Computer Music Journal, Volume 36

Volume 36, Number 1, Spring 2012

• Elizabeth Anderson:
  An Interview with Annette Vande Gorne, Part One. 10-22
  

• Michael Gurevich, Adnan Marquez-Borbon, Paul Stapleton:
  Playing with Constraints: Stylistic Variation with a Simple Electronic Instrument. 23-41
  

• Anthony Prechtl, Andrew J. Milne, Simon Holland, Robin C. Laney, David B. Sharp:
  A MIDI Sequencer That Widens Access to the Compositional Possibilities of Novel Tunings. 42-54
  
• Ryan Nikolaidis, Bruce Walker, Gil Weinberg:
  Generative Musical Tension Modeling and Its Application to Dynamic Sonification. 55-64
  

• Bob Gluck:
  Nurturing Young Composers: Morton Subotnick's Late-1960s Studio in New York City. 65-80
  
• Elainie Lillios:
  Larry Austin at Eighty: A Fifty-Year Retrospective, Part I. 81-82
  
• Michael Gogins:
  Dmitri Tymoczko: A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. 83-85
  
• Ross Feller:
  Christopher Bailey: Immolation Ritual. 86-87
  

Volume 36, Number 2, Summer 2012

• Elizabeth Anderson:
  An Interview with Annette Vande Gorne, Part 2. 10-22
  

• Markus Zaunschirm, Joshua D. Reiss, Anssi Klapuri:
  A Sub-Band Approach to Modification of Musical Transients. 23-36
  
• Michael Terrell, Mark Sandler:
  An Offline, Automatic Mixing Method for Live Music, Incorporating Multiple Sources, Loudspeakers, and Room Effects. 37-54
  

• Adriana Olmos, Nicolas Bouillot, Trevor Knight, Nordhal Mabire, Josh Redel, Jeremy R. Cooperstock:
  A High-Fidelity Orchestra Simulator for Individual Musicians' Practice. 55-73
  

• Cordelia V. Hall, John T. O'Donnell:
  Regular Expressions as Violin Bowing Patterns. 74-84
  
• Jeffrey Treviño, Drew Allen:
  The Audio Programming Book, Edited by Richard Boulanger and Victor Lazzarini. 85-89
  
• Jeff Kowalkowski:
  Bob Ostertag: Creative Life: Music, Politics, People, and Machines. 89-90
  
• Christopher Riggs:
  Reed Evan Rosenberg: At the End of an Endless Stream. 90-91
  

Volume 36, Number 3, Fall 2012

• Nick Collins:
  Automatic Composition of Electroacoustic Art Music Utilizing Machine Listening. 8-23
  

• Grégoire Carpentier, Eric Daubresse, Marc Garcia Vitoria, Kenji Sakai, Fernando Villanueva:
  Automatic Orchestration in Practice. 24-42
  
• Baris Bozkurt:
  A System for Tuning Instruments Using Recorded Music Instead of Theory-Based Frequency Presets. 43-56
  

• Akira Maezawa, Katsutoshi Itoyama, Kazunori Komatani, Tetsuya Ogata, Hiroshi G. Okuno:
  Automated Violin Fingering Transcription Through Analysis of an Audio Recording. 57-72
  
• Lorenzo J. Tardón, Simone Sammartino, Isabel Barbancho, Ana M. Barbancho:
  A Multidimensional Environment for the Exploration of Musical Content. 73-83
  
• Barry Schrader:
  Elainie Lillios: Entre Espaces. 84-87
  
• Ross Feller:
  David A. Jaffe: Wildlife. 87-89
  
• Ross Feller:
  Erdem Helvacioglu: Resonating Universes. 89-91
  

Volume 36, Number 4, Winter 2012

• Andrew P. McPherson, Youngmoo E. Kim:
  The Problem of the Second Performer: Building a Community Around an Augmented Piano. 10-27
  
• Alexander Refsum Jensenius, Victoria Johnson:
  Performing the Electric Violin in a Sonic Space. 28-39
  

• Elizabeth Hoffman:
  "I"-Tunes: Multiple Subjectivities and Narrative Method in Computer Music. 40-58
  

• Guillaume Boutard, Catherine Guastavino:
  Following Gesture Following: Grounding the Documentation of a Multi-Agent Music Creation Process. 59-80
  

• Emmanouil Benetos, Simon Dixon:
  A Shift-Invariant Latent Variable Model for Automatic Music Transcription. 81-94
  
• Cory Kasprzyk:
  SEAMUS 2012: The National Conference of the Society for Electro-Acoustic Music in the United States. 95
  
• James Harley:
  Alessandro Cipriani and Maurizio Giri: Electronic Music and Sound Design: Theory and Practice with Max/MSP, Vol. 1. 96-98
  
• Ross Feller:
  Hubert Howe: Clusters. 99-100
  

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