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^ a b c Shimazu, Takehito (1994). “The History of Electronic and Computer Music in Japan: Significant Composers and Their Works”. Leonardo Music Journal (MIT Press) 4: 102?106 [104]. doi:10.2307/1513190. JSTOR 1513190. https://www.scribd.com/doc/93116556/The-History-of-Electronic-and-Experimental-Music-in-Japan 2012年7月9日閲覧。.
^ Cattermole, Tannith (2011年5月9日). “ ⇒Farseeing inventor pioneered computer music”. Gizmag. 2022年10月2日閲覧。 “In 1957 the MUSIC program allowed an IBM 704 mainframe computer to play a 17-second composition by Mathews. Back then computers were ponderous, so synthesis would take an hour.”
^ Mathews, Max (1 November 1963). “The Digital Computer as a Musical Instrument”. Science 142 (3592): 553?557. Bibcode: 1963Sci...142..553M. doi:10.1126/science.142.3592.553. PMID 17738556. "The generation of sound signals requires very high sampling rates.... A high speed machine such as the I.B.M. 7090 ... can compute only about 5000 numbers per second ... when generating a reasonably complex sound."
^ “Pietro Grossi's Experience in Electronic and Computer Music by Giuditta Parolini” (2016年). 2022年10月2日閲覧。
^ Gaburo, Kenneth (Spring 1985). “The Deterioration of an Ideal, Ideally Deteriorized: Reflections on Pietro Grossi's 'Paganini AI Computer'”. Computer Music Journal 9 (1): 39?44. JSTOR 4617921.
^ “Music without Musicians but with Scientists Technicians and Computer Companies” (2017年). 2022年10月2日閲覧。
^ Giomi, Francesco (1995). “The Work of Italian Artist Pietro Grossi: From Early Electronic Music to Computer Art”. Leonardo 28 (1): 35?39. doi:10.2307/1576152. JSTOR 1576152.
^ Dean, Roger T. (2009). The Oxford Handbook of Computer Music. Oxford University Press. p. 20. ISBN 978-0-19-533161-5
^ a b Dean 2009, p. 1
^ Dean 2009, pp. 4?5: "... by the 90s ... digital sound manipulation (using MSP or many other platforms) became widespread, fluent and stable."
^ Doornbusch, Paul. "3: Early Hardware and Early Ideas in Computer Music: Their Development and Their Current Forms". In Dean (2009). doi:10.1093/oxfordhb/9780199792030.013.0003
^ Berg, Paul (1996). “Abstracting the future: The Search for Musical Constructs”. Computer Music Journal (MIT Press) 20 (3): 24?27 [11]. doi:10.2307/3680818. JSTOR 3680818.
^ Tangian, Andranik (2003). ⇒“Constructing rhythmic canons”. Perspectives of New Music 41 (2): 64?92. ⇒http://repmus.ircam.fr/_media/mamux/papers/tangian-2003-pnmcanons.pdf 2021年1月16日閲覧。.
^ Tangian, Andranik (2010). ⇒“Constructing rhythmic fugues (unpublished addendum to Constructing rhythmic canons)”. IRCAM, Seminaire MaMuX, 9 February 2002, Mosaiques et pavages dans la musique. ⇒http://repmus.ircam.fr/_media/mamux/saisons/saison01-2001-2002/tangian_2002-2003_einekleinemathmusik_1-2_with-articles.pdf 2021年1月16日閲覧。
^ Tangian, Andranik (2002?2003). ⇒“Eine kleine Mathmusik I and II”. IRCAM, Seminaire MaMuX, 9 February 2002, Mosaiques et pavages dans la musique. ⇒http://repmus.ircam.fr/mamux/saisons/saison01-2001-2002/2002-02-09 2021年1月16日閲覧。
^ Leach, Ben (2009年10月22日). “Emily Howell: the computer program that composes classical music”. The Daily Telegraph. https://www.telegraph.co.uk/culture/music/music-news/6404737/Emily-Howell-the-computer-program-that-composes-classical-music.html 2017年10月6日閲覧。
^ Cheng, Jacqui (2009年9月30日). “Virtual Composer Makes Beautiful Music and Stirs Controversy”. Ars Technica. 2022年10月2日閲覧。
^ Ball, Philip (2012年7月1日). “Iamus, classical music's computer composer, live from Malaga”. The Guardian. 2013年10月25日時点のオリジナルよりアーカイブ。2021年11月15日閲覧。
^ “Computer composer honours Turing's centenary”. New Scientist. (5 July 2012). https://www.newscientist.com/article/mg21528724.300-computer-composer-honours-turings-centenary.html.
^ Mauricio Toro, Carlos Agon, Camilo Rueda, Gerard Assayag. " ⇒GELISP: A Framework to Represent Musical Constraint Satisfaction Problems and Search Strategies", Journal of Theoretical and Applied Information Technology 86, no. 2 (2016): 327?331.
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