A. Agostini and D. Ghisi, A Max Library for Musical Notation and Computer-Aided Composition, Computer Music Journal, vol.39, issue.2, pp.11-27, 2015.
URL : https://hal.archives-ouvertes.fr/hal-01264453

L. Bigo, D. Ghisi, S. Antoine, and A. Moreno, Representation of musical structures and processes in simplicial chord spaces, Computer Music Journal, vol.39, issue.3, pp.11-27, 2015.
URL : https://hal.archives-ouvertes.fr/hal-01263299

D. Ghisi and C. Agon, Real-time corpus-based concatenative synthesis for symbolic notation, Proceedings of the TENOR Conference, 2016.
URL : https://hal.archives-ouvertes.fr/hal-01393052

D. Ghisi, A. Agostini, and E. Maestri, Recreating Gérard Grisey's Vortex Temporum with cage, Proceedings of the International Computer Music Conference, 2016.

D. Ghisi and M. Bergomi, Concatenative synthesis via chord-based segmentation for An Experiment with Time, Proceedings of the International Computer Music Conference, 2016.
URL : https://hal.archives-ouvertes.fr/hal-01393053

D. Ghisi and A. Agostini, Extending bach: A Family of Libraries for Real-time Computer-assisted Composition in Max, Journal of New Music Research, vol.46, issue.1, pp.34-53, 2017.
URL : https://hal.archives-ouvertes.fr/hal-01561941

J. L. Adams, Music in the Anthropocene, Postmodern Music, Postmodern Listening, pp.315-318, 2016.

C. Agon, OpenMusic : Un langage visuel pour la composition musicale assistée par ordinateur, 1998.

C. Agon and G. Assayag, Programmation visuelle et editeurs musicaux pour la composition assistée par ordinateur, Interface Homme Machine, vol.111, 2002.
DOI : 10.1145/777005.777035

C. Agon, G. Assayag, J. Fineberg, and C. Rueda, Kant: A critique of pure quantification, Proceedings of the International Computer Music Conference, p.131, 1994.

A. Agostini, E. Daubresse, G. , and D. , cage: a High-Level Library for Real-Time Computer-Aided Composition, Proceedings of the International Computer Music Conference, 2014.
DOI : 10.1080/07494467.2013.774221
URL : http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.363.2651&rep=rep1&type=pdf

A. Agostini and D. Ghisi, bach: an environment for computer-aided composition in Max, Proceedings of the International Computer Music Conference, vol.63, pp.373-378, 2012.

A. Agostini and D. Ghisi, Real-time computer-aided composition with bach, Contemporary Music Review, vol.32, issue.1, p.62, 2013.
DOI : 10.1080/07494467.2013.774221
URL : http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.363.2651&rep=rep1&type=pdf

A. Agostini and D. Ghisi, A Max Library for Musical Notation and Computer-Aided Composition, Computer Music Journal, vol.39, issue.2, pp.11-27, 2015.
DOI : 10.1162/comj_a_00296
URL : https://hal.archives-ouvertes.fr/hal-01264453

C. Alexandraki, P. Koutlemanis, P. Gasteratos, N. Valsamakis, D. Akoumianakis et al., Towards the implementation of a generic platform for networked music performance: the diamouses approach, ICMC, p.167, 2008.

T. Anders, Composing Music by Composing Rules: Design and Usage of a Generic Music Constraint System, vol.128, 2007.

T. Anders, C. Anagnostopoulou, A. , and M. , Strasheela: Design and Usage of a Music Composition Environment Based on the Oz Programming Model, Multiparadigm Programming in Mozart/Oz, vol.128, pp.277-291, 2005.
DOI : 10.1007/978-3-540-31845-3_23

T. Anders and E. R. Miranda, Constraint programming systems for modeling music theories and composition, ACM Comput. Surv, vol.43, issue.4, 2011.
DOI : 10.1145/1978802.1978809

E. Andersen, Origami and math, p.94, 2012.

D. Antiseri, Introduzione alla metodologia della ricerca, 2005.

A. Antoine and E. R. Miranda, Towards intelligent orchestration systems, 11th International Symposium on Computer Music Multidisciplinary Research, p.24, 2015.

