Bibliography

• Anderson, Robert, Arturo Chamorro, Ellen Hickmann, Anne Kilmer, Gerhard Kubik, Thomas Turino, Vincent Megaw, and Alan R. Thrasher. “Archaeology of Instruments.” Grove Music Online, 2020. https://doi.org/10.1093/gmo/9781561592630.article.L2293842.
• Avdeeff, Melissa. “Artificial Intelligence & Popular Music: SKYGGE, Flow Machines, and the Audio Uncanny Valley.” Arts 8, no. 4 (2019): 130. https://doi.org/10.3390/arts8040130.
• Barbera, André. “Pythagoras.” Grove Music Online, 2001. https://doi.org/10.1093/gmo/9781561592630.article.22603.
• Birtchnell, Thomas. “Listening without Ears: Artificial Intelligence in Audio Mastering.” Big Data & Society 5, no. 2 (July 1, 2018): 1–16. https://doi.org/10.1177/2053951718808553.
• Bojarinov, Denis. “Dmitry Evgrafov: ‘Iz sta melodij, kotorye mne sdelala nejronnaja set’, ja polovinu vykinul.” Colta.ru, August 5, 2020. https://www.colta.ru/articles/music_modern/25073-dmitriy-evgrafov-intervyu-albom-surrender.
• Bonner, Anthony. The Art and Logic of Ramon Llull. A User’s Guide. Leiden; Boston: Brill, 2007.
• Bösel, Bernd. “Affective Computing.” In Mensch-Maschine-Interaktion. Handbuch zu Geschichte – Kultur – Ethik, edited by Kevin Liggieri and Oliver Müller, 223–225. Stuttgart: J.B. Metzler, 2019. https://doi.org/10.1007/978-3-476-05604-7_30.
• Bower, Calvin M. “The Transmission of Ancient Music Theory into the Middle Ages.” In The Cambridge History of Western Music Theory, edited by Thomas Christensen, 136–167. Cambridge: Cambridge University Press, 2006.
• Braguinski, Nikita. “‘428 Millions of Quadrilles for 5s. 6d.’: John Clinton’s Combinatorial Music Machine.” 19th-Century Music 23, no. 2 (Fall 2019): 86–98. https://doi.org/10.1525/ncm.2019.43.2.86.
• ———. “Die Systeme der reinen Stimmung von August Eduard Grell und ihr geistesgeschichtlicher Kontext.” In Jahrbuch 2011 des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz, 75–104. Mainz: Schott, 2011.
• ———. “Musofun. Joseph Schillinger’s Musical Game between American Music, the Soviet Avant-Garde, and Combinatorics.” American Music 38, no. 1 (Spring 2020): 55–77.
• ———. RANDOM. Die Archäologie der elektronischen Spielzeugklänge. Computerarchäologie 3. Bochum: Projekt Verlag, 2018.
• Bréard, Andrea. “China.” In Combinatorics: Ancient and Modern, edited by Robin Wilson and John J. Watkins, 65–82. Oxford: Oxford University Press, 2013.
• Bretanickaja, Alla, ed. Dve žizni Iosifa Šillingera. Žizn’ pervaja. Rossija. Žizn’ vtoraja. Amerika. Moskva: Moskovskaja konservatorija, 2015.
• Briot, Jean-Pierre, Gaëtan Hadjeres, and François-David Pachet. Deep Learning Techniques for Music Generation. Computational Synthesis and Creative Systems. Springer International Publishing, 2020. https://www.springer.com/gp/book/9783319701622.
• Bröcker, Marianne. “Äolsharfe.” MGG Online, 1994. https://www.mgg-online.com/mgg/stable/11719.
• Brodsky, Warren. “Joseph Schillinger (1895–1943): Music Science Promethean.” American Music 21, no. 1 (2003): 45–73. https://doi.org/10.2307/3250556.
• Busoni, Ferruccio. Entwurf einer neuen Aesthetik der Tonkunst. Berlin: Berliner Musikalien Druckerei, 1907. https://busoni-nachlass.org/edition/essays/E010004/D0200001.
• Carpenter, Ellon D. “Russian Music Theory. A Conspectus.” In Russian Theoretical Thought in Music, edited by Gordon D. McQuere, 83–108. Ann Arbor, MI: UMI Research Press, 1983a.
• ———. “The Contributions of Taneev, Catoire, Conus, Garbuzov, Mazel, and Tiulin.” In Russian Theoretical Thought in Music, edited by Gordon D. McQuere, 253–378. Ann Arbor, MI: UMI Research Press, 1983b.
