Making programming languages to

dance to: Live Coding with Tidal

Alex McLean
Interdisciplinary Centre for Scientic Research in Music, University of Leeds
[email protected]

Abstract
Live coding of music has grown into a vibrant international community of research and practice over the past decade, providing a
new research domain where computer science blends with the arts.
In this paper the domain of live coding is described, with focus
on the programming language design challenges involved, and the
ways in which a functional approach can meet those challenges.
This leads to the introduction of Tidal 0.4, a Domain Specic Language embedded in Haskell. This is a substantial restructuring of
Tidal, which now represents musical pattern as functions from time
to events, inspired by Functional Reactive Programming.
Categories and Subject Descriptors J.5 [Performing Arts]; J.5
[Music]; D.3.2 [Applicative (functional) languages]
Keywords domain specic languages, live coding, music

1.

Introduction - Live programming languages

for music

Live coding is where source code is edited and interpreted in order to modify and control a running process. Over the past decade,
this technique has been increasingly used as a means of creating
live, improvised music (Collins et al. 2003), with new programming languages and environments developed as end-user music interfaces (e.g. Wang and Cook 2004; Sorensen 2005; Aaron et al.
2011; McLean et al. 2010). Live coding of music and video is now
a vibrant area of research, a core topic in major Computer Music conferences, the subject of journal special issues, and the focus of international seminars. This research runs alongside emerging communities of live coding practitioners, with international live
coding music festivals held in the UK, Germany and Mexico. Speculative, isolated experiments by both researchers and practitioners
have expanded, developing into active communities of practice.
Live coding has predominantly emerged from digital performing arts and related research contexts, but connects also with activities in Software Engineering and Computer Science, under the
developing umbrella of live programming language research (see
for example the proceedings of the LIVE workshop, ICSE 2013).
These intertwined strands are revitalising ideas around liveness rst

Permission to make digital or hard copies of all or part of this work for personal or
classroom use is granted without fee provided that copies are not made or distributed
for prot or commercial advantage and that copies bear this notice and the full citation
on the rst page. Copyrights for components of this work owned by others than ACM
must be honored. Abstracting with credit is permitted. To copy otherwise, or republish,
to post on servers or to redistribute to lists, requires prior specic permission and/or a
fee. Request permissions from [email protected].
CONF yy, Month dd, 20yy, City, ST, Country.
Copyright 2014 ACM 978-1-nnnn-nnnn-n/yy/mm. . . $15.00.
http://dx.doi.org/10.1145/nnnnnnn.nnnnnnn

developed decades ago, explored in now well-established systems

such as Self, SmallTalk, Lisp, command line shells and indeed
spreadsheets. Continuing this tradition, and making programming
languages more live is of interest in terms of making programming easier to teach and learn, making programs easier to debug,
and allowing programmers to more easily achieve creative ow
(Blackwell et al. 2014). How these different strands weave together
is not always clear, but cross-disciplinary engagement is certainly
warranted.

2. Live coding as a design challenge

Live coding of music brings particular pressures and opportunities
to programming language design. To reiterate, this is where a programmer writes code to generate music, where a running process
continually takes on changes to its code, without break in the musical output. The archetypal situation has the programmer on stage,
with their screen projected so that the audience may see them work.
This might be late at night with a dancing nightclub audience (e.g.
at an algorave Collins and McLean 2014), or during the day to a
seated concert hall audience. The performer may be joined by other
live coders, or perhaps instrumental musicians, but in any case the
programmer will want to enter a state of focused, creative ow and
work beyond the pressures at hand.
There are different approaches to live coding music, but one
common approach is based on an improvised Jazz model. The
music is not composed in advance, instead the music is developed
through live interaction, with live coders playing off each other,
or shaping the music in sympathy with audience response. The
improvisers might add extra constraints, for example the Mexico
City live coding community are known to celebrate the challenge
of live coding a performance from scratch, lasting precious few
minutes. Slow coding is at the other end of the scale, exploring a
more conversational, meditative ethos (Hall 2007).
At this point it should be clear that live coding looks rather different from mainstream software engineering. There is no time for
test driven development, little time to develop new abstractions,
and where the code is deleted at the end of a performance, there
are no long-term maintenance issues. However, live programming
languages for music do have strong design pressures. They need to
be highly expressive, both in terms of tersity, and also in terms of
requiring close domain mapping between the code and the music
that is being expressed. As music is a time-based art-form, representation of time structures is key. Familiar mechanisms such as
revision control may be employed in unusual ways, supporting repeating structures such as chorus and verse, where code is branched
and merged within short time frames, creating cyclic paths of development.