O. B. Arewa, Copyright and borrowing, Legal Studies Research Paper Series, vol.16, issue.10, pp.33-52, 2012.

G. Assayag, Computer assisted composition today, First Symposium on Music and Computers. Corfu Greece, p.59, 1998.

G. Assayag, Computer assisted composition at Ircam: From Patchwork to OpenMusic, Computer Music Journal, vol.65, issue.23, pp.59-72, 1999.
DOI : 10.1162/014892699559896

G. Assayag, G. Block, M. Chemillier, A. Cont, and S. Dubnov, Omax Brothers: a Dynamic Topology of Agents for Improvization Learning, ACM Multimedia, vol.138, 2006.
URL : https://hal.archives-ouvertes.fr/hal-01161351

I. Babuschkin, A tensorflow implementation of deepmind's wavenet paper, p.140, 2016.

C. Barlow, Music Derived from Other Sources, International Journal of the Humanities, vol.9, issue.7, 2011.

A. Bateman and J. Bale, Sporting Sounds: Relationships Between Sport and Music. Routledge, vol.46, 2008.

P. Beylot, La citation, un espace de problématisation des pratiques artistiques, Emprunts et citations dans le champ artistique, pp.9-15, 2004.

L. 'harmanattan, , p.14

S. Böck, F. Korzeniowski, J. Schlüter, F. Krebs, and G. Widmer, madmom: a new Python Audio and Music Signal Processing Library, Proceedings of the 24th ACM International Conference on Multimedia, vol.49, pp.1174-1178, 2016.

D. Bogdanov, N. Wack, E. Gómez, S. Gulati, P. Herrera et al., Essentia: An audio analysis library for music information retrieval, ISMIR, vol.51, pp.493-498, 2013.

B. Bossis, La voix et la machine. Presses universitaires de Rennes, vol.136, 2005.

J. Boyle and J. Jenkins, Theft! A History of Music. Duke Center for the Study of the Public Domain, vol.16, p.13, 2017.

J. Bresson, Sound processing in OpenMusic, Proc. of the 9th Int. Conference on Digital Audio Effects (DAFx-06), vol.124, 2006.
URL : https://hal.archives-ouvertes.fr/hal-01169018

J. Bresson, Reactive visual programs for computer-aided music composition, IEEE Symposium on Visual Languages and Human-Centric Computing, vol.60, 2014.
URL : https://hal.archives-ouvertes.fr/hal-01055239

A. Brock, , 2016.

, Voxel-Based Variational Autoencoders, VAE GUI, and Convnets for Classification

. Discriminative-voxel-modeling, GitHub repository. (Cited on pages 149, vol.150

A. Brock, T. Lim, J. M. Ritchie, W. , and N. , Generative and discriminative voxel modeling with convolutional neural networks, p.149, 2016.

P. M. Brossier, The aubio library at mirex 2006. Synthesis, 2006.

J. Bullock and A. Momeni, ml.lib: Robust, Cross-platform, Open-source Machine Learning for Max and Pure Data, Proceedings of the international conference on New Interfaces for Musical Expression, p.155, 2015.

J. Burkholder, All Made of Tunes: Charles Ives and the Uses of Musical Borrowing, p.14, 2004.

J. P. Burkholder, The uses of existing music: Musical borrowing as a field, Notes, vol.50, issue.3, p.13, 1994.
DOI : 10.2307/898531

C. Cannam, C. Landone, and M. Sandler, Sonic visualiser: An open source application for viewing, analysing, and annotating music audio files, Proceedings of the 18th ACM international conference on Multimedia, pp.1467-1468, 2010.

M. W. Carroll, The struggle for music copyright, Fla. L. Rev, vol.57, p.907, 2005.

C. E. Cella, On symbolic representations of music, vol.138, 2011.

A. T. Cemgil, Bayesian music transcription, p.131, 2004.

A. T. Cemgil and B. Kappen, , 2003.

, Monte Carlo methods for tempo tracking and rhythm quantization, Journal of Artificial Intelligence Research, vol.18, issue.1, p.131

E. Chew, Towards a mathematical model of tonality, p.146, 2000.

S. Chintala, , 2016.

D. ,

A. Cipriani, F. C. Ciardi, L. Ceccarelli, C. , and M. , Collective composition: the case of Edison Studio, Organised Sound, vol.9, issue.3, p.159, 2004.

