Music+Technology_cover   book    Cover image small

Versions of selected publications are available in electronic form at Griffith ePrints and QUT ePrints.

Books

  1. Brown, A. R. 2015. Music Technology and Education: Amplifying Musicality (2nd Edition). New York: Routledge.

  2. Manaris, B. and Brown A. R. (Ed.) 2014. Making Music with Computers: Creative Programming in Python. Parkway, NW: CRC Press.

  3. Dillon S.C and Brown, A. R. 2011. Sound Thinking: Tips and Tools for Understanding Popular Music. Brisbane: Exploding Art.

  4. Brown A. R. 2007. Computers in Music Education: Amplifying Musicality. New York: Routledge.

  5. Brown, A. R. 2005. Making Music With Java. Raleigh, North Carolina: Lulu.

  6. Dillon S. and Brown A. R. 2001. Retro Rock Charts and Retro Rock Style Guide.  Sydney, Australia: Currency Press.

  7. Brown A. R. and Dillon S. 2001. Sound Reflections: Your music learning diary. Brisbane, Australia: Exploding Art Music Productions.

  8. Brown A. R. and Dillon S. 1999. Reflection Recorder: Your music workbook. Melbourne: Exploding Art Music Productions.

  9. Brown A. R. and Dillon S. 1997. Retro Rock: Alternative Styles That Made Rock History. Melbourne: Exploding Art Music Productions.

  10. Brown A. R., Dillon S., and Purcell K. 1995. Rock Essentials. Sydney: Science Press.

  11. Brown A. R., Dillon S., and Purcell K. 1992. Reading and Writing Rock. Sydney: Science Press.

  12. Brown A. R. and Dillon S. 1990. Pop Percussion. Sydney: Peter Leyden Publishing.

  13. Brown, A. R. and Purcell, K. 1989. Using the EPS in the Classroom. Melbourne: The Electric Factory.

  14. Brown, A. R. and Purcell, K. 1988. Composition and other activities with sequencers. Sydney: Roland Australia.

  15. Brown, A. R. 1988. Macintosh and Music. French’s Forest, NSW: Apple Computer Australia.

  16. Brown, A. R. 1988. The Apple IIGS and Music. French’s Forest, NSW: Apple Computer Australia.

Edited Volumes

  1. Brown A. R. (Ed.) 2012.  Sound Musicianship: Understanding the crafts of music. Newcastle upon Tyne: Cambridge Scholars Publishing.

  2. Opie, T. and Brown, A. R. (Eds.) 2005. Proceedings of the Australasian Computer Music Conference, Brisbane, Australia:  ACMA.

  3. Brown, A. R. Ed. 2000. Interfaces: Proceedings of the Australasian Computer Music Conference. Brisbane: Australian Computer Music Association.

  4. Gifford, E., Brown, A. R. and Thomas, A. (Eds.) 1997. Conference Proceedings of the ASME XI Conference. Brisbane: Australian Society for Music Education.

  5. Brown, A. R. 1996. Proceedings of the Australasian Computer Music Conference 1996. Brisbane: Australian Computer Music Association.

Book Chapters

  1. Brown, A. R. 2016. Game technology in the music classroom: A platform for the design of music and sound. In A. King & E. Himonides (Eds.), Music, Technology, and Education: Critical Perspectives (pp. 122–133). Oxford: Routledge.

  2. Brown, A. R. 2015, “Engaging in a sound musicianship”, in G. McPherson, (Ed.), The Child as Musician: A handbook of Musical Development, pp. 208–220, New York: Oxford University Press.

  3. Brown, A. R., Stewart, D., Hansen, A., & Stewart, A. 2014. “Making Meaningful Musical Experiences Accessible Using the iPad.” In D. Keller,  V. Lazzarini, & M. S. Pimenta (Eds.), Ubiquitous Music. Switzerland: Springer-Verlag, pp. 65-82.

  4. Brown, A. R., & Nelson, J. 2013. Digital music and media creativities. In P. Burnard (Ed.), Digital Creatives in Higher Music Education. Abingdon, Oxford: Routledge, p. 62-74.

  5. Brown, A. R., and Dillon, S. 2012. “Meaningful Engagement with Music Composition.” In The Act of Music Composition: Studies in the Creative Process, edited by David Collins, 79–110. Surrey, UK: Ashgate, 2012.

  6. Brown, A. R. 2012. Musicianship in a Globalised World. In A. R. Brown (Ed.), Sound Musicianship: Understanding the Crafts of Music (pp. 1–13). Newcastle upon Tyne: Cambridge Scholars Publishing.

  7. Jones, D., Brown, A. R., & d’ Inverno, M. 2012. “The Extended Composer: Creative reflection and extension with generative tools.” In,  J. McCormack & M. d’ Inverno (Eds.) Computers and Creativity (pp. 175–203). London: Springer.

  8. Jenkins, G., Barrett, L., & Brown, A. R. 2012. Sound Media Musicianship. In A. R. Brown (Ed.), Sound Musicianship: Understanding the Crafts of Music (pp. 335–345). Newcastle upon Tyne: Cambridge Scholars Publishing.

  9. Brown, A. R., & Dillon, S. 2012. Collaborative Digital Media Performance with Generative Music Systems. In G. McPherson & G. Welch (Eds.), The Oxford Handbook of Music Education (Vol. 2, pp. 549–566). New York: Oxford University Press.

  10. Brown, A. R., Wooller, R. and Miranda, E. R. 2011. Evolutionary Morphing for Music Composition. In, A-Life for Music: Music: Music and Computer Models of Living Systems. E. R. Miranda, Ed. Middleton, WI, A-R Editions: 115-132.

  11. Brown, A. R. and Sorensen, A. 2009. Integrating Creative Practice and Research in the Digital Media Arts. In, Dean, R. and Smith, H. Practice-led Research, Research-led Practice in the Creative Arts. Edinburgh, Edinburgh University Press, pp. 153-165.

  12. Brown, A. R. and Dillon, S. C. 2007. Networked Improvisational Musical Environments: Learning through online collaborative music making. In Finney, J. and Burnard, P. (Eds.) Music Education with Digital Technology. London: Continuum, pp. 96-106.