2.1

Liveness and feedback

It is worth considering what we mean by the word live. In practice, the speed of communications is never instantaneous, and so in
a sense nothing is completely live. Instead, lets consider liveness
in terms of live feedback loops, where two agents (human or computational) continually inuence one another. We can then identify
different forms of liveness in terms of different arrangements of
feedback loops.
In a live coded performance, there are at least three main feedback loops. One is between the programmer and their code; making
a change, and reading it in context alongside any syntactical errors
or warnings. This loop is known as manipulation feedback (Nash
and Blackwell 2011), and may possibly include process and/or data
visualisation through debugging and other programmer tools. A
second feedback loop, known as performance feedback (Nash and
Blackwell 2011), connects the programmer and the program output, in this case music carried by sound. In live coding of music, the
feedback cycle of software development is shared with that of musical development. The third loop is between the programmer and
their audience and/or co-performers. We can call this feedback loop
social feedback, which is foregrounded at algorave events, where
the audience is dancing.
2.2

Figure 1. The Tidal timeline as an innite spiral, with each cycle

represented as a natural number, which may be subdivided at any
point as a rational number.
as well as in live art (McLean and Reeve 2012) and choreographic
(Sicchio 2014) collaborations. The software is available under a
free/open source license, and it now has a growing community of
users.
Tidal is embedded in the Haskell language, taking advantage
of its rich type system. Patterns are represented using the below
datatype, which we will explain in the following.

Programming Language Paradigms for Music

A large number of programming languages have been designed

for music and digital sound processing (DSP) over the past few
decades, for example ChucK, SuperCollider, Max/MSP, HMSL,
Common Music and the MusicN languages. As processor frequencies have increased, the promise of realtime processing has put new
design pressures on languages. Live coding has emerged over the
past decade, as the promise of realtime as an exploratory activity.
There are a range of programming language paradigms in computer music. Perhaps the most dominant paradigm is dataow programming; declarative functions which do not return any values,
but take streams of data and inputs, and send streams of output to other functions as a continual side effect. These languages,
such as Max/MSP, PureData and VVVV, usually have a graphical Patcher interface, where words are contained within boxes,
connected with wires to form the dataow network. The accessibility of these systems may be attributed to their similarity to the
analogue synthesisers which preceded and inspired them (Puckette
1988).
However the most common paradigm in live coding performance seems to be functional programming; many live coding environments such as Overtone, Fluxus and Extempore are Lisp dialects, and the pure functional Language Haskell is the basis of
a number of live music EDSLs (embedded domain specic languages); namely Conductive (Bell 2011), Live-Sequencer (Thielemann 2012) and Tidal. The Tidal language is introduced in the following section, with emphasis on its approach to the representation
of time.

3.

Introducing Tidal

Tidal represents many years of development, and the present paper

supersedes earlier work (McLean and Wiggins 2010), with several
major rewrites since. At its essence it is a domain specic language
for musical pattern, of the kind called for by Spiegel (1981), and
present within many other systems including HMSL, SuperCollider
(McCartney 2002) and ixilang (Magnusson 2011). Tidal has been
developed through use, informed by many dozens of high prole
performances to diverse audiences, and within diverse collaborations. The present author has predominantly used it within algorithmic dance music (Collins and McLean 2014, algorave; ) and
improvised free Jazz performances (Hession and McLean 2014),

type
type
type
data

Time = Rational
Arc = ( Time , Time )
Event a = ( Arc , Arc , a )
Pattern a = Pattern ( Arc [ Event a ])