• Carr, David. “Giving Viewers What They Want.” The New York Times, February 24, 2013, sec. Business. https://www.nytimes.com/2013/02/25/business/media/for-house-of-cards-using-big-data-to-guarantee-its-popularity.html.
• Chen, Ching-Wei, and Murali Vidhya. “Machine Learning and Big Data for Music Discovery at Spotify. Presentation.” Galvanize NYC. March 9, 2017.. https://www.slideshare.net/cweichen/machine-learning-and-big-data-for-music-discovery-at-spotify?qid=b7ca7727-0a01-4441-9107-14410ccf0e7d.
• Coeckelbergh, Mark. AI Ethics. Cambridge, MA: MIT Press, 2020.
• Collins, Nick. “Origins of Algorithmic Thinking in Music.” In The Oxford Handbook of Algorithmic Music, edited by Alex McLean and Roger T. Dean, 67–78. Oxford: Oxford University Press, 2018.
• Collins, Nick, and Julio d’Escriván. The Cambridge Companion to Electronic Music. Cambridge: Cambridge University Press, 2017.
• Dan, Joseph. Kabbalah. A Very Short Introduction. Oxford: Oxford University Press, 2006.
• Deutsch, Diana. “Grouping Mechanisms in Music.” In id. The Psychology of Music, 299–348. San Diego, CA; London: Academic Press, 1999.
• Dhariwal, Prafulla, Heewoo Jun, Christine Payne, Jong Wook Kim, Alec Radford, and Ilya Sutskever. “Jukebox: A Generative Model for Music.” ArXiv:2005.00341 [Cs, Eess, Stat], April 30, 2020. http://arxiv.org/abs/2005.00341.
• Di Nunzio, Alex. “Push Button Bertha.” Musica Informatica, 2013. http://www.musicainformatica.org/topics/push-button-bertha.php.
• Dick, Stephanie. “Of Models and Machines. Implementing Bounded Rationality.” Isis 106, no. 3 (September 2015): 623–634. https://doi.org/10.1086/683527.
• Doornbusch, Paul. The Music of CSIRAC. Australia’s First Computer Music. Australia: Common Ground Publishing, 2005.
• Dostrovsky, Sigalia, Murray Campbell, James F. Bell, and C. Truesdell. “Physics of Music.” Grove Music Online, 2001. https://doi.org/10.1093/gmo/9781561592630.article.43400.
• Dostrovsky, Sigalia, and John T. Cannon. “Entstehung der musikalischen Akustik.” In Hören, Messen und Rechnen in der frühen Neuzeit, edited by Frieder Zaminer, 7–79. Darmstadt: Wissenschaftliche Buchgesellschaft, 1987.
• Ebbeke, Klaus. “Aleatorik.” MGG Online, 1994. https://www.mgg-online.com/mgg/stable/16100.
• Eriksson, Maria, Rasmus Fleischer, Anna Johansson, Pelle Snickars, and Patrick Vonderau. Spotify Teardown: Inside the Black Box of Streaming Music. Cambridge, MA: The MIT Press, 2018.
• Ferreira, Manuel Pedro. “Proportions in Ancient and Medieval Music.” In Mathematics and Music. A Diderot Mathematical Forum, edited by Gerard Assayag, Hans Georg Feichtinger, and Jose Francisco Rodrigues, 1–26. Berlin: Springer, 2002.
• Finkel, Irving L, ed. Ancient Board Games in Perspective. Papers from the 1990 British Museum Colloquium. London: British Museum Press, 2007.
• “First Recording of Computer-Generated Music – Created by Alan Turing – Restored.” The Guardian, September 26, 2016. https://www.theguardian.com/science/2016/sep/26/first-recording-computer-generated-music-created-alan-turing-restored-enigma-code.
• Fischer, Frank, Marina Akimova, and Boris Orekhov. “Data-Driven Formalism.” Journal of Literary Theory 13, no. 1 (2019): 1–12. https://doi.org/10.1515/jlt-2019-0001.
• Gioti, Artemi-Maria. “From Artificial to Extended Intelligence in Music Composition.” Organised Sound 25, no. 1 (2020): 25–32. https://doi.org/10.1017/S1355771819000438.
• Gray, J. “Computational Imaginaries. Some Further Remarks on Leibniz, Llull, and Rethinking the History of Calculating Machines.” In Dia-Logos: Ramon Llull’s Method of Thought and Artistic Practice, edited by Amador Vega, Peter Weibel, and Siegfried Zielinski, 293–300. Minneapolis: University of Minnesota Press, 2018.
