Concepts and Theory / Part I: |
Overview of Music Theories / 1: |
The Representation of Music / 2: |
Types of Representation / 2.1: |
Symbolic Representation of Music / 2.2: |
Electronic Scores / 2.2.1: |
MIDI / 2.2.2: |
Musical Representation Languages / 2.2.3: |
Language of General Concepts / 2.2.4: |
Architecture of Concepts I: Principles / 3: |
Pure Architecture / 3.1: |
Selection / 3.1.1: |
Conjunction / 3.1.2: |
Disjunction / 3.1.3: |
Architecture with Primitives / 3.2: |
Examples / 3.3: |
Macro Notes / 3.3.1: |
Frequency Modulation / 3.3.2: |
Full Score / 3.3.3: |
The Category of Modules / 4: |
From Monoids to Modules / 4.1: |
Monoids / 4.1.1: |
Groups / 4.1.2: |
Rings / 4.1.3: |
Modules / 4.1.4: |
Categories / 4.2: |
Definition / 4.2.1: |
Functors / 4.2.2: |
Natural Transformations / 4.2.3: |
Yoneda's Lemma / 4.2.4: |
Limits and Colimits / 4.2.5: |
Topoi / 4.2.6: |
Architecture of Concepts II: Forms and Denotators / 5: |
Forms / 5.1: |
Denotators / 5.2: |
Computational Category Theory / 5.3: |
Data Types in Programming Languages / 5.3.1: |
The Role of Diagrams / 5.3.2: |
Software Components for Computational Theories / 6: |
Types of User Interface / 6.1: |
Rubato Composer: Computational Theories / 6.2: |
Historical Overview / 7: |
presto / 7.1: |
"Classic" Rubato / 7.2: |
Experiments in Java / 7.3: |
Rubato Composer / 7.4: |
The Implementation / Part II: |
Overview / 8: |
Architecture / 9: |
Overall Structure / 9.1: |
The Rubato Composer Universe / 9.2: |
Java Packages / 9.3: |
Modules and Morphisms / 10: |
Modules and their Elements / 10.1: |
The Module Interface / 10.1.1: |
The ModuleElement Interface / 10.1.2: |
Module Morphisms / 10.2: |
The ModuleMorphism Interface / 10.2.1: |
Forms and Denotators / 11: |
Requirements / 11.1: |
Form Class / 11.2: |
SimpleForm Class / 11.2.2: |
LimitForm and ColimitForm Classes / 11.2.3: |
PowerForm and ListForm Classes / 11.2.4: |
SimpleDenotator Class / 11.3: |
LimitDenotator Class / 11.3.2: |
ColimitDenotator Class / 11.3.3: |
PowerDenotator and ListDenotator Classes / 11.3.4: |
Tools and Operations / 11.4: |
Construction of Forms and Denotators / 11.4.1: |
Paths / 11.4.2: |
Module Mapping and Structural Replacement / 11.4.3: |
Reforming / 11.4.4: |
Address Changing / 11.4.5: |
List and Set Operations / 11.4.6: |
Tools and Utilities / 12: |
Low-Level Mathematical Tools / 12.1: |
Numbers / 12.1.1: |
Matrixes / 12.1.2: |
Repository and Predefined Universe / 12.2: |
MIDI Sequencer and Synthesizer / 12.3: |
Scheme Interpreter / 12.4: |
XML as File Format for Rubato Composer / 12.5: |
Rubato Composer GUI / 13: |
Terminology / 13.1: |
The Implementation of Networks / 13.2: |
Running a Network / 13.3: |
Macro Rubettes / 13.4: |
Tools / 13.5: |
The Plug-In System / 13.6: |
Rubato Composer in Practice / Part III: |
A Tutorial / 14: |
First Applications in Rubette Construction / 16: |
Rubettes for Macro Objects / 16.1: |
The Wallpaper Rubette / 16.2: |
The Alteration Rubette / 16.3: |
Counterpoint Theory / 16.4: |
Music Composition / 16.5: |
The BigBang Rubette / 17: |
Spontaneous Algorithmic Composition / 17.1: |
Facts about Geometric Composition Strategies / 17.1.1: |
Gestural Interaction Concept / 17.2: |
Gesture Theory / 17.2.1: |
Application of Gesture Theory / 17.2.2: |
Modular Views / 17.3: |
View Concept / 17.3.1: |
Note representation / 17.3.2: |
Basic Functionality and Navigation / 17.3.3: |
Layers / 17.3.4: |
Implemented Gestures / 17.4: |
Geometrical Transformations / 17.4.1: |
Wallpapers / 17.4.2: |
Alteration / 17.4.3: |
The BigBang Rubette in Context / 17.5: |
Creative Analysis of Boulez's Structures / 18: |
Boulez's Creative Analysis Revisited / 18.1: |
Ligeti's Analysis / 18.2: |
A First Creative Analysis of Structure Ia / 18.3: |
Address Change / 18.3.1: |
Primary Parameter Address Changes / 18.3.2: |
Secondary Parameter Address Changes / 18.3.3: |
The First Creative Analysis / 18.3.4: |
Implementing Creative Analysis in Rubato Composer / 18.4: |
The System of Boulettes / 18.4.1: |
A Second More Creative Analysis and Reconstruction / 18.5: |
The Conceptual Extensions / 18.5.1: |
A Composition / 18.5.2: |
Conclusion and Outlook / 19: |
Lessons Learned / 19.1: |
Things To Do / 19.2: |
Ideas for Future Work / 19.3: |
Appendix / Part IV: |
User's Manual / 20: |
Introduction / 20.1: |
Concepts / 20.2: |
Rubato Composer's World of Objects / 20.2.1: |
Rubettes / 20.2.2: |
Networks / 20.2.3: |
Using Rubato Composer / 20.2.4: |
Starting up / 20.3.1: |
General Usage / 20.3.2: |
Main Window / 20.3.3: |
Main Menu and Toolbar / 20.3.4: |
Network / 20.3.5: |
Scheme Tools / 20.3.6: |
Preferences / 20.3.8: |
Recurring User Interface Elements / 20.3.9: |
Core Rubettes / 20.4: |
Rubette Description Schema / 20.4.1: |
List of Core Rubettes / 20.4.2: |
Built-in Non-Core Rubettes / 20.5: |
Writing Rubettes / 20.6: |
Developing with the Rubato Framework / 20.6.1: |
Rubette Interface / 20.6.2: |
Rubette Example / 20.7: |
Specification / 20.7.1: |
The LatchRubette class / 20.7.2: |
Packaging a Plug-In / 20.7.3: |
Types of Module Morphisms / 20.8: |
The Rubette Java Interface / 20.9: |
Example LatchRubette class / 20.10: |
Keyboard Shortcuts / 20.11: |
Rubato Scheme / 20.12: |
Concepts and Theory / Part I: |
Overview of Music Theories / 1: |
The Representation of Music / 2: |