3.1 Representing Time

In Tidal, time is rational, so that musical subdivisions may be stored
accurately as simple fractions, avoiding rounding errors associated
with oating point numbers. Underlying this is the assumption that
time is structured in terms of rhythmic (or more correctly, metric)
cycles, a perceptual phenomena that lies at the basis of a great many
musical traditions including Indian classical (Clayton 2008), and
electronic dance musics. The rst beat of each cycle, known as
the sam, is signicant both for resolving the previous cycle and
for starting the next. The number line of whole numbers represents
successive sam beats.
The Tidal timeline can be conceptualised as a spiral, as gure 1
illustrates. This raises the point that there is no expectation that cycles do not change from one cycle to the next. Indeed, polyrhythms
are well supported in Tidal, but this simple cycle structure acts as
the metric anchor point for Tidals pattern operations.
In practice, when it comes to turning a pattern into music, how
cycles relate to physical time depends on how fast the musician
wants the music to go. This is managed externally by a scheduler,
and multiple live coders can share a tempo clock over a network
connection, so that the playback of their patterns is in time.
In sympathy with the focus on cycles, as opposed to the linear
progression of time, a time range is called an Arc, specied as a
start and stop time. When an arc represents the occurrence of a
musical event, the start and stop are known as the event onset and
offset, which are standard terms borrowed from music informatics.
An Event associates a value with two time arcs; the rst arc
gives the onset and offset of the event, and the second gives the
active portion. The need for the second arc will be explained later,
for now we will just say that if an event is cut into pieces, it is
important for each piece to store its original arc as context.
Finally, a Pattern represents an innite series of Events as a
function, from an Arc to a list of events. To retrieve events from the
pattern, it is queried with an Arc, and all the events active during

the given time are returned. The arcs of these events may overlap,
in other words supporting musical polyphony.
All Tidal patterns are notionally innite in length; they cycle
indenitely, and can be queried for events at any point. Longterm structure is certainly possible to represent, although Tidals
development has been focused on live coding situations where such
structure is already provided by the live coder, who is continually
changing the pattern.
This use of functions to represent time-varying values borrows
ideas from Functional Reactive Programming (Elliott 2009). However, the particular use of time arcs appears to be novel, and allows both continuous and discrete patterns to be represented within
the same datatype. For discrete patterns, events active during the
given time arc are returned. For continuous structures, an event
value is sampled with a granularity given by the duration of the
Arc. In practice, this allows discrete and continuous patterns to
be straightforwardly combined, allowing expressive composition of
music through composition of functions.
3.2

cat [ pure blue , pure red , pure orange ]

We can use the density combinator to squash, or speed up the

pattern so we can see more cycles within it:
density 4  cat [ pure blue , pure red , pure
orange ]

Like cat, density works by manipulating time both in terms of

the query and the resulting events. Here is its full denition, along
with its antonym slow:

Building and combining patterns

We will now look into how patterns are built and combined in Tidal.
Our focus in this section will be on implementation rather than use,
but this will hopefully provide some important insights into how
Tidal may be used.
Perhaps the simplest pattern is silence, which returns no events
for any time:

silence :: Pattern a
silence = Pattern  const []

The purest discrete pattern is dened as one which contains

a single event with the given value, for the duration of each cycle.
Such a pattern may be constructed from a single value with the pure
function, which Tidal denes as follows:

density :: Time Pattern a Pattern a

density 0 p = p
density 1 p = p
density r p =
mapResultTime ( / r ) ( mapQueryTime ( r ) p )
slow :: Time Pattern a Pattern a
slow 0 = id
slow t = density (1 / t )

The combinator slowcat can be dened in terms of cat and

slow, so that the resulting pattern steps through the patterns, cycle
by cycle:
slowcat :: [ Pattern a ] Pattern a
slowcat ps =
slow ( fromIntegral  length ps )  cat ps

Now when we try to visualise the previous pattern using

slowcat instead of cat, we only see blue:
pure x =
Pattern  (s , e )
map (t (( t %1 , ( t +1) %1) ,
( t %1 , ( t +1) %1) ,
x
)
)
[ floor s .. (( ceiling e ) - 1) ]