  13. Dillon, S. C. and Brown A. R. 2006. The Art of ePortfolios: Insights from the creative arts experience. In Jafari, Ali and Kaufman, Catherine. (Eds) Handbook of Research on ePortfolios. Hershey, PA: Idea Group, pp.418-431

  14. Interviews with Paul Lansky and Steve Reich, In Cope, D. 1998. New Directions In Music (7th Edition). Prospect Heights: Waveland Press

  15. VCE Synthesizer Syllabus. 1991.  Brown, Andrew R. and Purcell, Kevin. In, VCE Music Craft Units 3 and 4: Solo Performance, Prescribed list of Notated Solo Works. 1991. Melbourne: The Victorian Curriculum and Assessment Board, August 1991. Pages 57-58,

  16. VCE Music Craft Units 3 and 4: Solo Performance, Prescribed list of Notated Solo Works. Accredited 1998-2002. Published by the Victorian Board of Studies, 1997. Page 77. Synthesizer Syllabus, written by Andrew Brown.

Journal Articles

  1. Brown, A. R., Gifford, T., & Voltz, B. (2016). Stimulating Creative Partnerships in Human-Agent Musical Interaction. Computers in Entertainment, 14(2). https://doi.org/10.1145/2991146

  2. Brown, A. R. (2016). Performing with the other: The relationship of musician and machine in live coding. International Journal of Performance Arts and Digital Media, 12(2), 179–186.

  3. Ferguson, J., & Brown, A. R. 2016. Fostering a post-digital avant-garde: Research-led teaching of music technology. Organised Sound, 21(02), 127–137.

  4. Manaris, B., Brown, A. R., & Stevens, B. 2016. JythonMusic: An environment for teaching algorithmic music composition, dynamic coding, and musical performativity. Journal of Music, Technology and Education, 9(1), 33–56.

  5. Brown, A. R., Gifford, T. and Davidson, R. 2015. “Techniques for Generative Melodies Inspired by Music Cognition.” Computer Music Journal 39 (1): 11–26.

  6. Stefan, J., & Brown, A. R. 2014. “Generative Music Video Composition: Using automation to extend creative practice.” Digital Creativity. Published online 15 June 2014. http://www.tandfonline.com/doi/abs/10.1080/14626268.2014.932289#preview

  7. Adkins, B., Knox, M., Dillon, S. and Brown, A. R. 2012. “Digital technologies and cultural participation for people with intellectual disabilities.” New Media and Society. Published Online.

  8. Brown, A. R. and Dillon, S. 2012. “eBILITY: from tool use to partnerships.” Journal of Music Technology in Education. 4(2 & 3):201-215.

  9. Brown, A. R. 2012. Experience Design and Interactive Software in Music Education Research. Visions of Research in Music Education, 20. http://www-usr.rider.edu/~vrme/v20n1/.

  10. Wooller, R. and Brown, A. R. 2011. Note sequence morphing algorithms for performance of electronic dance music. Digital Creativity, 22(1):13-25

  11. Livingston, S., Muhlberger, R., Brown, A. R. and Thompson, W. F. 2010. Changing Musical Emotion: A Computational Rule System for Modifying Score and Performance. Computer Music Journal 34(1): 41-64.

  12. Collins, N. and Brown, A. R. 2009. Generative Music Editorial. Contemporary Music Review 28(1): 1-4.

  13. Brown, A. R. and Sorensen, A. 2009. Interacting with Generative Music through Live Coding. Contemporary Music Review 28(1): 17-29.

  14. Dillon, S., Adkins, B., Brown, A. R. and Hirche, K. 2008. Communities of Sound: Generative music making and virtual ensembles. International Journal of Community Music, 1(3): 357-374.

  15. Brown, A. R. 2007. Software Development Practices as Music Education Research International Journal of Education & the Arts. 8(6). Retrieved 14 July 2007 from http://ijea.asu.edu/v8n6/

  16. Livingstone, S. R, Mühlberger, R., Brown, A. R., Loch, A. 2007. Controlling Musical Emotionality: An Affective Computational Architecture for Influencing Musical Emotions. Digital Creativity 18(1), pp. 43-54.

  17. Brown, A. R. Code Jamming. 2006. M/C Journal 9.6. Accessed 13 Jan. 2007 <http://journal.media-culture.org.au/0612/03-brown.php>.

  18. Brown, A. R. and Dillon, S. 2006. ePortfolios in Arts Learning and Assessment. Music Education Research and Innovation 12(1): 7-36.

  19. Brown, A. R. and Voltz, B. 2005. Elements of Effective e-Learning Design, International Review of Research in Open and Distance Learning, vol.6, no.1, http://www.irrodl.org/index.php/irrodl/article/view/217/300

  20. Brown, A. R. 2004. An aesthetic comparison of rule-based and genetic algorithms for generating melodies. Organised Sound, Vol. 9 (2), pp. 191-198

  21. Nalder, G., Dillon, S., Smith, J., & Brown, A. R. 2004. Art Education for a ‘tele-matic’ future Australian Art Education, Journal of the Australian Institute of Art Educators. Vol. 27(1), 2004, pp. 56-71.

  22. Brown, A. R. 2001. Modes of Compositional Engagement Mikropolyphonie, Vol. 6. http://farben.latrobe.edu.au/mikropol/volume6/brown_a/brown_a.html (available at http://eprints.qut.edu.au/archive/00000168/ and archived at http://pandora.nla.gov.au/tep/10054)

  23. Towsey, M., Brown, A., Wright, S., & Diederich, J., 2001. Towards Melodic Extension Using Genetic Algorithms. Educational Technology and Society Vol. 4 (2). April 2001. http://ifets.massey.ac.nz/periodical/vol_2_2001/v_2_2001.html

  24. Brown, A. R. 1999. Music, media and making: Humanising digital media in music education. International Journal of Music Education, Vol. 33: 3-9.