T. Coduys and G. Ferry, Iannix-aesthetical/symbolic visualisations for hypermedia composition, Proceedings of the Sound and Music Computing Conference, vol.108, pp.18-23, 2004.

R. Cohn, Introduction to neo-riemannian theory: a survey and a historical perspective, Journal of Music Theory, p.98, 1998.

A. Connes, Advice to the beginner, Institut des Hautes Études Scientifiques and Vanderbilt University, 2005.

A. Cont, ANTESCOFO: Anticipatory Synchronization and Control of Interactive Parameters in Computer Music, Proceedings of the International Computer Music Conference, p.66, 2008.
URL : https://hal.archives-ouvertes.fr/hal-00694803

A. Cont, Modeling Musical Anticipation, vol.60, 2008.
URL : https://hal.archives-ouvertes.fr/tel-00417565

. Cope, Experiments In Musical Intelligence, p.153, 2017.

D. Cope, Virtual Music: Computer Synthesis of Musical Style, 2004.

P. Desain and H. Honing, The quantization of musical time: A connectionist approach, Computer Music Journal, vol.13, issue.3, p.131, 1989.

D. Deutsch, Musical illusions. Freeman, p.42, 1975.
DOI : 10.1016/b978-008045046-9.00250-3

N. Didkovsky and G. Hajdu, Maxscore: Music Notation in Max/MSP, Proceedings of the International Computer Music Conference, p.66, 2008.

J. S. Downie, Music information retrieval. Annual review of information science and technology, vol.37, pp.295-340, 2003.
URL : https://hal.archives-ouvertes.fr/inria-00544675

J. S. Downie and S. J. Cunningham, Toward a theory of music information retrieval queries: System design implications, Proceedings of the Third International Conference on Music Information Retrieval (ISMIR). (Cited on, p.39, 2002.

J. Duchen, Pierre Boulez: A very modern maestro. Independent, vol.17, 2012.

J. W. Dunne, An Experiment with Time, p.29, 1927.

U. Eco, Postille a "Il Nome della rosa, p.13, 1984.

A. Einbond, Musique instrumentale concrète: Timbral transcription in What the Blind See and Without Words, Editions Delatour France / IRCAM-Centre Pompidou, vol.3, p.23, 2016.

A. Einbond, D. Schwarz, R. Borghesi, and N. Schnell, Introducing catoracle: Corpus-based concatenative improvisation with the audio oracle algorithm, Proceedings of the International Computer Music Conference, vol.138, 2016.
URL : https://hal.archives-ouvertes.fr/hal-01427364

A. Einbond, C. Trapani, A. Agostini, D. Ghisi, and D. Schwarz, Finetuned Control of Concatenative Synthesis with CataRT Using the bach Library for Max, Proceedings of the International Computer Music Conference, vol.76, 2014.
URL : https://hal.archives-ouvertes.fr/hal-01161028

T. Eliot, The Sacred Wood and Major Early Essays. Dover books on literature and drama, vol.17, 1997.

S. Emmerson, Combining the acoustic and the digital: music for instruments and computers or prerecorded sound, The Oxford Handbook of Computer Music, pp.167-190, 2009.
DOI : 10.1093/oxfordhb/9780199792030.013.0009

J. Engel, C. Resnick, A. Roberts, S. Dieleman, D. Eck et al., Neural Audio Synthesis of Musical Notes with WaveNet Autoencoders. ArXiv e-prints, 2017.

J. Favory, Les unités sémiotiques temporelles. Mathématiques et sciences humaines. Mathematics and social sciences, vol.20, pp.51-55, 2007.

R. Fiebrink and P. R. Cook, The Wekinator: a system for real-time, interactive machine learning in music, Proceedings of The Eleventh International Society for Music Information Retrieval Conference, p.155, 2010.

J. Fineberg, Esquisse-library-reference manual (code de Tristan Murail, J. Duthen and C. Rueda), 1993.

Y. Fober, Y. Orlarey, and S. Letz, An Environment for the Design of Live Music Scores, Proceedings of the Linux Audio Conference, 2012.

J. Foote, A similarity measure for automatic audio classification, Proc. AAAI 1997 Spring Symposium on Intelligent Integration and Use of Text, Image, Video, and Audio Corpora, 1997.