This is an internal function which is not often used directly; we

will show alternative ways of constructing patterns later.
Having constructed some patterns, we can combine them in different ways. For example, the cat function returns a pattern which
cycles through the given list of patterns over time. The patterns are
interlaced, i.e. taking the rst cycle from each pattern, then the second, and so on. To make this possible, the resulting pattern needs
to manipulate time values that are passed to it, forward those values on to the patterns it encapsulates, and then manipulate the time
values of the events which are returned.
Although Tidal is designed for musical pattern, our example
patterns will be of colour, in sympathy with the current medium.
The x axis represents time travelling from left to right, and the y
axis is used to stack up events which co-occur. Here we visualise
the rst cycle of a pattern, which interlaces pure blue, red and
orange patterns:

slowcat [ pure blue , pure red , pure orange ]

This is because we are only visualising the rst cycle, the others
are still there.
The denition for combining patterns so that their events cooccur is straightforward:

overlay :: Pattern a Pattern a Pattern a

overlay p p = Pattern  a ( arc p a ) ++
( arc p a )
stack :: [ Pattern a ] Pattern a
stack ps = foldr overlay silence ps

stack [ pure blue , pure red , pure orange ]

The vertical order of the events as visualised above is not meaningful; that the events co-occur simply allow us to make polyphonic music, where multiple events may sound at the same time.
By combining the functions we have seen so far, we may already
begin to compose some interesting patterns:
density 16  stack [ pure blue ,
cat [ silence ,
cat [ pure green ,
pure yellow ]
],
pure orange ]

3.3

Parsing strings

The functions we have dened so far for constructing patterns are

quite verbose, and therefore impractical. Considering that Tidal is
designed for live musical performance, the less typing the better.
So, a simple parser p is provided by Tidal, for turning terse strings
into patterns. The previous example may be specied like this:
p "[ blue ,

3.4 Patterns as functors

It is useful to be able to operate upon all event values within a
pattern irrespective of their temporal position and duration. Within
the functional paradigm, this translates to the requirement to dene
the pattern datatype as a functor. Because Haskell already denes
functions and lists as functors, dening Pattern as a Functor
instance is straightforward:

instance Functor Pattern where

fmap f ( Pattern a ) =
Pattern  fmap ( fmap ( mapThd f ) ) a
where mapThd f (x ,y , z ) = (x ,y , f z )

This already makes certain pattern transformations straightforward. For example, musical transposition (increasing or decreasing
all musical note values) may be dened in terms of addition:

transpose :: ( Num a ) a Pattern a

Pattern a
transpose n pattern = fmap (+ n ) pattern

[ green yellow ] , orange ] 16"

So, values within square brackets are combined over time with

The Applicative functor is a little more complex, but allows

a pattern of values to be mapped over a pattern of functions. A
minimal denition of Applicative requires pure, which we have
already seen, along with the <> operator:

cat, and stacked if they are separated by commas. A pattern

can have its density increased with . Silence is specied by ,

analogous to a musical rest.

For additional tersity, the GHC string overloading feature is
used, so that the p function does not need to be specied.
So far we have only shown the core representation of Tidal, but
this already allows us to specify fairly complex patterns with some
tersity:
"[[ black white ]32 , [[ yellow pink ]3
purple ]5 , [ white black ] 16]] 16"

If curly brackets rather than square brackets are used, subpatterns are combined in a different way, timewise. The rst subpattern still takes up a single cycle, but other subpatterns on that level
are stretched or shrunk so that each element within them are the
same length. For example compare the following two patterns:

( Pattern fs ) <> ( Pattern xs ) =

Pattern  a concatMap applyX ( fs a )
where applyX (( s , e ) , (s , e ) , f ) =
map ((_ , _ , x ) (( s , e ) , (s , e ) , f x ) )
( filter
((_ , a , _ ) isIn a s )
( xs (s ,e ) )
)

In combination with <> (which is simply fmap but in operator

form), this operator allows us to turn a function that operates on
values, into a combinator which operates on patterns of values. For
example, we can use the library function blend, which operates
on two colours, into a combinator which operates on two colour
patterns:
blend 0.5
<  > "[ blue orange , yellow grey ] 16"
<> " white blue black red "

density 6  "[ red black , blue orange green ]"

density 6  "{ red black , blue orange green }"

In musical terms, the rst example would be described as a

triplet, and the latter a polyrhythm.