  25. Brown, A. R. 1998. Composing by pen: using pen input for computer music notation. Australian Journal of Music Education, 1998, No. 1, pp. 48-56.

  26. Brown, A. R. 1995. Digital Technology and The Study of Music. International Journal of Music Education, Vol. 25: 14-19.

  27. Brown, A. R. 1994. Teaching Synthesizer Performance. Research Studies in Music Education Vol. 3:25-35

Conference Papers refereed by full paper

  1. Brown, A. R. 2016. Understanding Musical Practices as Agency Networks. In Proceedings of the International Conference on Computational Creativity. Paris: Association of Computational Creativity.

  2. Brown, A. R. 2016. Ripples: A human-machine musical duet. In Proceedings of the 4th International Workshop on Musical Metacreation. Paris: Musical Metacreation.

  3. Eigenfeldt, A., Bown, O., Brown, A. R., & Pasquier, P. 2016. Flexible Generation of Musical Form: Beyond Mere Generation. In Proceedings of the International Conference on Computational Creativity. Paris: Computational Creativity.

  4. Brown, A. R. 2016. Making Musical Mates: A story of digital craftsmanship. In Proceedings of DIS 2016 – Fuse (Vol. Digital Craftsmanship: HCI Takes on Technology as an Expressive Medium). Brisbane, Australia: ACM.

  5. Brown, A. R. 2014. Tactical Temporalities. In Proceedings of The Second Conference on Computation, Communication, Aesthetics and X. Porto, Portugal: 26-27 June 2014. http://2014.xcoax.org/

  6. Brown, A. R., & Gifford, T. 2013. Prediction and Proactivity in Real-Time Interactive Music Systems. In Musical Metacreation: Papers from the 2013 AIIDE Workshop (pp. 35–39). Presented at the Ninth AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment, Boston, USA: AAAI.

  1. Gifford, T., & Brown, A. R. 2013. Cybernetic Configurations: Characteristics of Interactivity in the Digital Arts. In Proceedings of the 19th International Society for Electronic Arts (p. 1-3). Sydney: ISEA International.

  2. Brown, A. R., Gifford, T., & Voltz, B. 2013. Factors affecting audience perceptions of agency in human-computer musical partnerships. In Proceedings of Creativity and Cognition 2013. Presented at the Creativity and Cognition, Sydney: UTS.

  3. Brown, A. R., Gifford, T., & Davidson, R. 2013. Amplifying Compositional Intelligence: Creating with a psychologically-inspired generative music system. In Proceedings of the International Computer Music Conference, Perth: ICMA.

  4. Brown, A. R. 2012. Creative Partnerships with Technology: How creativity is enhanced through interactions with generative computational systems. Proceedings of the Eighth Annual AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment. Presented at the 1st International Workshop on Musical Metacreation, Stanford, CA: AAAI.

  5. Reid, C., & Brown, A. R. 2012. Accelerometer-based digital musical instrument. In Proceedings of Interactive: The Australasian Computer Music Conference, Brisbane, Australia: The Australasian Computer Music Association.

  6. Kerr, T., & Brown, A. R. 2012. jam2jam XO: An educational generative music activity for the OLPC XO. In Proceedings of Interactive: The Australasian Computer Music Conference, Brisbane, Australia: Australasian Computer Music Association.

  7. Gifford, T., & Brown, A. R. 2011. Beyond Reflexivity: Mediating between imitative and intelligent action in an interactive music system. Paper presented at the 25th BCS Conference on Human-Computer Interaction. Newcastle Upon Tyne, UK.

  8. Opie, T., & Brown, A. R. 2011. Eco-Structuralism in Practice. Paper presented at the Australasian Computer Music Conference, Auckland, New Zealand.

  9. Brown, A. R. 2010. Visualizing Digital Media Interactions: Providing feedback on jam2jam AV performances. OzCHI 2010: design-interaction-participation. R. Robinson and M. Bodket (Eds). Brisbane, Australia, CHISIG, pp. 196-199.

  10. Gifford, T. and Brown, A. R. 2010. Anticipatory Timing In Algorithmic Rhythm Generation. Australasian Computer Music Conference, Canberra: Australasian Computer Music Association, pp.21-28

  11. Opie, T. and Brown, A. R. 2010. Aesthetic Implications Of The Eco-Structuralist Process. Australasian Computer Music Conference, Canberra: Australasian Computer Music Association, pp.43-50.

  12. Dillon, S. and Brown, A. R. 2010. Access to meaningful relationships through virtual instruments and ensemble. International Society for Music Education 2010 Seminar of the Commission for Community Music Activity, Hangzhou, China: International Society for Music Education, pp.33-36.

  13. Brown, A. R. 2010. Network Jamming: Distributed Performance using Generative Music. New Instruments for Musical Expression, Sydney: pp.283-286.

  14. Brown, A. R. and Gifford, T. 2010. Elaborating Statistical Models of Music Perception. International Conference on Music Perception and Cognition, Seattle: (Accepted February 2010).

  15. Dillon, S. and Brown, A. R. 2010. The Educational Affordances of Generative Media in Arts Education. INTED 2010,  International Association of Technology, Education and Development, pp.5311-5320.

  16. Adeney, R. and Brown, A. R. 2009. Performing With Grid Music Systems. Improvise: The Australasian Computer Music Conference, Brisbane: Australasian Computer Music Association, pp.102-110.

  17. Barrett, L. and Brown, A. R. 2009. Towards a definition of the performing AudioVisualist. Improvise: The Australasian Computer Music Conference, Brisbane, Australia: Australasian Computer Music Association, pp.46-55.

  18. Brown, A. R., Gifford, T., Narmour, E. and Davidson, R. 2009. Generation in Context: An Exploratory Method for Musical Enquiry. The Second International Conference on Music Communication Science, Sydney: HCSNet, pp.7-10.

  19. Brown, A. R., Dillon, S., Kerr, T. and Sorensen, A. 2009. Evolving Interactions: Agile design for networked media performance. OzCHI, Melbourne, Australia: CHISIG, pp.41-48

  20. Brown, A. R. 2009. SoundCipher: A music and sound library for Processing. International Computer Music Conference, Montreal: International Computer Music Association, pp.431-434.