• Grell, Eduard. Aufsätze und Gutachten über Musik. Edited by Heinrich Bellermann. Berlin: Springer, 1887.
• Guerrieri, Matthew. “‘Automation Divine’. Early Computer Music and the Selling of the Cold War.” NewMusicBox, October 10, 2018. https://nmbx.newmusicusa.org/automation-divine-early-computer-music-and-the-selling-of-the-cold-war/.
• Hayes, Tyler. “The Science behind Endel’s AI-Powered Soundscapes.” Amazon Science, November 25, 2020. https://www.amazon.science/latest-news/the-science-behind-endels-ai-powered-soundscapes.
• Hazell, Ed. Berklee: The First Fifty Years. Edited by Lee Eliot Berk. Berklee Press Publications, 1995.
• Helmholtz, Hermann von. On the Sensations of Tone as a Physiological Basis for the Theory of Music. Second English Edition. London: Longmans, Green, 1885.
• Hiller, Lejaren, and Leonard Isaacson. Experimental Music. Composition with an Electric Computer. New York: McGraw-Hill, 1959.
• Hoffmann, Peter. “Xenakis, Iannis.” Grove Music Online, 2016. https://doi.org/10.1093/gmo/9781561592630.article.30654.
• How AI Could Compose a Personalized Soundtrack to Your Life. Pierre Barreau. TED, 2018. https://youtu.be/wYb3Wimn01s.
• Huang, Cheng-Zhi Anna, Hendrik Vincent Koops, Ed Newton-Rex, Monica Dinculescu, and Carrie J. Cai. “AI Song Contest: Human-AI Co-Creation in Songwriting.” Magenta, October 13, 2020. https://magenta.tensorflow.org/aisongcontest.
• Hyde, Ralph. “Myrioramas, Endless Landscapes. The Story of a Craze.” Print Quarterly 21, no. 4 (2004): 403–421.
• IMG/1 Incidental Music Generator—A Conversation between Eamonn Bell and Nikita Braguinski, 2021. https://youtu.be/4_3ehJs-uHo.
• Katz, Victor J. “Jewish Combinatorics.” In Combinatorics: Ancient and Modern, edited by Robin Wilson and John J. Watkins, 109–122. Oxford: Oxford University Press, 2013.
• Keislar, Douglas. “A Historical View of Computer Music Technology.” In The Oxford Handbook of Computer Music, edited by Roger T. Dean, 11–43. Oxford: Oxford University Press, 2009.
• Kelih, Emmerich. “Quantitative Verfahren in der russischen Literaturwissenschaft der 1920er und 1930er Jahre.” In Quantitative Ansätze in den Literatur- und Geisteswissenschaften, 269–288. De Gruyter, 2018. https://doi.org/10.1515/9783110523300-012.
• Kelleher, John D. Deep Learning. Cambridge, MA: MIT Press, 2019.
• Keller, Damián, and Brian Ferneyhough. “Analysis by Modeling. Xenakis’s ST/10–1 080262.” Journal of New Music Research 33, no. 2 (2004): 161–171. https://doi.org/10.1080/0929821042000310630.
• Kircher, Athanasius. Musurgia Universalis Sive Ars Magna Consoni et Dissoni in X. Libros Digesta. Rome: Corbelletti; Grignani, 1650.
• Kirnberger, Johann Philipp. Der allezeit fertige Polonoisen- und Menuettenkomponist. Berlin, 1757. http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb10527349-7.
• Klein, Martin L. “Syncopation by Automation.” Radio-Electronics 28, no. 6 (June 1957): 36–38.
• Klotz, Sebastian. Kombinatorik und die Verbindungskünste der Zeichen in der Musik zwischen 1630 und 1780. Berlin: Akademie, 2006.
• Knobloch, Eberhard. “The Sounding Algebra. Relations Between Combinatorics and Music from Mersenne to Euler.” In Mathematics and Music. A Diderot Mathematical Forum, edited by Gerard Assayag, Hans Georg Feichtinger, and Jose Francisco Rodrigues, 27–48. Berlin: Springer, 2002.
• Knuth, Donald E. “Two Thousand Years of Combinatorics.” In Combinatorics: Ancient and Modern, edited by Robin Wilson and John J. Watkins, 3–37. Oxford: Oxford University Press, 2013.