L. Fousse, G. Hanrot, V. Lefèvre, P. Pélissier, and P. Zimmermann, MPFR: A multiple-precision binary floating-point library with correct rounding, ACM Transactions on Mathematical Software (TOMS), vol.33, issue.2, p.106, 2007.
URL : https://hal.archives-ouvertes.fr/inria-00070266

R. Freese, Automated lattice drawing. Lecture notes in computer science, p.108, 2004.
DOI : 10.1007/978-3-540-24651-0_12
URL : http://www.math.hawaii.edu/~ralph/Preprints/latdrawing.pdf

K. Friedman, O. F. Smith, and L. E. Sawchyn, The Fluxus Performance Workbook, p.159, 2002.

T. M. Fruchterman and E. M. Reingold, Graph drawing by force-directed placement. Software: Practice and experience, vol.21, pp.1129-1164, 1991.

D. Gay, Geometry by Discovery, 1997.

A. Gell, Boost Graph Library, The: User Guide and Reference Manual, p.16, 1998.

D. Ghisi and C. Agon, Real-time corpus-based concatenative synthesis for symbolic notation, Proceedings of the TENOR Conference, 2016.
URL : https://hal.archives-ouvertes.fr/hal-01393052

D. Ghisi and A. Agostini, Extending bach: A Family of Libraries for Realtime Computer-assisted Composition in Max, Journal of New Music Research, vol.46, issue.1, p.61, 2017.
URL : https://hal.archives-ouvertes.fr/hal-01561941

D. Ghisi, A. Agostini, and E. Maestri, Recreating Gérard Grisey's Vortex Temporum with cage, Proceedings of the International Computer Music Conference, 2016.

I. Goodfellow, J. Pouget-abadie, M. Mirza, B. Xu, D. Warde-farley et al., Generative adversarial nets, Advances in neural information processing systems, p.141, 2014.

T. Granlund, GMP, the GNU multiple precision arithmetic library, p.106, 1991.

D. Griffin and J. Lim, Signal estimation from modified short-time fourier transform, IEEE Transactions on Acoustics, Speech, and Signal Processing, vol.32, issue.2, p.141, 1984.

G. Grisey, Tempus ex machina: A composer's reflections on musical time, Contemporary Music Review, vol.2, issue.1, pp.239-275, 1987.

G. Grisey, Écrits : ou l'invention de la musique spectrale. MF Éditions, p.157, 2008.

C. Gurtner, Applications of Audio and MIDI API within a music notation editor. Georgia Institute of Technology, p.159, 2016.

B. Hackbarth, N. Schnell, and D. Schwarz, Audioguide: A Framework For Creative Exploration Of Concatenative Sound Synthesis, p.24, 2011.

K. L. Hagan, How live is real-time?, Electroacoustic Music Studies Conference. Electroacoustic Music Studies Network, vol.60, 2014.

G. Hajdu, Quintet.net: An environment for composing and performing music on the internet, vol.38, p.167, 2005.

K. Hamel, NoteAbility Reference Manual, p.66, 1997.

A. Harker, A Set of 80+ Externals for a variety of tasks in MaxMSP, 2014.

C. Harte, M. Sandler, and M. Gasser, Detecting harmonic change in musical audio, Proceedings of Audio and Music Computing for Multimedia Workshop, vol.81, p.71, 2006.

T. Hélie, C. Picasso, C. , and A. , The Snail: un nouveau procédé d'analyse et de visualisation du son, p.147, 2016.

P. Herrera, X. Serra, and G. Peeters, Audio Descriptors and Descriptor Schemes in the Context of MPEG-7, Proceedings of the International Computer Music Conference, vol.27, 1999.

J. L. Hervé and . Le-vertige-de-la-durée, , vol.115, 2001.

I. Hewett, Who Killed Classical Music? Radio broadcast, 2014.

R. Hirs and B. G. Editors, Contemporary compositional techniques and OpenMusic. Delatour/Ircam, p.71, 2009.

D. R. Hofstadter, Gödel, Escher, Bach. Basic Books, p.94, 1999.

A. Huang and R. Wu, Deep learning for music, p.136, 2016.

D. Huggins-daines, M. Kumar, A. Chan, A. W. Black, M. Ravishankar et al., Pocketsphinx: A free, real-time continuous speech recognition system for hand-held devices, Proceedings of ICASSP, vol.46, 2006.