  21. Brown, A. R. and Kerr, T. 2009. Adaptive Music Techniques. Australasian Computer Music Conference, Brisbane: Australasian Computer Music Association, pp.26-31

  22. Gifford, T. and Brown, A. R. 2009. Do Andriods Dream of Electric Chimera? Australasian Computer Music Conference, Brisbane, pp. 56-63.

  23. Sorensen, A. and Brown, A. R. 2008. A Computational Model For The Generation Of Orchestral Music In The Germanic Symphonic Tradition: A progress report. Proceedings of the Sound : Space – The Australasian Computer Music Conference, Sydney. ACMA, pp. 78-84.

  24. Hedemann, C., Sorensen, A. and Brown, A. R. 2008. Metascore: User Interface Design for Generative Film Scoring. Proceedings of Sound : Space – The Australasian Computer Music Conference, Sydney. ACMA, pp. 25-30.

  25. Gifford, T. and Brown, A. R. (2008). Stochastic Onset Detection: an approach to detecting percussive attacks in complex audio. Proceedings of Sound : Space – The Australasian Computer Music Conference, Sydney. ACMA, pp. 19-24.

  26. Dillon, S., Brown, A. R., Adkins, B., and Hirche, K. 2008.  Communities of Sound: generating music making and virtual ensembles. Proceedings of the International Music Education Conference, ISME.

  27. Adkins, B., Dillon, S., Brown, A. R., Hirche, K., & Gibbons, C. 2007. The Role of Generative Arts in Supporting Cultural Participation: A conceptualisation of the jam2jam network Jamming Tool. 13th International Conference on Virtual Systems and Multimedia (VSMM). 23 – 26 September 2007, Brisbane, Australia.

  28. Brown, A. R. and Sorensen, A. 2007. Dynamic Media Arts Programming in Impromptu. Proceedings of the Creativity & Cognition 2007, Washington, DC. ACM Press, pp. 245-246.

  29. Brown, A. R., Wooller, R. and Thomas, K. 2007. The Morph Table: A collaborative interface for musical interaction. In A. Riddel and A.  Thorogood (eds.) Proceedings of the Trans: Boundaries / Permeability / Reification. Australasian Computer Music Conference. Canberra, Australia: ACMA, pp. 34 – 39.

  30. Sorensen, A. and Brown, A.  R. 2007. aa-cell in practice: an approach to musical live coding. In, International Computer Music Conference. Copenhagen: ICMA, pp: 292-299.

  31. Yuille, J., Forwood, M., Brown, A. R., Sade, G., Jenkins, G. and Weight, J. 2006. senseMix: sharing creative mobile content. In Proceedings of the 8th conference on Human-computer interaction with mobile devices and services. Helsinki, Finland: ACM press, pp. 271-272.

  32. Opie, T. and Brown, A. R. 2006. An Introduction to Ecostructuralism In. International Computer Music Conference. New Orleans: ICMA, pp. 9-12.

  33. Gifford, T. and Brown, A. R. 2006. The Ambidrum: Automated Rhythmic Improvisation. In S. Wilkie and C. Haines (eds.) Medi(t)ations: Australasian Computer Music Conference. Adelaide: ACMA, pp. 44-49.

  34. Gerber, A. and Brown, A. R. 2006. Visualising Music with Impromptu. In S. Wilkie and C. Haines (eds.) Medi(t)ations: Australasian Computer Music Conference. Adelaide: ACMA, pp. 38-43.

  35. Mafe D., and Brown A. R. 2006. Emergent Matters: Reflections on Collaborative Practice-led Research. In Vella, R. & Haseman, B. Speculation and Innovation. http://www.speculation2005.net/

  36. Wooller, R., A. R. Brown, Miranda, E., Diederich, J. and Berry, R. 2005. A framework for comparison of processes in algorithmic music systems. Generative Arts Practice, Sydney, Creativity and Cognition Studios Press, pp. 109-124.

  37. Livingstone, S. R., A. R. Brown, and Muhlberger, R. 2005. Influencing the Perceived Emotions of Music with Intent. In, Innocent, T. (Ed.) Third Iteration, Melbourne: CEMA, pp. 161-170.

  38. Wooller, R. and A. R. Brown. 2005. Investigating Morphing Algorithms for Generative Music. In, Innocent, T. (Ed.) Third Iteration, Melbourne: CEMA, pp. 189-198.

  39. Brown A. R. 2005. Extending Dynamic Stochastic Synthesis. Free Sound: Proceedings of the International Computer Music Conference. Barcelona, ICMA, pp. 111-114

  40. Livingstone, S. R. and Brown, A. R. 2005. Dynamic Response: Real-time adaptation for music emotion.  In proceedings of The Second Australasian Conference on Interactive Entertainment. Sydney: Creativity & Cognition Studios Press, pp. 105-111.

  41. Livingstone, S. R., Muhlberger, R. and Brown, A. R. 2005. Playing With Affect: Music performance with awareness of score and audience. In T. Opie and A. R. Brown (eds.) Australasian Computer Music Conference. Brisbane: ACMA, pp. 92-98.

  42. Brown, A. R. 2005. Generative Music in Live Performance. In T. Opie and A. R. Brown (eds.) Australasian Computer Music Conference, Brisbane, Australia, ACMA, pp. 23-26.

  43. Brown, A. R. 2005. Exploring Rhythmic Automata in Rothlauf, F. et. al. (eds) Applications of Evolutionary Computing. Berlin: Springer, pp.551-556

  44. Brown, A. R. 2004. Playing with Dynamic Sound In the proceedings of Interaction: Systems, Practice and Theory. Sydney: Creativity and Cognition Studios Press, pp. 435-450

  45. Brown, A. R. & Jenkins, G. 2004. The Interactive Dynamic Stochastic Synthesizer In, Norris et al. (Eds). Australasian Computer Music Conference. Wellington, NZ: ACMA, pp. 18-22

  46. Smith, J., Dillon, S., Nalder, G. & Brown, A. R. 2004. Digital multimedia portfolios supporting authentic learning in the Arts in the proceedings of ePortfolio – 2004 – Transforming individual and organisational learning, October 28-29 2004: La Rochelle, France.

