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two complementary aspects of a long tradition, which seeks the synthesis of doing music, of acting and playing, and of thinking about music. Four of these papers are dedicated to the development and analysis of software for composers and music theorists. These papers focus on a metalevel of program design, user demands and expectations, as well as inter-software communication. Carlos Agon, the main developer of the program OpenMusic, in his contribution Mixing Visual Programs and Music Notation in OpenMusic addresses the integration of two representation techniques related to processes of data manipulation on the one hand and musical processes on the other. The possibility to integrate both modes in OpenMusic has a high potential for new creative strategies of composition. In Some Constraint Satisfaction Problems in Computer Assisted Composition and Analysis, Charlotte Truchet investigates several situations in which composers successfully applied constraint programming techniques and systematizes them on the background of specialized libraries for constraint solving in the context of OpenMusic. Two contributions are based on the software Rubato for musical analysis and performance, namely Stefan Göller’s and Gerard Milmeister’s paper Distributed RUBATO: Foundation and Multimedia Rendering as well as Jörg Garbers’ paper User Participation in Software Configuration and Integration of OpenMusic, Humdrum and Rubato, but they significantly differ in their focus and their motivations. Göller and Milmeister develop a complete platform-independent Java redesign of the overall program, they concentrate on data management and communication protocols between Rubette modules and present new concepts and implementations for generic navigation. Garbers is concerned with the integration of the current Mac OSX version of Rubato and the visual programming interface of OpenMusic, thereby allowing the user to experiment with the specialized tools of Rubato as well as with the Humdrum-toolbox within the full generic power of the Lisp programming language. The final category comprises a group of six papers which discuss specific mathematical approaches and related software. Using special software, mathematical approaches to metric or melodic structure and harmony provide an experimental access to such structures. Anja Volk’s Metric Investigations in Brahms’ Symphonies reports on very detailed analyses of the inner metric structure in relation to the >outer< bar structure and similar description levels. Her analytical experiments are based on the MetroRubette of the software Rubato. The contributions Motivic Spaces of Scores through RUBATO’s MeloTopRUBETTE by Chantal Buteau as well as Paradigmatic Motivic Analysis by Andreas Nestke are based on an earlier approach to melodic analysis by Guerino Mazzola, which was implemented in Rubato’ s MeloRubette. According to this approach the global distribution of melodic motives in a piece is analyzed with respect to various possible principles of gestalt and neighbourhood. Buteau’s theory of motivic evolution trees is dedicated to the refined control of varying neighbourhood concepts. She presents a software tool MeloTopRubette2
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