J. Huizinga, Homo Ludens. Routledge, p.94, 1949.

S. G. James, Developing a flexible and expressive realtime polyphonic wave terrain synthesis instrument based on a visual and multidimensional methodology, p.107, 2005.

D. D. Johnson, Generating Polyphonic Music Using Tied Parallel Networks, p.136, 2017.

J. Johnson, Efficient, reusable RNNs and LSTMs for torch, p.139, 2016.

T. Johnson, Three notes for 3 jugglers, p.94, 2012.

T. Kamada and S. Kawai, An algorithm for drawing general undirected graphs. Information processing letters, vol.31, pp.7-15, 1989.

A. Karpathy, char-rnn: Multi-layer Recurrent Neural Networks (LSTM, GRU, RNN) for character-level language models in Torch, p.139, 2015.

A. Karpathy, J. Johnson, and L. Fei-fei, Visualizing and understanding recurrent networks, p.139, 2015.

D. P. Kingma and M. Welling, Auto-encoding variational bayes, p.144, 2013.

T. Kitahara, Mid-level Representations of Musical Audio Signals for Music Information Retrieval, p.26, 2010.

P. Kivy, Platonism in music: Another kind of defense, American Philosophical Quarterly, vol.24, issue.3, pp.245-252, 1987.

J. Kramer, Postmodern Music, Postmodern Listening. Bloomsbury Academic, p.41, 2016.

V. Kuleshov, S. Z. Enam, E. , and S. , Audio super-resolution using neural networks. In ICLR, p.154, 2017.

H. Lachenmann, Philosophy of Composition: Is There Such a Thing?, Identity and Difference. Essays on Music, Language and Time, vol.153, pp.55-69, 2004.

M. Laurson and J. Duthen, Patchwork, a graphical language in preform, Proceedings of the International Computer Music Conference, vol.71, pp.172-175, 1989.

M. Laurson and M. Kuuskankare, PWGL: A Novel Visual Language based on Common Lisp, CLOS and OpenGL, Proceedings of International Computer Music Conference, vol.65, pp.142-145, 2002.

R. Leeman, Comment se servir d'un Rembrandt. La citation, le postmoderne et la planche à repasser, Emprunts et citations dans le champ artistique, p.13, 2004.

H. Lehmann, La Révolution digitale dans la musique, Allia, 2017.

F. Lévy, Notre notation musicale est-elle une surdité au monde ? Number 5. éditions Bruylant, p.127, 2007.

F. Lévy, Le compositeur, son oreille et ses machines à écrire. Vrin. (Cited on pages 128, vol.129, 2014.

M. S. Lew, N. Sebe, C. Djeraba, J. , and R. , Content-based multimedia information retrieval: State of the art and challenges, ACM Transactions on Multimedia Computing, Communications, and Applications (TOMM), vol.2, pp.1-19, 2006.

A. Lightman, A Sense of the Mysterious: Science and the Human Spirit, 2005.

P. Lindborg, About TreeTorika: Rhetoric, CAAC and Mao, Editions Delatour France / IRCAM-Centre Pompidou, vol.2, p.42, 2008.

I. Liu and B. Ramakrishnan, Bach in 2014: Music Composition with Recurrent Neural Network. ArXiv e-prints, p.136, 2014.

V. Lostanlen and S. Mallat, Wavelet scattering on the pitch spiral, vol.148, 2016.

A. Maas, Q. V. Le, T. M. O'neil, O. Vinyals, P. Nguyen et al., Recurrent neural networks for noise reduction in robust asr, 2012.

M. Macauley, M. O. Advisor, and M. Macauley, Abstract braids and juggling patterns, p.94, 2003.

E. Maestri and P. Antoniadis, Notation as Instrument: From Representation to Enaction, Proceedings of the TENOR Conference, vol.110, 2015.
URL : https://hal.archives-ouvertes.fr/halshs-01644074

M. Malt, Descripteurs sonores et écriture musicale, 2017.

, État de l'art / état d'alerte, vol.28

M. Malt and E. Jourdan, Zsa. descriptors: a library for real-time descriptors analysis. Sound and Music Computing, 2008.
URL : https://hal.archives-ouvertes.fr/hal-01580326

M. Malt and J. B. Schilingi, Profile-libreria per il controllo del profilo melodico per Patchwork, Proceedings of the XI Colloquio di Informatica Musicale (CIM), p.71, 1995.