  47. Brown, A. R. 2003. Australasian Digital Instrument Building In, Vickery, L. (Ed.) Australasian Computer Music Conference. Perth: ACMA, pp. 21-26.

  48. Brown, A. R. 2002. Opportunities for Evolutionary Music Composition In, Doornbusch, P. (Ed.) Australasian Computer Music Conference. Melbourne: ACMA, pp. 27-34.

  49. Brown, A. R. 2001. Melodic Extension as creative Evolution Dorin, A. (Ed.) Second Iteration. Melbourne: CEMA, pp. 47-56.

  50. Brown, A. R. 2001. How the computer assists composers: A survey of contemporary practise. In, Knowles, J. (Ed.) Waveform 2001, the proceedings of Australasian Computer Music Conference. ACMA/University of Western Sydney, pp.9-16.

  51. Brown, A. R. 2000. Modes of compositional engagement Brown, A. and Wilding R. (Eds) Proceedings of the Australasian Computer Music Conference 2000. Brisbane: ACMA, pp. 8-17.

  52. Towsey, M., Brown, A. R., Wright, S., and Diederich, J. 2000. Towards Melodic Extension Using Genetic Algorithms. Proceedings of the Australasian Computer Music Conference 2000. Brown, A and Wilding R. (Eds.) Brisbane: ACMA, pp. 85-91.

  53. Sorensen, A. and Brown, A. R. 2000. Introducing  jMusic Proceedings of the Australasian Computer Music Conference. Brown, A and Wilding R. (Eds.) Brisbane: ACMA, pp.68-76

  54. Diederich, J., Towsey, M., Brown, A. R., & Wright, S. 2000. Genetic Algorithm as an aid to learning the art of melodic composition CD-ROM Proceedings of the International Conference ISSEI 2000 Approaching a New Millenium: Lessons from the Past – Prospects for the Future (University of Bergen, Norway, 14 – 18 August 2000), the First International Workshop Developing Creativity and Large Mental Outlook in the Computer Age.

  55. Brown, A. R. 1995. Defining Synthesizer Teaching. ASME 10th National Conference. Honing the Craft: Improving the Quality of Music Education, H. Lee and M. Barrett (Editors), Australian Society for Music Education, Hobart, Australia, pp. 58-62.

  56. Brown, A. R. 1994. Computing in Performing Arts Education and Practice. LEAT 94: Learning Environment Technology, Adelaide, Australia: Australian Society for Educational Technology, pp. 24-26

Conference Papers refereed by abstract

  1. Stewart, D., Brown, A. R., Hansen, A. and Stewart, A. 2013. “Network Jamming: Can Music Technology and Collaborative Music Making Work to Improve Indigenous Health and Wellbeing?” In Setting the Tempo: The Need for a Progressive Research Programme on Music Health and Wellbeing, edited by Matthew Shipton and Himonides Evangelos, 63–64. Kent, UK: Society for Education, Music and Psychology Research.

  2. Brown, A. R., and Gifford, T. 2012. “Tracking Levels of Closure in Melodies.” In International Conference on Music Perception and Cognition. Thessaloniki: ICMPC, 2012. http://icmpc-escom2012.web.auth.gr/?q=node/67.

  3. Mafe, D, and Brown, A. R. 2012. “Noise as Abstraction: Enhancing the Poetic.” In Proceedings of the Second International Conference on Transdisciplinary Imaging at the Intersections Between Art, Science and Culture, No Page. Melbourne, Australia: Victorian College of the Arts, http://blogs.unsw.edu.au/tiic/transdisciplinary-imaging-conference-2012-2/speakers-2012/daniel-mafe-and-andrew-brown/.

  4. Brown, A. R. and Gifford, T. 2010. Elaborating Statistical Models of Music Perception. International Conference on Music Perception and Cognition (ICMPC 11), Seattle, ICMPC: 715-171.

  5. Dillon, S. and Brown, A. R. 2010. The Educational Affordances of Generative Media in Arts Education. INTED 2010 Proceedings. Valencia, Spain: International Association of Technology, Education and Development, pp. 5311-5320.

  6. Brown, A. R., Gifford, T. and Wooller, R. 2010. Generative Music Systems for Live Performance. First International Conference on Computational Creativity, Lisbon, Portugal: Department of Informatics Engineering, University of Coimbra, Portugal, pp.290.

  7. Dillon, S., Brown, A. R., Adkins, B., and Hirche, K. (2008).  Communities of Sound: generating music making and virtual ensembles. Proceedings of the International Music Education Conference, ISME. Bologna, Italy, 20-25 July 2008. CD ROM.

  8. Brown, A. R, Towsey, M, Wright, S. and Diederich, J. 2001. Statistical analysis of the features of diatonic music using jMusic software. Proceedings of Computing Arts 2001: Digital Resources in the Humanities. Sydney, Australia: The University of Sydney. http://setis.library.usyd.edu.au/drrh2001/

  9. Brown, A. R. 1999. Tools and Outcomes: computer music systems and musical directions.  Imaginary Space: The proceedings of the Australasian Computer Music Conference. Wellington: The Australasian Computer Music Association, pp. 16-22.

  10. Brown, A. R. 1998. Musical Metaphors: Humanising music Technology in Music Education. Ubuntu -Music Education for a Humane Society – 23rd World Conference. Pretoria, South Africa: The International Music Education Association, pp.

  11. Brown, A. R. 1998. Composer Views: Context in the use of computers for musical composition. In the proceedings of JIM ‘98. Toulon, France: Journés d’Informatique Musicale, pp. A6, 1-8..

  12. Brown, A. R. 1997. Changing Technologies, Changing Minds: Taking account of music technologies in the curriculum. Gifford, E., Brown, A. R.  and Thomas, A. (Ed.s) Conference Proceedings of the ASME XI National Conference, Brisbane: Australian Society for Music Education, 1997.