• Koetsier, Teun. “The Art of Ramon Llull (1232–1350). From Theology to Mathematics.” Studies in Logic, Grammar and Rhetoric, 44, no. 57 (2016): 55–80.
• Kursell, Julia. Epistemologie des Hörens: Helmholtz’ physiologische Grundlegung der Musiktheorie. Paderborn: Fink, 2018.
• ———. “Hermann von Helmholtz und Carl Stumpf über Konsonanz und Dissonanz.” Berichte zur Wissenschaftsgeschichte 31, no. 2 (2008): 130–143. https://doi.org/10.1002/bewi.200801314.
• Langston, Peter. “Six Techniques for Algorithmic Music Composition. A Paper for the 15th International Computer Music Conference (ICMC).” Columbus, Ohio, November 2–5, 1989. http://www.langston.com/Papers/amc.pdf.
• Loy, Gareth. Musimathics: The Mathematical Foundations of Music. Cambridge; London: MIT Press, 2006.
• Magnusson, Thor. Sonic Writing. Technologies of Material, Symbolic, and Signal Inscriptions. London: Bloomsbury Academic, 2019.
• McKay, John Zachary. Universal Music-Making: Athanasius Kircher and Musical Thought in the Seventeenth Century. Doctoral Dissertation, Harvard University, 2013. http://nrs.harvard.edu/urn-3:HUL.InstRepos:10382782.
• McKelvey, Fenwick. “The Other Cambridge Analytics. Early ‘Artificial Intelligence’ in American Political Science.” In The Cultural Life of Machine Learning: An Incursion into Critical AI Studies, edited by Jonathan Roberge and Michael Castelle, 117–142. Cham: Palgrave Macmillan, 2021.
• McLean, Alex, and Roger T. Dean, eds. The Oxford Handbook of Algorithmic Music. Oxford: Oxford University Press, 2018.
• Mersenne, Marin. Harmonie universelle, contenant la theorie et la pratique de la musique. Paris: Sebastien Cramoisy, 1636.
• Moles, Abraham. Information Theory and Esthetic Perception. Urbana: University of Illinois Press, 1966.
• Nicholls, David. “Brave New Worlds: Experimentalism between the Wars.” In The Cambridge History of Twentieth-Century Music, edited by Nicholas Cook and Anthony Pople, 210–227. Cambridge: Cambridge University Press, 2004.
• Nierhaus, Gerhard. Algorithmic Composition. Paradigms of Automated Music Generation. Wien: Springer, 2009.
• Nolan, Catherine. “Music Theory and Mathematics.” In The Cambridge History of Western Music Theory, edited by Thomas Christensen, 272–304. Cambridge: Cambridge University Press, 2006.
• Ong, Walter J. Orality and Literacy. The Technologizing of the Word. With Additional Chapters by John Hartley. London: Routledge, 2012.
• Panteleeva, Olga. “How Soviet Musicology Became Marxist.” The Slavonic and East European Review 97, no. 1 (2019): 73–109. https://doi.org/10.5699/slaveasteurorev2.97.1.0073.
• Patteson, Thomas. Instruments for New Music: Sound, Technology, and Modernism. Oakland: University of California Press, 2016.
• Pesic, Peter. Music and the Making of Modern Science. Cambridge, MA: The MIT Press, 2014.
• Pinch, Trevor J., and Frank Trocco. Analog Days. The Invention and Impact of the Moog Synthesizer. Cambridge, MA: Harvard University Press, 2004.
• Prey, Robert. “Nothing Personal. Algorithmic Individuation on Music Streaming Platforms.” Media, Culture & Society 40, no. 7 (2018): 1086–1100. https://doi.org/10.1177/0163443717745147.
• Riley, Terrance. “Composing for the Machine.” European Romantic Review 20, no. 3 (2009): 367–379. https://doi.org/10.1080/10509580902986344.
• Roberge, Jonathan, and Michael Castelle, eds. The Cultural Life of Machine Learning: An Incursion into Critical AI Studies. Cham: Palgrave Macmillan, 2021.
• Sabaneev, Leonid L. “Zolotoe sečenie v prirode, v iskusstve i v žizni čeloveka (1959).” In Vospominanija o Rossii. Moscow: Klassika-XXI, 2004.
• Salinas, Francisco de. De musica libri septem. Salmantica: Gastius, 1577.
• Savage, Mark. “Spotify Wants to Suggest Songs Based on Your Emotions.” BBC News, January 28, 2021. https://www.bbc.com/news/entertainment-arts-55839655.