P. Manning, Electronic and Computer Music, p.129, 1985.

P. Manoury, Considérations (toujours actuelles) sur l'état de la musique en temps réel. Ircam-Centre Pompidou, vol.128, 2007.

M. Mathews, The digital computer as a musical instrument, vol.110, pp.553-557, 1963.

M. Mathews, F. R. Moore, and J. Risset, Computers and Future Music, Science, issue.4122, p.183, 1974.

B. Mathieu, S. Essid, T. Fillon, J. Prado, R. et al., YAAFE, an Easy to Use and Efficient Audio Feature Extraction Software, ISMIR, pp.441-446, 2010.

D. Maturana and S. Scherer, VoxNet: A 3D Convolutional Neural Network for Real-Time Object Recognition, IROS. (Cited on, p.149, 2015.

M. Mauch, Automatic chord transcription from audio using computational models of musical context, vol.49, 2010.

B. Mcfee, C. Raffel, D. Liang, D. P. Ellis, M. Mcvicar et al., librosa: Audio and music signal analysis in python, Proceedings of the 14th python in science conference, vol.148, 2015.

H. Mcgurk and J. Macdonald, Hearing lips and seeing voices, Nature, vol.264, issue.5588, p.42, 1976.

C. Mckay, Automatic music classification with jMIR, vol.135, 2010.

C. Mckay and I. Fujinaga, jSymbolic: A Feature Extractor for MIDI Files, International Computer Music Conference, vol.27, 2006.

S. Mehri, SampleRNN: An Unconditional End-to-End Neural Audio Generation Model, vol.141, 2016.

S. Mehri, K. Kumar, I. Gulrajani, R. Kumar, S. Jain et al., Samplernn: An unconditional end-to-end neural audio generation model, vol.140, 2016.

S. Mériaux, Dans la chair du monde. L'harmattan, p.18, 2012.

L. Metz, B. Poole, D. Pfau, and J. Sohl-dickstein, Unrolled generative adversarial networks, p.143, 2016.

T. Mikolov, I. Sutskever, K. Chen, G. S. Corrado, D. et al., Distributed representations of words and phrases and their compositionality, Advances in neural information processing systems, p.142, 2013.

T. Mikolov, W. Yih, and G. Zweig, Linguistic regularities in continuous space word representations, Hlt-naacl, vol.13, p.143, 2013.

E. Miranda, Composing music with computers, p.59, 2001.

A. Mordvintsev, C. Olah, and M. Tyka, Deepdream-a code example for visualizing neural networks, Google Res, p.141, 2015.

C. Nash, The cognitive dimensions of music notations, Proceedings of the First International Conference on Technologies for Music Notation and Representation, vol.110, 2015.

J. Oswald, Plunderphonics, or audio piracy as a compositional prerogative, Wired Society Electro-Acoustic Conference, vol.15, pp.5-8, 1985.

K. R. Page, B. Fields, D. De-roure, T. Crawford, and J. S. Downie, , 2012.

R. Reuse, repeat: the workflows of mir, ISMIR, pp.409-414

T. L. Paine, P. Khorrami, S. Chang, Y. Zhang, P. Ramachandran et al., Fast wavenet generation algorithm, p.140, 2016.

R. D. Patterson, Spiral detection of periodicity and the spiral form of musical scales, Psychology of Music, vol.14, issue.1, p.148, 1986.

G. Peeters, A large set of audio features for sound description (similarity and classification) in the CUIDADO project, Ircam, Analysis/Synthesis Team, 1 pl. Igor Stravinsky, vol.26, p.75004, 2004.

J. Procházková, Janá?kovy záznamy hudebního a tane?ního fokloru I. Etnologický ústav AV ?R, Dopln?k, p.42, 2006.

M. Puckette, Max at seventeen, Computer Music Journal, vol.26, issue.4, p.27, 2002.

M. Puckette, A divide between 'compositional' and 'performative' aspects of Pd, Proceedings of the First Internation Pd Convention, vol.60, 2004.