  13. Brown, A. R. 1996. The Art of Engaging: Implications for computer music systems. In, Brown. A. R. (Ed.) ACMA ‘96 Conference Proceedings, Brisbane: Australian Computer Music Association, 1996.

  14. Brown, A. R. 1995. Music Making and Appropriate Technology: Implications of artistic practice on technology in arts education.  Proceedings of the World Conference on Computers in Education, Birmingham, UK: International Society for Computers in Education.

  15. Brown, A. R. 1994. Computers in Performing Arts Education and Practice , Paper presentation at Learning Environment Technology Australia 1994, Adelaide, July 1994.

  16. Brown, A. R. 1993. HyperCard test Engine Using Rasch Analysis. ASCILITE 93 Conference Proceedings, December 1993. pp. 65- 71.

  17. Brown A. R. and Purcell, K. 1987. Using Computers in the Music. In proceedings of the Australian Computer Conference, School’s Congress 1987, pp.15-23.Brown, A. R. and Purcell, K. 1988. Music Technology : A Transparent Integration. A world view of music education. In proceedings of the XVIII ISME International Conference, Dobbs, J. (Ed.) Canberra: International Society for Music Education.

Other articles and papers

  1. Brown, A. R. 2015. The iPad in Music Education. Stringendo: Journal of the Australian Strings Association, 37(1), pp.32-34.

  2. Brown, A. R. 2014. The iPad in Music Education. Music Australia Music Journal, Nov. 6, 2014. http://musicaustralia.org.au/2014/11/the-ipad-in-music-education/

  3. Brown, A. R. 2013. Impromptu, Extempore, Audiomulch. Music Forum, 20(1), 42–43.

  4. Brown, A. R. 2013. What is musicianship and how do you teach it? Music Forum, 19(4), 44–45.

  5. Brown, A. R. 2003. Software Development as Research. AARME XXVth Annual Conference. September 29 2003. Australian Association for Research in Music Education : Griffith University, Brisbane, Australia.

  6. Brown, A. R. 2003. Music Composition and the Computer: An examination of the work practices of five experienced composers. Doctor of Philosophy, The University of Queensland.

  7. Brown, A. R. 2001. The Computer or Digital Appliance? ASMEssages, Vol. 9 (4). Brisbane: Queensland Chapter of the Australian Society for Music Education, pp 9-10.

  8. Brown, A. R. 1999. Interactive performance with Electronic Technology. Music Forum. Vol.5:5. June-July 1999. Sydney: Music Council of Australia, pp. 32-34.

  9. Brown, A. R. 1999. An Introduction to digital sound synthesis. Music Forum. Vol.5:4. April-May 1999. Sydney: Music Council of Australia, pp. 25-28.

  10. Brown, A. R. 1998. Your Friend, the Sequencer. Music Forum. Vol.4:7. October-November 1998. Sydney: Music Council of Australia, pp. 26-28.

  11. Brown, A. R. 1998. Internet Issues in Music Education. Fanfare: Newsletter of the New Zealand Society for Music Education. Vol.48. September 1998. Auckland: NZSME, pp. 3-10.

  12. Brown, A. R., 1998. Your Friend, the Algorithm. Music Forum. Vol.4:6. August-September 1998. Sydney: Music Council of Australia, pp. 26-29.

  13. Brown, A. R. 1998. Histories and Directions of Music Technology. Music Forum. Vol.4:5. June-July 1998. Sydney: Music Council of Australia, pp. 26-29.

  14. Brown, A. R. 1998. Scoring at School: desktop music publishing for education. Music Forum Vol.4:4. April-May 1998. Sydney: Music Council of Australia, pp. 23-26.

  15. Brown, A. R. 1998. Learning and Recording: Audio technology in Education. Music Forum Vol.4:3. February-March 1998. Sydney: Music Council of Australia, pp. 32-35.

  16. Brown, A. R. 1997. The Synthesizer – Education’s Electronic Xylophone? Music Forum. Vol.4:2. December – January 1997/8. Sydney: Music Council of Australia, pp. 28-31.

  17. Brown, A. R. 1997. The Internet and Music Education Research. Music Forum. Vol.4:1. October – November 1997. Sydney: Music Council of Australia, pp. 32-35.

  18. Brown, A. R. 1997. Aural and Musicianship Training with Computers. Music Forum. Vol.3:6. August – September 1997. Sydney: Music Council of Australia, pp. 16-19.

  19. Taking Synthesizer performance Seriously a feature article in Counterpoint No. 1 February 1996, pp.46-49, ISSN 1322 – 1817, Melbourne: Victorian Schools’ Music Association

  20. Music technology Systems: Recommended Purchasing Guidelines, with Dr. Robin Stevens and Neil Wallace, included with the Music Curriculum Support Materials for the 1995 New South Wales Music Syllabus.

  21. Brown A. R. 1993. Synthesizer Tutorial in HyperCard: A case study – CEGV conference proceedings, October 1993

  22. Brown, A. R. 1993. Technofix: Music Technology in Schools, Saviour or Slayer. – MEATA Newsletter, September 1993.

  23. Brown, A. R. 1993. Use of Rasch Modelling in the construction of Interactive Computer -Based Music Theory Tests. The Multimedia Developer Form. The University of Melbourne, April 1993.

  24. Brown A. R. 1993. Technofix: the double edged sword. Music Education And Technology Association Newsletter, November 1993

  25. Stevens, R. S., Brown, A. R. & Wallace, N. 1992. Music Technology Systems: Recommended Purchasing Guidelines. Victorian Journal of Music Education, no.2, pp.20-27.

  26. Brown, A. R. 1992. Development of Computer Technology In Music. Victorian Journal of Music Education 1992, No. 1, pp. 3-8

  27. Brown, A. R. 1992. Of What Value is Music Technology in Music Education? In Counterpoint, the newsletter of the Victorian Schools Music Association, July 1992.

