Rethinking the Computer Music Language: SuperCollider

By J. McCartney. Computer Music Journal, 2002

438 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Computer Vision and Pattern Recognition, Signal Processing

View Paper: https://www.semanticscholar.org/paper/dcafa7517e4cd352c172ab7475243be9ae340c33

How researchers see this paper

The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.

In Cognitive Neuroscience

1. Jose D. Fernández
2. Francisco J. Vico
3. Matthew James Wright

In Computer Vision and Pattern Recognition

1. Jose D. Fernández
2. Francisco J. Vico
3. Matthew James Wright

In Signal Processing

1. Jose D. Fernández
2. Francisco J. Vico
3. Matthew James Wright

Citations in the corpus

• AI Methods in Algorithmic Composition: A Comprehensive Survey (2013, methodology): “…and commercial software development: many software packages and programming environments can be adapted to this purpose, such as SuperCollider (McCartney, 2002), Csound (Boulanger, 2000), MAX/MSP (Puckette, 2002), Kyma (Scaletti, 2002), Nyquist (Simoni & Dannenberg, 2013) or the AC Toolbox…”
• Live coding in laptop performance (2003, background): “What is tremendously exciting is that the newest version of SuperCollider, SC Server on Max OS X and Linux (McCartney 2002), allows any programming language, not just the Smalltalk-derived SuperCollider language, to become a front end to the synthesis engine, and to pass new synthesis graphs to the ”
• Open Sound Control: an enabling technology for musical networking (2005, background): “Version 3 of the SuperCollider real-time audio synthesis programming language (McCartney 2002) has a client/server architecture, in which the high-level interpreted programming language communicates to a separate low-level DSP program with OSC.”