M. Puckette, Pure Data: another integrated computer music environment, Proceedings of the second intercollege computer music concerts, p.27, 1996.

A. Radford, L. Metz, C. , and S. , Unsupervised representation learning with deep convolutional generative adversarial networks, p.142, 2015.

P. M. Ranum, The Harmonic Orator. Pendragon, p.42, 2001.

E. M. Reingold and J. S. Tilford, Tidier drawings of trees, IEEE Transactions on Software Engineering, issue.2, p.108, 1981.

C. W. Reynolds, Flocks, herds and schools: A distributed behavioral model, ACM SIGGRAPH computer graphics, vol.21, issue.4, pp.25-34, 1987.

C. Roads, Automated Granular Synthesis of Sound, vol.2, p.27, 1978.

C. Roads, The computer music tutorial, vol.91, 1996.

C. Roads, Microsound, vol.138, 2004.

A. Roberts, C. Hawthorne, S. , and I. , Magenta: Music and Art Generation with Machine Intelligence, p.136, 2014.

S. Robinson, Melancholy Elephants. Penguin short fiction. Penguin Books, 1984.

G. Roma and X. Serra, Querying freesound with a microphone, Proceedings of the First Web Audio Conference, vol.39, p.149, 2015.

A. Roubet, Emprunts et citations, p.13, 2013.

C. Rueda and A. Bonnet, Un Langage Visuel Basé sur les Contraintes pour la Composition Musicale, vol.125, 1998.

B. Ruviaro, Musical Borrowing, Donatoni, vol.17, 2007.

Y. Sadai, Le musicien-cognitiviste face au cognitiviste-musicien, ou la méthode de la cognition et la cognition de la méthode, Analyse musicale, number 26, vol.130, pp.30-33, 1992.

T. Sauer, Notations 21. Mark Batty Publisher, vol.46, 2009.

P. Schaeffer, Traité des objets musicaux, Editions du Seuil, vol.110, 1966.

J. Schell, The Art of Game Design: A book of lenses, p.96, 2014.

N. Schnell, R. Borghesi, D. Schwarz, F. Bevilacqua, and R. Müller, FTM-Complex Data Structures for Max, Proceedings of the International Computer Music Conference, vol.66, 2005.
URL : https://hal.archives-ouvertes.fr/hal-01161338

N. Schnell, A. Röbel, D. Schwarz, G. Peeters, and R. Borghesi, MuBu & Friends-Assembling Tools for Content Based Real-Time Interactive Audio Processing in Max/MSP, Proceedings of the International Computer Music Conference, 2009.

D. Schwarz, Corpus-based concatenative synthesis, IEEE, vol.24, issue.2, p.28, 2007.
URL : https://hal.archives-ouvertes.fr/hal-01161294

D. Schwarz, G. Beller, B. Verbrugghe, and S. Britton, Real-Time CorpusBased Concatenative Synthesis with CataRT, Proceedings of the International Conference on Digital Audio Effects, vol.106, pp.279-282, 2006.
URL : https://hal.archives-ouvertes.fr/hal-01161358

C. Seeger, Prescriptive and descriptive music-writing, vol.44, pp.184-195, 1948.

C. Seleborg, Interactions temps-réel/temps differé, Memoire ATIAM, p.61, 2004.

R. N. Shepard, Circularity in judgments of relative pitch, The Journal of the Acoustical Society of America, vol.36, issue.12, p.148, 1964.

S. Sica and V. Antonio, The Balance of Copyright in Italian National Law, Comparazione e Diritto Civile, p.16, 2010.

J. G. Siek, L. Lee, L. , and A. , Art and Agency: An Anthropological Theory, vol.100, 2001.

. Sirens-cycle, Sirens Cycle, p.42, 2017.

D. Smalley, Spectromorphology: explaining sound-shapes. Organised sound, vol.2, p.21, 1997.

B. L. Sobel, Artificial Intelligence's Fair Use Crisis, Columbia Journal of Law And the Arts, p.156, 2017.

A. Sorensen and H. Gardner, Programming with Time. Cyber-physical programming with Impromptu, Proceedings of OOPSLA10 : ACM International Conference on Object Oriented Programming Systems Languages and Applications, p.110, 2010.

