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1 | (6) |
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6 | (1) |
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Historical Development of Algorithmic Procedures |
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7 | (60) |
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7 | (2) |
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Development of Symbol, Writing System and Numeral System |
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9 | (4) |
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Much Ado About Nothing - The Development of the Zero |
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13 | (2) |
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The Formalization of Thinking Processes |
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15 | (2) |
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A Truth Machine from the 13th Century |
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17 | (4) |
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Early Approaches to Algorithmic Composition |
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21 | (5) |
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A Utopia of an All-Embracing Representation of Knowledge |
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26 | (2) |
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28 | (5) |
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A New Numeral System for Automated Calculations |
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33 | (1) |
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Replacing the Mechanistic Determinism |
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34 | (2) |
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Language and Music Generators - A Book of Books |
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36 | (3) |
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From the Loom to the ``Analytical Engine'' |
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39 | (5) |
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The Implementation of Logical Operations |
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44 | (1) |
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On Formally Undecidable Propositions |
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45 | (3) |
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From Census Collector to Chess World Champion |
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48 | (10) |
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Automata and Computability |
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58 | (3) |
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The Model of a Universal Computer |
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61 | (1) |
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62 | (1) |
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The Computer in Algorithmic Composition |
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63 | (4) |
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65 | (2) |
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67 | (16) |
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68 | (1) |
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69 | (2) |
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Markov Models in Algorithmic Composition |
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71 | (6) |
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75 | (2) |
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Hidden Markov Models in Algorithmic Composition |
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77 | (4) |
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78 | (2) |
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80 | (1) |
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81 | (2) |
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82 | (1) |
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83 | (38) |
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Generative Grammars as a Model of the Theory of Syntax |
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84 | (7) |
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87 | (3) |
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Grammatical Transformation |
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90 | (1) |
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Generative Grammars in Algorithmic Composition |
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91 | (26) |
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Musical Analysis by Generative Models |
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93 | (3) |
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Folk Music and European Art Music |
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96 | (3) |
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99 | (2) |
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101 | (5) |
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106 | (6) |
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112 | (5) |
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117 | (4) |
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118 | (3) |
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121 | (10) |
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Experiments in Musical Intelligence |
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122 | (5) |
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127 | (2) |
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Petri Nets in Algorithmic Composition |
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128 | (1) |
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129 | (2) |
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130 | (1) |
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Chaos and Self-Similarity |
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131 | (26) |
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131 | (3) |
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134 | (1) |
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135 | (2) |
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137 | (7) |
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Forms of Lindenmayer Systems |
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139 | (5) |
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Chaos and Self-Similarity in Algorithmic Composition |
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144 | (4) |
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144 | (2) |
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146 | (2) |
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Lindenmayer Systems in Algorithmic Composition |
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148 | (5) |
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Mapping Strategies of Different Lindenmayer Systems |
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149 | (4) |
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153 | (4) |
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155 | (2) |
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157 | (30) |
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157 | (1) |
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Genetic Algorithms as Stochastic Search Techniques |
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158 | (3) |
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161 | (3) |
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Genetic Algorithms in Algorithmic Composition |
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164 | (18) |
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Analogies to the Process of Composition |
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165 | (2) |
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Varieties of Genetic Operations and Fitness Ratings |
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167 | (3) |
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Limits of Genetic Algorithms - A Comparison |
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170 | (3) |
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173 | (1) |
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Applications of Genetic Programming |
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174 | (2) |
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176 | (4) |
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180 | (2) |
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182 | (5) |
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184 | (3) |
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187 | (18) |
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Historical Framework and Theoretical Basics |
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187 | (2) |
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Types of Cellular Automata |
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189 | (6) |
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1-Dimensional Cellular Automata |
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189 | (2) |
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2-Dimensional Cellular Automata |
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191 | (2) |
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3-Dimensional Cellular Automata |
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193 | (1) |
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Extended Types of Cellular Automata |
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194 | (1) |
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Cellular Automata in Algorithmic Composition |
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195 | (6) |
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200 | (1) |
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Comparison of Cellular Automata |
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200 | (1) |
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201 | (4) |
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203 | (2) |
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Artificial Neural Networks |
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205 | (20) |
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206 | (1) |
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Historical Development of Neural Networks |
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207 | (1) |
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The Architecture of Neural Networks |
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208 | (5) |
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209 | (2) |
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The Back-Propagation Net as an Extension of the Perceptron |
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211 | (1) |
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Recurrent Neural Networks |
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211 | (1) |
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212 | (1) |
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212 | (1) |
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The Adaptive Resonance Theory |
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212 | (1) |
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Artificial Neural Networks in Algorithmic Composition |
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213 | (8) |
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Strategies of Musical Representation |
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214 | (5) |
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Boltzmann Machines and LSTMs |
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219 | (2) |
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221 | (4) |
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222 | (3) |
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225 | (34) |
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Algorithmic Composition in AI |
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228 | (26) |
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231 | (2) |
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Context-Dependent Variants of Knowledge Representation |
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233 | (2) |
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235 | (1) |
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Production Systems and Rule-Based Systems |
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236 | (8) |
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244 | (8) |
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252 | (2) |
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254 | (5) |
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255 | (4) |
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259 | (16) |
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Algorithmic composition as a genuine method of composition |
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259 | (3) |
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The dominance of style imitation in algorithmic composition |
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262 | (2) |
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Origins and characteristics of the treated procedures |
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264 | (2) |
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Strategies of encoding, representation and musical mapping |
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266 | (3) |
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The evaluation of generated material |
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269 | (1) |
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Limits of algorithmic composition |
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270 | (2) |
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Transpersonalization and systems of ``universal'' validity |
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272 | (1) |
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272 | (3) |
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273 | (2) |
Index |
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275 | |