Ames, C. 1989. “The Markov Process as a Compositional Model: A Survey and Tutorial.” Leonardo 22(2): 175-187.

Bailey, N.; Purvis, A.; Bowler, I.; and Manning, P. 1990. “An Highly Parallel Architecture for Real-Time Music Synthesis and Digital Signal Processing Applications.” In Proceedings, ed. S. Arnold and G. Hair. Glasgow: ICMC Glasgow.

Baisnee, P. F.; Barriere, J. B.; Koechlin, 0.; and Rowe, R. 1986. “Real-Time Interaction between Musicians and Computer: Live Performance Utilisations of the 4X Musical Workstation.” In Proceedings of the 1986 International Computer Music Conference, The Hague, ed. P. Berg. Berkeley: Computer Music Association.

Barlow, C. 1987. “Two Essays on Theory.” Computer Music Journal 11(1):44-60.

Barlow, C. 1990. “AUTOBUSK: An Algorithmic Real-Time Pitch & Rhythm Improvisation Programme.” In Proceedings, ed. S. Arnold and G. Hair. Glasgow: ICMC Glasgow.

Bartok, B. 1976. “Mechanical Music.” In Bela Bartok Essays, selected and edited by Benjamin Suchoff. London: Faber & Faber.

Berry, W. 1976. Structural Functions in Music. New York: Dover Publications, Inc.

Beyls, P. 1988. “Introducing OSCAR.” In Proceedings of the 14th International Computer Music Conference, Cologne, ed. C. Lischka and J. Fritsch. Cologne: Feedback Studio.

Bharucha, J. J. 1987. “MUSACT: A Connectionist Model of Musical Harmony.” In Proceedings of the Ninth Annual Meeting of the Cognitive Science Society. Hillsdale, N.J.: Erlbaum Press.

Bharucha, J. J., and Todd, P. M. 1989. “Modeling the Perception of Tonal Structure with Neural Nets.” Computer Music Journal 13(4):44-53.

Bloch, J. J., and Dannenberg, R. B. 1985. “Real-Time Computer Accompaniment of Keyboard Performances.” In Proceedings of the International Computer Music Conference, 1985, ed. B. Truax. San Francisco, Calif.: Computer Music Association.

Bobrow, D. G., and Winograd, T. 1977. “An Overview of KRL, A Knowledge Representation Language.” Cognitive Science 1(1):3-46.

Boynton, L. 1987. “Scheduling as Applied to Musical Processing.” Cambridge, Mass. MIT Media Laboratory report.

Boynton, L., and Cumming, D. 1988. “A Real-Time Acoustic Processing Card for the Mac II.” In Proceedings of the 14th International Computer Music Conference, Cologne, ed. C. Lischka and J. Fritsch. Cologne: Feedback Studio.

Brachman, R. J., and Schmolze, J. G 1985. “An Overview of the KL-ONE Knowledge Representation System.” Cognitive Science 9:171-216.

Buchanan, B., and Feigenbaum, E. 1978. “Dendral and Meta-Dendral: Their Applications Dimension.” Artificial Intelligence 11(1,2):5-24.

Burk, P. 1991. “The Integration of Real-Time Synthesis into HMSL, the Hierarchical Music Specification Language.” In Proceedings, ed. B. Alphonce and B. Pennycook. Montreal: ICMC-1991 Faculty of Music, McGill University.

Camurri, A.; Canepa,c.; Frixione, M.; Innocenti, C.; Massucco, C.; and Zaccaria, R. 1991. “A High-Level System for Music Composition.” In Proceedings, ed. B. Alphonce and B. Pennycook. Montreal: ICMC-1991 Faculty of Music, McGill University.

Chadabe, J. 1989. “Interactive Composing: An Overview.” In The Music Machine, ed. C. Roads. Cambridge, Mass.: The MIT Press.

Chafe, C.; Mont-Reynaud, B.; and Rush, L. 1982. “Toward an Intelligent Editor of Digital Audio: Recognition of Musical Constructs.” Computer Music Journal 6(1). Reprinted in The Music Machine, ed. Curtis Roads. Cambridge, Mass.: The MIT Press, 1989.

Chung, J. 1989. “An Agency for the Perception of Musical Beats, or, If I Only Had a Foot…” Cambridge, Mass. MIT Media Laboratory report.

Clarke, E. F. 1987. “Categorical Rhythm Perception: An Ecological Perspective.” In Action and Perception in Rhythm and Music, ed. A. Gabrielsson. Stockholm: Royal Swedish Academy of Music.

Clarke, E. F. 1988. “Generative Principles in Music Performance.” In Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, ed. J. A. Sloboda. Oxford: Clarendon Press.

Clifton, T. 1975. “Some Comparisons between Intuitive and Scientific Descriptions of Music.” Journal of Music Theory 19(1): 66-110.

Cook, N. (1987). A Guide to Musical Analysis. New York: George Braziller.

Cooper, G, and Meyer, L. B. (1960). The Rhythmic Structure of Music. Chicago: University of Chicago Press.

Cope, D. (1990). “Pattern matching as an engine for the computer simulation of musical style.” In Proceedings, ed. S. Arnold and G. Hair. Glasgow: ICMC Glasgow.

Dannenberg, R. B. (1989). “Real-time scheduling and computer accompaniment.” In Current Directions in Computer Music Research, ed. M. V. Mathews and J. R. Pierce. Cambridge, Mass.: The MIT Press.

Dannenberg, R. B. (1991). “Software support for interactive multimedia performance.” In Proceedings of The Arts and Technology III. New London: Connecticut College.

Dannenberg, R. B., and Mont-Reynaud, B. (1987). “Following an improvisation in real time.” In Proceedings of the 1987 International Computer Music Conference, compiled by J. Beauchamp. San Francisco, Calif.: Computer Music Association.

Dannenberg, R. B.; Sanchez, M.; Joseph, A.; Saul, R.; Joseph, R.; and Capell, P. (1990). “An expert system for teaching piano to novices.” In Proceedings, ed. S. Arnold and G. Hair. Glasgow: ICMC Glasgow.

Demers, L. P. (1991). “A performance instrument for lighting.” In Proceedings, ed. B. Alphonce and B. Pennycook. Montreal: ICMC-1991 Faculty of Music McGill University.

Desain, P., & Honing, H. (1993). “Tempo curves considered harmful.Contemporary Music Review, 7(2), 123-138.

Dobrian, C., and Zicarelli, D. (1990). MAX Development Package Manual. Menlo Park: Opcode Systems Inc.

Dreier, R. (1991). “Notes on the program.” Stagebill. Program to October 13  performance of the American Composers Orchestra. New York: B&B Enterprises Inc.

Drescher, G. L. (1991). Made-up minds: a constructivist approach to artificial intelligence. MIT press.

Dreyfus, H. L. (1979). What Computers Can’t Do: The Limits of Artificial Intelligence, revised edition. New York: Harper Colophon Books.

Duda, R., Gaschnig, J., & Hart, P. (1981). Model design in the Prospector consultant system for mineral exploration. In Readings in Artificial Intelligence (pp. 334-348).

Ebcioğlu, K. (1988). An expert system for harmonizing four-part chorales. Computer Music Journal, 12(3), 43-51.

Favreau, E.; Fingerhut, M.; Koechlin, 0.; Potacsek, P.; Puckette, M.; and Rowe, R. (1986). “Software developments for the 4X real-time system.” In Proceedings of the 1986 International Computer Music Conference, The Hague, ed. P. Berg.

Glinsky, A. V. (1992). The theremin in the emergence of electronic music. Ph.D. dissertation, New York University.