  28. Music Teaching Systems: Recommended Purchasing Guidelines -commissioned by the Australian Society for Music Education (Victorian Chapter) and the Victorian Schools Music Association. Published in the Victorian Journal of Music Education, 1992 No. 2, pp. 21 -27

  29. Brown, A. R. 1991. Improvising with interactive algorithmic computer programs, leading to composition. ASME conference, Melbourne 1991.

  30. Brown, A. R. 1991. Learning Music Theory with Rock Music – Cantabile (VSMA Journal), Issue 1, 1991

  31. Brown, A. R. 1990. Music and computers: Choosing a system? – Education Australia.

  32. Brown, A. R. 1987. Computers in Music Education. Your Computer magazine, February 1987.

Publicly Available Software

  1. Brown, A. R. 2011. The Meaningful Engagement Matrix Scoreboard. http://explodingart.com/mem

  2. Kerr, T and Brown, A. R. 2010. Jam2jam XO. http://activities.sugarlabs.org/en-US/sugar/addon/4290

  3. Brown, A. R., 2009. SoundCipher. http://soundcipher.org

  4. Brown, A. R., Dillon, S.C., and Sorensen, A. 2003. Jam2jam Grey. http://explodingart.com

  5. Brown, A. R. 2002. Online Music Tools. http://musictools.ci.qut.edu.au

  6. Sorensen,  A. and Brown, A. R. 1998-2007. jMusic 1.0. SourceForge, http://sourceforge.net/projects/jmusic/

  7. Brown, A. R. 1991. Music-Cal. An interactive introduction to music notation. Geelong: Deakin University Press.

  8. Brown, A. R. 1991. Introduction to Musical Styles. An interactive overview of western musical history. Geelong: Deakin University Press.

Published Compositions

  1. Tactical Temporalities. In, Parry, C. (ed.) Weird Dance Music Volume 2, Bandcamp, https://weirddancemusic.bandcamp.com/album/weird-dance-music-vol-2. 2015.
  2. Kings Anatomy (edited version). In, “Live Coding Practices” Computer Music Journal DVD, The MIT Press. 35(4). 2011.

  3. Bowerbird (aa-cell live coding). Selected for inclusion on the CD “A prehistory of live coding”, published by TopLap in 2007.

  4. The Play Aesthetic, (aa-cell live coding). Selected by peer review for inclusion on the ACMC 2006 CD, published by ACMA 2007.

  5. Travail du Jour (Tape composition), was short listed in the finals of the ABC Classic FM Computer Composition Award , 1996. Broadcast on ABC National radio in May 1997.

  6. In The Deep (electroacoustic composition), on Assembly a CD of works for computer, The Australian Computer Music Association, Melbourne 1995

  7. Title Music ‘Apple Classical’ for Colour Publishing Workshop CR-ROM, Apple Computer Australia, 1994

  8. Title music for “Avalanche II” A CR-ROM of HyperCard Stacks, Apple Computer Australia, 1993

  9. Doc’s and Moc’s (a musical theatre work). A series of songs in contemporary popular style. With Steve Dillon. Written and first performed 1990. Performed by about 8 drama groups up to 1994.

Performances

  1. Ripples – an original interactive work for live musician and generative software. Selected for inclusion in the performance program of the Australasian Computer Music Conference. Performed Thursday 19 November 2015. Bon Marche Studios, Sydney.

  2. CIM<biosis> – a human-machine duet performance. Selected by peer review for inclusion in a concert as part of the Australian Conference on Artificial Life and Computational Intelligence (ACALCI). 6 February 2015. University of Newcastle, NSW.

  3. Tactical Temporalities. A solo algorithmic music performance of an original work. The Second Conference on Computation, Communication, Aesthetics and X. Porto, Portugal: 27 June 2014.

  4. Musical Metacreation Weekend, Improvising Algorithms concert. 15 June 2013. Duet performance with CIM software of the original work Unity In Diversity. At the Old Darlington School, Sydney, Australia.

  5. Live Code Festival. 19 April 2013. Solo live coding performance of the original work Multiple Beginnings. Karlsruhe, Germany.

  6. Re-new Digital Arts Festival, 20 November 2012. Solo live coding performance of the original work Improvised Interactions. Copenhagen, Denmark.

  7. The Search for the Succinct: Live Coding Practice as Research. Oct 11, 2012. A lecture/recital including 2 performance works Bells and Pads and Motif Repeats. College of Charleston, South Carolina, USA.

  8. Diffuse Season 2: Computer Improvisation concert. 22 June 2012. Solo interactive performance of Serial Spacewalk. Bon Marsh Studios, UTS, Sydney.

  9. Man and Machine concert, 25 May 2012. Solo interactive performance of Serial Spacewalk. Queensland Conservatorium, Brisbane.

  10. Algorithmic Improviser: Performance Night,  April 21 2012. Duet with Toby Gifford of an original interactive work Serial Spacewalk. Serial Space gallery, Sydney.

  11. Australasian Computer Music Conference: “Generative Structures”, a solo live coding performance. 8 July 2011, Auckland, New Zealand.

  12. New Interfaces for Musical Expression: “Untitled”, a peer reviewed solo performance. University of Technology Sydney, Sydney, June 17 2010.

  13. Live coding @ Anatomy Museum: “Kings Anatomy”, an invited solo performance. Kings College, London, 2010.

  14. Jam2jam – Network Jamming performance, with Steve Dillon and Thorin Kerr. At AUC CreateWorld Conference, 9 December 2008. Queensland College of Art, Brisbane.

