Computer Music Journal

Papers
(The TQCC of Computer Music Journal is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2020-04-01 to 2024-04-01.)
ArticleCitations
Enabling Programmatic Data Mining as Musicking: The Fluid Corpus Manipulation Toolkit3
Complex Adaptation in Audio Feedback Networks for the Synthesis of Music and Sounds3
Perceptual Recognition of Sound Trajectories in Space2
Time-Domain Adaptive Algorithms for Low- and High-Level Audio Information Processing2
Borrowed Gestures: The Body as an Extension of the Musical Instrument2
A Physically Inspired Implementation of Xenakis's Stochastic Synthesis: Diffusion Dynamic Stochastic Synthesis1
A Framework for Modifying Orchestral Qualities in Computer-Aided Orchestration1
From Fiction to Function: Imagining New Instruments through Design Workshops1
Dynamic Computer-Aided Orchestration in Practice with Orchidea1
The Studio PANaroma and Electroacoustic Music in Brazil1
Electronic Music and Generative Remixing: Improving L-Systems Aesthetics and Algorithms1
Communication for Real-Time Music Systems: An Overview of O21
Automatic Detection of Cue Points for the Emulation of DJ Mixing0
About This Issue0
Narrative, Activism, and Aesthetics: Composing Electroacoustic Music for Mexicans0
Ingrid Laubrock: Dreamt Twice, Twice Dreamt0
Announcements0
Embodying Spatial Sound Synthesis with AI in Two Compositions for Instruments and 3-D Electronics0
Products of Interest0
Sound Anthology: Content0
Matthew Burtner: Soundscapes of Restoration: Music, Sonifications & Field Recordings0
About This Issue0
Products of Interest0
News0
James Dashow: Soundings in Pure Duration, Volume 20
Announcements0
Sound Anthology: Program Notes0
Part of Computer Music History… (Trust Me, Latin America Has Always Been There!)0
News0
Fundamental Sound: A Conversation with Hubert Howe0
Mapping Out the Origins of Electroacoustic Music Studios in Brazil0
James Dashow: Archimedes—A Planetarium Opera0
Linear and Nonlinear Digital Filters: From the Analog and Beyond0
Products of Interest0
Announcements0
You Nakai: Reminded by the Instruments0
Products of Interest0
News0
An Analytical Approach to the Scenic Realization of Electroacoustic Music: The Theatricality of Lumínico0
Contemporary Noise Ensemble: An Excellent Spiritual Serviceman0
Leo Magnien: Clarières0
Complementary Roles of Note-Oriented and Mixing-Oriented Software in Student Learning of Computer Science Plus Music0
Listening to the Anthropocene: A Queda do Céu0
Architecture for Real-Time Granular Synthesis With Per-Grain Processing: EmissionControl20
About This Issue0
Tool or Actor? Expert Improvisers' Evaluation of a Musical AI “Toddler”0
News0
Editors' Notes0
Announcements0
Cocreative Interaction: Somax2 and the REACH Project0
Products of Interest0
Real-Time Symbolic Transcription and Interactive Transformation Using a Hexaphonic Nylon-String Guitar0
About This Issue0
Announcements0
News0
About This Issue0
Live Coding Machine Learning: Finding the Moments of Intervention in Autonomous Processes0
Barry Schrader: Lost Analog0
Agostino Di Scipio and Dario Sanfilippo: Machine Milieu0
An Electronic Bandoneon with a Dynamic Sound Synthesis System Based on Measured Acoustic Parameters0
News0
Cube Fest 20220
Immersive Spatial Interactivity in Sonic Arts: The Acoustic Localization Positioning System0
The Paradox of Creating a Cocreator0
SONDA Festival 20220
Products of Interest0
Composing the Assemblage: Probing Aesthetic and Technical Dimensions of Artistic Creation with Machine Learning0
Celebrating Electronics: Music by John Bischoff (Concert) and John Bischoff: Bitplicity (Album)0
About This Issue0
Embrace the Weirdness: Negotiating Values Inscribed into Music Technology0
Paisaje Sonoro Social: Socially Engaged Soundscapes in Mexico0
Mauri Edo: The Present Time0
Computer-Aided Composition Using a Sound-Based Notation0
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