• Schillinger, Joseph. “Electricity, a Musical Liberator.” Modern Music 8 (March–April) (1931): 26–31.
• ———. The Mathematical Basis of the Arts. New York: Philosophical Library, 1948.
• Schuijer, Michiel. Analyzing Atonal Music. Pitch-Set Theory and Its Context. Rochester, NY: University of Rochester Press, 2008.
• Seabrook, John. The Song Machine: Inside the Hit Factory. London: Vintage, 2016.
• Sewell, Amanda. “Switched-On Bach and Undesired Fame (1968–1969).” In Wendy Carlos. A Biography. Oxford: Oxford University Press, 2020.
• Seyfert, Robert, and Jonathan Roberge, eds. Algorithmic Cultures. Essays on Meaning, Performance and New Technologies. London: Routledge, 2016.
• Shannon, Claude. “A Mathematical Theory of Communication.” The Bell System Technical Journal 27, no. 3 (July 1948): 379–423. https://doi.org/10.1002/j.1538-7305.1948.tb01338.x.
• Simon, Ian, Cheng-Zhi Anna Huang, Jesse Engel, Curtis Hawthorne, and Monica Dinculescu. “Generating Piano Music with Transformer.” Magenta, September 16, 2019. https://magenta.tensorflow.org/piano-transformer.
• Skinner, Rebecca E. “Artificial Intelligence.” In Debugging Game History. A Critical Lexicon, edited by Henry Lowood and Raiford Guins, 29–36. Cambridge, MA: The MIT Press, 2016.
• Skrynnikova, Anastasiya. “‘My ne sozdajom muzyki’: osnovatel’ servisa generacii zvukovogo fona Endel o sdelke s Warner Brothers i rabote algoritma.” vc.ru, April 10, 2019. https://vc.ru/future/63710-my-ne-sozdaem-muzyku-osnovatel-servisa-generacii-zvukovogo-fona-endel-o-sdelke-s-warner-music-i-rabote-algoritma.
• Spotify Engineering. “For Your Ears Only: Personalizing Spotify Home with Machine Learning,” January 16, 2020. https://engineering.atspotify.com/2020/01/16/for-your-ears-only-personalizing-spotify-home-with-machine-learning/.
• Spotify for Developers. “Get Audio Features for a Track.” Accessed January 6, 2021. https://developer.spotify.com/documentation/web-api/reference/tracks/get-audio-features/.
• Steege, Benjamin. Helmholtz and the Modern Listener. Cambridge: Cambridge University Press, 2012.
• Steinbeck, Wolfram. “Würfelmusik.” MGG Online, 1998. https://www.mgg-online.com/mgg/stable/12552.
• Sterne, Jonathan. “Out With the Trash. On the Future of New Media.” In Residual Media, edited by Charles R. Acland, 16–31. Minneapolis, London: University of Minnesota Press, 2007.
• Sterne, Jonathan, and Elena Razlogova. “Machine Learning in Context, or Learning from LANDR: Artificial Intelligence and the Platformization of Music Mastering.” Social Media + Society April–June (2019): 1–18. https://doi.org/10.1177/2056305119847525.
• Stockhausen, Karlheinz. “… How Time Passes…” Die Reihe [English Edition] Musical craftsmanship (1959): 10–40.
• ———. “The Origins of Electronic Music.” The Musical Times 112, no. 1541 (1971): 649–650. https://doi.org/10.2307/957006.
• Sutherland, Mark. “Songwriting: Why It Takes More than Two to Make a Hit Nowadays.” Music Week, May 16, 2017. https://www.musicweek.com/publishing/read/songwriting-why-it-takes-more-than-two-to-make-a-hit-nowadays/068478.
• Tiggelen, Philippe John van. Componium: The Mechanical Musical Improvisor. Louvain-la-Neuve: Institut supérieur d’archéologie et d’histoire de l’art, 1987.
• Tommaso, Rocchi. “How Data Is Redefining the Role of A&R in the Music Industry Today.” blog.chartmetric.com, September 21, 2020. https://blog.chartmetric.com/what-is-a-and-r-music-industry-today/.
• Wicks, Robert. European Aesthetics. A Critical Introduction from Kant to Derrida. London: Oneworld, 2013.
• Xenakis, Iannis. Formalized Music. Thought and Mathematics in Composition. Stuyvesant, NY: Pendragon, 1992.
• Zielinski, Siegfried. Deep Time of the Media. Toward an Archaeology of Hearing and Seeing by Technical Means. Cambridge, MA: The MIT Press, 2006.