. , Sox: Sound eXchange, p.49, 2017.

K. ;. Stockhausen, wie die Zeit vergeht, Number 3. Wien. (Cited on, p.157, 1957.

D. Stowell, Scheduling and composing with Risset eternal accelerando rhythms, International Computer Music Conference, vol.30, 2011.

D. Stowell, Example of an autoencoder set up for spectrograms, using Theano and Lasagne, p.145, 2016.

S. Streich and P. Herrera, Detrended fluctuation analysis of music signals: Danceability estimation and further semantic characterization, Proceedings of the 118th AES Convention, p.26, 2005.

M. Stroppa, Paradigms for the high level musical control of digital signal processing, Proceedings of the International Conference on Digital Audio Effects (DAFx-00), vol.124, 2000.

H. Takeda, N. Saito, T. Otsuki, M. Nakai, H. Shimodaira et al., Hidden Markov model for automatic transcription of MIDI signals, IEEE Workshop on Multimedia Signal Processing, vol.132, pp.428-431, 2002.

H. Taube, Common Music: A Music Composition Language in Common Lisp and CLOS, Computer Music Journal, vol.15, p.59, 1991.

P. M. Todd, A connectionist approach to algorithmic composition, Computer Music Journal, vol.13, issue.4, p.136, 1989.
DOI : 10.2307/3679551

E. Tomás, Musical Instruments as Scores: a Hybrid Approach, Proceedings of the TENOR Conference, p.111, 2016.

C. Trapani, Convergence Lines: A Musical Distillation of Thomas Pynchon's V, vol.23, 2017.

C. Truchet, G. Assayag, C. , and P. , OMClouds, Petits Nuages de Contraintes dans OpenMusic, Proceedings of the Journées d'Informatique Musicale, vol.125, 2003.

P. Turowski, Digital Game as Musical Notation, vol.106, 2016.
DOI : 10.18130/v3hs18
URL : https://libraetd.lib.virginia.edu/downloads/9c67wn20j?filename=Turowski_Paul_2016.pdf

R. Typke, F. Wiering, and R. C. Veltkamp, A Survey of Music Information Retrieval Systems, Ismir, vol.149, pp.153-160, 2005.

G. Tzanetakis and P. Cook, Marsyas: A framework for audio analysis, Organised sound, vol.4, issue.3, pp.169-175, 2000.
DOI : 10.1017/s1355771800003071

H. Vaggione, Articulating Microtime, Computer Music Journal, vol.20, issue.2, p.27, 1996.
DOI : 10.2307/3681329

A. Van-den-oord, S. Dieleman, H. Zen, K. Simonyan, O. Vinyals et al., Wavenet: A generative model for raw audio, 2016.

Q. Wang and K. L. Boyer, Feature learning by multidimensional scaling and its applications in object recognition, Graphics, Patterns and Images (SIBGRAPI), 2013 26th SIBGRAPI-Conference on, vol.80, pp.8-15, 2013.
DOI : 10.1109/sibgrapi.2013.11
URL : http://arxiv.org/pdf/1306.3294.pdf

G. Wichern, What the Machine Learning in RX 6 Advanced Means for the Future of Audio Repair Technology, p.154, 2017.

E. Wold, T. Blum, D. Keislar, and J. Wheaten, Content-based classification, search, and retrieval of audio, IEEE multimedia, vol.3, issue.3, pp.27-36, 1996.
DOI : 10.1016/b978-155860651-7/50104-2

L. Wyse and S. Smoliar, Toward content-based audio indexing and retrieval and a new speaker discrimination technique, Proc. ICJAI, 95, 1995.
DOI : 10.1016/b978-155860651-7/50105-4

A. Ycart, F. Jacquemard, J. Bresson, and S. Staworko, A supervised approach for rhythm transcription based on tree series enumeration, International Computer Music Conference, p.131, 2016.
URL : https://hal.archives-ouvertes.fr/hal-01315689

D. Zalewski, The Hours. How Christian Marclay created the ultimate digital mosaic, The New Yorker, vol.23, 2012.

A. Zils and F. Pachet, Musical mosaicing, Proceedings of the COST G-6 Conference on Digital Audio Effects (DaFx-01), p.28, 2001.