  15. Backyard Soiree 1 – solo live coding performance, Brisbane, 12 August 2008.

  16. ACID Showcase – aa-cell, live coding performance with Andrew Sorensen, Brisbane, 7 August 2008.

  17. ACMC 2008 – aa-cell, live coding performance with Andrew Sorensen, Canberra, 10 July 2008.

  18. CreateWorld – aa-cell, live coding with Andrew Sorensen. Queensland Collage of Art, Brisbane, 26 November 2007

  19. NZSM – aa-cell, live coding with Andrew Sorensen. New Zealand School of Music, Wellington, 15 November 2007

  20. Live – aa-cell, live coding with Andrew Sorensen. Carriageworks, Sydney, 30 September 2007

  21. Threshold – aa-cell, live coding with Andrew Sorensen. The Shopfront, Sydney, 28-29 September 2007

  22. VSMM – aa-cell, live coding with Andrew Sorensen. The Block, Brisbane, 23 September 2007

  23. ICMC – aa-cell, live coding with Andrew Sorensen. Huset Club, Copenhagen, 29 August 2007

  24. ACMC 2007 – aa-cell, live coding performance with Andrew Sorensen, Canberra, 3 July 2007.

  25. Runtime – aa-cell, live coding with Andrew Sorensen. The Loft, Brisbane, 3 May 2007.

  26. Bowerbird two – Live coding with Andrew Sorensen. The Substation, Brisbane. 4 February 2007.

  27. The Play Aesthetic – Live Coding with Andrew Sorensen. ACMC 2006. Uni of SA, Adelaide, 11 July 2006

  28. Sycretism – Live Coding with Andrew Sorensen. Judith Wright Centre for Contemporary Arts. Brisbane, 7 July 2006

  29. Subsequent Manoeuvres – Live Coding with Andrew Sorensen. Third Iteration. Monash University, Melbourne, December 2005.

  30. 01010100 4 2 – Live Coding with Andrew Sorensen. ACMC 2005. The Loft, QUT, Brisbane, July 2005

  31. IDSS02 – Live electronic Music Performance with Greg Jenkins, at the Australasian Computer Music Conference, Wellington, New Zealand, 3 July 2004.

  32. IDSS01, Live Electronic music performance as part of the Small Black Box concert series. Judith Wright Centre for the Arts, Brisbane, Australia, 30 May 2004. http://www.smallblackbox.com.au/artists.php

  33. InterMelb Sonic City – Interactive computer music installation. Presented at the REV Festival, April 2002, Brisbane Powerhouse Centre for the Live Arts, Australia.

  34. Colloquy – Electroacoustic composition with Alistair Riddel. Performed at Interfaces: Australasian Computer Music Conference. June 2000. Brisbane, Australia.

  35. Powerhouse Suite I-IV – Piece for 11 synthesizers, commissioned for the opening of the Brisbane Powerhouse Centre for Live Arts. May 2000. Australia.

  36. Travail du Jour – Work for (Cello and Tape) performed at the Australasian Computer Music Conference, 1998. Wellington, New Zealand.

  37. Uncertain Circle – Performed at the Erwin Raddo Theatre in Fitzroy, Melbourne, Public Concert, 6 Dec. 1995

  38. Uncertain Circle – Multi-Arts Performance Piece created with Keith Armstrong. Interactive computer/video/actor work.  Performed at the opening of ASCILITE ‘95 conference – (Learning Education and technology) The University of Melbourne. 4 December 1995.

  39. New Space Suite – Live synthesizer performance and multimedia sound design presentation – QUT Lunchtime Concert Series, October 1995, Music Concert Studio QUT

  40. Cyber City Cabaret Theme – Performed as part of the hybrid arts production Cyber City Cabaret, a commissioned work for the Brisbane Biennial International Music Festival, June 1995.

  41. Synthesizer with tape performance of Cymbal Cells at Digital Waves, a computer music concert of the Australian Computer Music Association, Institute of Modern Art, Brisbane, May 20 1995.

  42. Uncertain Circle – Multi-Arts Performance Piece. Interactive computer/video/actor work.  performed at the opening of Digital Shifts – Digital Art Conference, Noosa Qld. 3/3/95

  43. Uncertain Circle – Hybrid Arts work with visual artist Keith Armstrong, At Pseudo – Brisbane Fringe Festival, May 13 and 14, 1995

  44. Solo Synthesizer Concert – QUT Lunchtime Concert Series, August 1994, Music Concert Studio QUT

  45. Uncertain Circle – Multi-Arts Performance Piece. Interactive computer/video/actor work. Performed at the Woodward Theatre QUT on 13 July 1994.

  46. Synthesizer Ensemble as part of Electroacoustic Music Concert, 12 December 1993, Melba Hall – Melbourne Conservatorium

Exhibitions

  1. Connections – A real-time generative audio visual installation, selected as part of the [d]Generate exhibition, curated by Gordon Moyes. Gympie Regional Gallery, Australia. 18 June – 10 August 2013.

  2. Untouched – A digitally generated video work, with Daniel Della-Bosca and Scott Roberts. Selected for including in the Compression exhibition curated by Ashley Whamond. 13-27 September 2012, at Crane Arts Centre, Philadelphia, USA.

  3. Affective Interference – An exhibition of paintings and spatialised sound, with Daniel Mafe. Metro Arts Gallery, Brisbane. June – July 2012.

  4. “Quanta” – A computational media art work by aa-cell (Andrew Sorensen and Andrew Brown). Exhibited as part of the International Digital Art Project (iDAP) 2008. The Block, Brisbane, Australia. May 1 – 20 2008.

  5. Slice-flower” – A computational media art work by aa-cell (Andrew Sorensen and Andrew Brown). Exhibited as part of the International Digital Art Project (iDAP) 2007. Songzhuang Art Museum, Beijing. 28 August – 21 October 2007.

  6. “World” – An exhibition of computational art by Daniel Mafe and Andrew Brown. UNPLACE Project gallery space: 232 Arthur Street, New Farm, Brisbane, Australia, 4-5 August 2007.

  7. ScreenPlay” – An exhibition of computational art works by Daniel Mafe and Andrew Brown. The Block, Creative Industries precinct, QUT, Brisbane. 19-23 September 2005.

  8. Selected Images and Music shown in “jOurney” – An exhibition of QUT-related visual art work during orientation week. 23 February – 4 March 2005, Curated by Simone Jones and Lubi Thomas. @ The Block, Creative Industries precinct, QUT, Brisbane.

  9. “Phrasing” – An exhibition of paintings by Daniel Mafe and screen-based works by Daniel Mafe and Andrew Brown. @ QUT Art Museum, Gardens Point. 15-19 November 2004.