Complete Publications on ResearchGate

Referred Publications

1. •“Considering Vertical and Horizontal Context in Corpus-based Generative Electronic Dance Music”
   

2. •PDF (with P. Pasquier)
   

3. •The Fourth International Conference on Computational Creativity, Sydney (2013)
   

4. •“Evolving Structures for Electronic Dance Music”
   

5. •PDF (with P. Pasquier)
   

6. •Genetic and Evolutionary Computation Conference (GECCO), Amsterdam (2013)
   

7. •“Generating Electronica – A Virtual Producer and Virtual DJ”
   

8. •PDF
   

9. •9th ACM Conference on Creativity & Cognition, Sydney (2013)
   

10. •“The Human Fingerprint in Machine Generated Music”
    

11. •PDF
    

12. •xCoAx 2013: Computing Communication Aesthetics and X, Bergamo (2013)
    

13. •“Embracing the Bias of the Machine: Exploring Non-Human Fitness Functions”
    

14. •PDF
    

15. •AIIDE Workshop on Musical Metacreation, Stanford (2012)
    

16. •"Creative Agents, Curatorial Agents, and Human-Agent Interaction in Coming Together"
    

17. •PDF (with P. Pasquier)
    

18. •Proceedings of the Sound and Music Computing Conference, Copenhagen (2o12)
    

19. •“Corpus-based recombinant composition using a genetic algorithm”
    

20. •Soft Computing - A Fusion of Foundations, Methodologies and Applications
    

21. •“Evaluating Musical Metacreation in a Live Performance Context”
    

22. •PDF (with A. Burnett and P. Pasquier)
    

23. • Proceedings of the International Conference on Computational Creativity, Dublin (2012)
    

24. •“Populations of Populations: Composing with Multiple Evolutionary Algorithms”
    

1. •PDF (with P. Pasquier)
   

2. •EvoMUSART 2012, LNCS 7247, pp. 72--83. Springer, Heidelberg (2012)
   

25. •“Real-time Composition as Performance Ecosystem”
    

1. •PDF
   

2. •Organised Sound (volume 16, issue 02)
   

26. •"Towards a Generative Electronica: Human-Informed Machine Transcription and Analysis in MaxMSP"
    

1. •PDF (with P. Pasquier)
   

2. •Proceedings of the Sound and Music Computing Conference, Padua (2011)
   

27. •"Negotiated Content: Generative Soundscape Composition by Autonomous Musical Agents in Coming Together: Freesound"
    

1. •PDF (with P. Pasquier)
   

2. •Proceedings of the International Conference on Computational Creativity, Mexico City (2011)
   

28. •"A Sonic Eco-system of Self-Organising Musical Agents"
    

1. •PDF (with P. Pasquier)
   

2. •Proceedings of EvoMusArt 11, the European Conference on Evolutionary Computing, Turin (2011)
   

29. •"Coming Together - Negotiated Content by Multi-agents"
    

1. •PDF, ACM Digital Library
   

2. •ACM Multimedia International Conference, Florence (2010)
   

30. •"Realtime Timbral Organisation: Selecting Samples Based Upon Similarity”
    

1. •PDF (with P. Pasquier)
   

2. •Organised Sound (volume 15, issue 02)
   

31. •"Realtime Generation of Harmonic Progressions Using Controlled Markov Selection"
    

1. •PDF (with P. Pasquier)
   

2. •First International Confernece on Computational Creativity, ICCC-X, Lisbon (2009)
   

32. •"A Realtime Generative Music System using Autonomous Melody, Harmony, and Rhythm Agents:"
    

1. •PDF
   

2. •Proceedings of 12th Generative Art Conference, Milan (2009)
   

33. •"NetBeat and Net4Tet - Networked Performance Instruments for Electroacoustic Music Students"
    

1. •PDF
   

2. •Proceedings of IEEE International Conference on Computational Science and Engineering (CSE-09), Vancouver (2009)
   

34. •"Realtime Selection of Percussion Samples Through Timbral Similarity in Max/MSP"
    

1. •PDF (with P. Pasquier)
   

2. •Proceedings of ICMC 09, Montreal (2009)
   

35. •"The Evolution of Evolutionary Software: Intelligent Rhythm Generation in Kinetic Engine"
    

1. •PDF
   

2. •Proceedings of EvoMusArt 09, the European Conference on Evolutionary Computing, Tübingen (2009)
   

36. •"Emergent Rhythms through Multi-agency in Max/MSP"
    

1. •PDF
   

2. •Computer Music Modeling and Retrieval: Sense of Sounds (Lecture Notes in Computer Science) (2009)
   

37. •"An Agent-based System for Robotic Musical Performance"
    

1. •PDF
   

2. •Proceedings of NIME 08, Genova (2008)
   

