen, J. and Jauhiainen, J. (2010) “[|Seq1: an aleatoric music sequencer for the realtime creation of soundscape]s.” In //Proceedings of the 14th International Academic MindTrek Conference: Envisioning Future Media Environments// (MindTrek ’10), p. 127-129.

Lenberg, H. (2011) “[|Music Software for the Masses: How to reach new target groups through user-centered design].” Master of Science Thesis, KTH Computer Science and Communication, Stockholm, Sweden.

Hudson, A. J. (2012) “ [|Complication with Optimistic Outcome: Pro Tools, Digital Audio, and the Evolution of Musical Technologies].” //The Science in Society Review//, Vol. 8. Arizona State University: The Triple Helix.

Martin, A., Jin, C. T., Carey, B., Bown, O. (2012) “[|Creative Experiments Using a System for Learning High-Level Performance Structure in Ableton Live].” In //Proceedings of the Ninth Sound and Music Computing Conference// (SMC 2012), Copenhagen, Denmark.


 * Of Possible Interest**

Bolton, J. (2006) “[|Web-based Composition: Removing barriers to increase composition opportunities in upper primary classrooms].” In //Proceedings of the 27th World Conference of the International Society for Music Education// (Kuala Lumpur, Malaysia).

Antin, J., Perkel, D. and Sims, C. (2008) “[|Unexpected collaborations: Kids’ Appropriation of GarageBand as a Group Creative Tool].” UCM iSchool Report #2008-027. University of California Berkeley.