38. •"Multi-agent Multimodal Performance Analysis"
    

1. •PDF
   

2. •Proceedings of ICMC 08, Belfast (2008)
   

39. •"The Creation of Evolutionary Rhythms within a Multi-agent Networked Drum Ensemble"
    

1. •PDF
   

2. •Proceedings of the International Computer Music Conference, Copenhagen (2007)
   

40. •"Drum Circle: Intelligent Agents in Max/MSP"
    

1. •PDF
   

2. •Proceedings of the International Computer Music Conference, Copenhagen (2007)
   

41. •"Kinetic Engine: Towards an Intelligent Improvising Instrument"
    

1. •PDF
   

2. •Proceedings of Sound And Music Computing, Marseille (2006)
   

42. 
    

Presentations

1. •“Extending Creativity: Creative Software and Software Creativity”
   

2. • PDF (of Keynote presentation)
   

3. •Canadian New Music Network, Vancouver (January 2012)
   

4. •explains history of autonomous composition, theories of creativity, and potential applications of AI in creative systems
   

5. •“Towards a Generative Electronica: A Progress Report”
   

1. •Toronto Electroacoustic Symposium, Toronto (August 2011)
   

2. •eContact 14.4 (March 2013)
   

6. •"In Search of Tools for the Laptop Ensemble"
   

1. •PDF
   

2. •Toronto Electroacoustic Symposium, Toronto (August 2010)
   

3. •eContact 13.3 (June 11)
   

4. •outlines some of the problems of running a laptop ensemble, and some solutions provided by others, and myself.
   

7. •"Multiagency and Realtime Composition: In Equilibrio"
   

1. •PDF
   

2. •Toronto Electroacoustic Symposium, Toronto (August 2009)
   

3. •eContact 11.4 (December 09)
   

4. •explains how my composition for midi piano, In Equilibrio, uses two multiagent systems, and discusses how the result relates to my goal of realtime composition
   

8. •"Future Intelligence in Live Electroacoustic Music"
   

1. •PDF
   

2. •EMS 09, Buenos Aires (June 2009)
   

3. •outlines how recent advances in Music Information Retrival, Machine Learning, and Evolutionary Computing can be applied to live electroacoustic music
   

9. •"Intelligent Real-time Composition"
   

1. •PDF
   

2. •eContact 10.4 (October 2008)
   

3. •outlines what I consider to be the differences between composition in performance versus improvisational systems
   

10. •"Realtime Composition or Computer Improvisation - A Composer's Search for Intelligent Tools in Interactive Computer Music"
    

1. •PDF
   

2. •EMS 07, Leicester (June 2007)
   

3. •gives an critical history of interactive computer music, and a criticism of constrained randomness as the main compositional control
   

11. •"The Virtual Primitive Drum: a Multi-agent Real-time System to Create Complex Ensemble Rhythms"
    

1. •PDF, with examples
   

2. •Expo 07, Plymouth (June 2007)
   

3. •gives a description of Kinetic Engine version 2, with examples
   

12. •"Encoding Knowledge in Software Performance Tools"
    

1. •PDF
   

2. •SEAMUS 07, Iowa State University (March 2007)
   

3. •discusses some ideas of encoding knowledge, as well as my Fuzzy Logic implementation of timbral choice
   

13. 
    

Publications with students

1. •"Gesture transformation through electronics in the music of Kaija Saariaho"
   

1. •James O'Callaghan, Arne Eigenfeldt
   

1. •PDF
   

2. •Electronic Music Studies Network, Shanghai (2010)
   

2. •"Typological Analysis of Gesture Interaction in Acousmatic Music"
   

1. •Adam Basanta, Arne Eigenfeldt
   

1. •PDF
   

2. •Electronic Music Studies Network, Shanghai (2010)
   

3. •“Beatback: A Real-time Interactive Percussion System for Rhythmic Practise and Exploration”
   

1. •Andrew Hawryshkewich, Philippe Pasquier, Arne Eigenfeldt
   

1. •PDF
   

2. •NIME, Sydney (2010)
   

4. •"Hierarchical Sequential Memory for Music: A Cognitive Model"
   

1. •James Maxwell, Philippe Pasquier, Arne Eigenfeldt
   

1. •PDF
   

2. •ISMIR, Kobe (2009)
   

5. •"The MusicDB: A Music Database Query System for Recombinance-based Composition in Max/MSP"
   

1. •James Maxwell, Arne Eigenfeldt
   

1. •PDF
   

2. •ISMIR, Philadelphia (2008)
   

6. 
   

Tutorials

1. •"Managing Complex Max Patches"
   

1. •PDF
   

2. •Cycling 74 Tutorials
   

3. •a detailed tutorial on how to organize complex patches in MaxMSP, including initialising, messaging between bpatchers, and using coll effectively.