In the above, the blend function is only able to operate on pairs

of colours, but the applicative denition allows it to operate on
pairs of colours taken from inside the two patterns. It does this
by matching co-occurring events within the rst pattern, with those
in the second one, in particular the events in the second pattern
with arcs which contain the onset of those in the rst pattern. For
example in the following red matches with the onsets of black and
grey, and green matches with the onset of white, so we end up
with a pattern resulting from blends of the colour pairs (red, black),
(red, grey) and (green, white).

( blend 0.5 <  > "[ black grey white ]"

<> " red green ")

Notice that the resulting pattern will always maintain the structure of the rst pattern over time. However where an event in the
left hand pattern matches with multiple events in the right hand pattern, the number of events within this structure will be multiplied.
For example:

( blend 0.5 <  > "[ black grey white ]" <>
"[ red green , magenta yellow ]")

4.

Transformations

Shifting/turning patterns The < transformation shifts a pattern

to the left, or in cyclic terms, turns it anticlockwise. The > does
the opposite, shifting it to the left/clockwise. For example, to shift
it one third to the left every fourth repetition, we could do this:

density 16  every 4 ((1 / 3) < ) " blue grey

purple "

The above shows every fourth cycle (starting with the rst one)
being shifted to the left, by a third of a cycle.
iter The iter transformation is related to < , but the shift is
compounded until the cycle gets back to its starting position. The
number of steps that this takes place over is given as a parameter.
The shift amount is therefore one divided by the given number of
steps, which in the below example is .

From this point, we will focus less on the implementation of Tidal,

and more on its use. Please refer to the source code for any implementation details.
Reversal Reversal operations, and the resulting symmetries, are
fundamental to pattern. Because Tidal represents a notionally innite timeline, reversing a whole pattern is not possible. However,
the notion of a cycle is core to Tidal, and reversing each cycle
within a pattern is relatively straightforward.

rev " blue grey orange "

every Reversing a pattern is not very interesting unless you contrast it with the original, to create symmetries. To do this, we can
use every, a higher order transformation which applies a given pattern transformation every given number of cycles. The following
reverses every third cycle:

density 4  iter 4  " blue green purple orange "

superimpose is another higher order transformation, which combines the given pattern with the result of the given transformation.
For example, we can use this with the transformation in the above
example:

density 4  superimpose ( iter 4)  " blue

green purple orange "

density 16  every 3 rev " blue grey orange "

whenmod is similar to every, but applies the transformation when

the remainder of the rst parameter divided by cycle number is less
than the second parameter.

density 16  whenmod 6 3 rev " blue grey orange "

Combining transformations All of these pattern transformations

simply return another pattern, and so we can compose transformations together to quickly create complex patterns. Because these
transforms operate on patterns as functions, and not simply lists,
this can be done to arbitrary depth without worrying about storage; no actual events get calculated and manipulated until they are
needed. Here is a simple example:

whenmod 8 4 ( slow 4)  every 2 ((1 / 2) < ) 

every 3 ( density 4)  iter 4 " grey
darkgrey green black "

when you started with Tidal? , 6 selected No experience at all,

6 selected Some understanding, but no real practical experience
and 3 selected Had written programs using functional programming techniques. No respondents said that they had In depth,
practical knowledge of functional programming.
Despite the general lack of experience with functional languages, respondents generally reported that they could make music
with Tidal (14/15), that it was not difcult to learn (11/15), and
that it had the potential to help them be more creative (13/15).
Furthermore, most said they could learn Tidal just by playing with
it (10/15), and that they didnt need theoretical understanding in
order to use it for music (8/15). These answers were all captured
as Likert responses, see Figure 2. From this we conclude that despite Haskells reputation for difculty, these users did not seem to
have problems learning a DSL embedded within it, that uses some
advanced features.
Perhaps the loudest note of warning that we should ring before
leaving this section is that this is very much a self-selecting group,
attracted by what may be seen as a niche, technological way to
make music.

8. Conclusion
To visualise some of the repeating structure, the above image
shows a ten-by-twenty grid of cycles, scanning across and down.

5.

Working with sound

The visual examples only work up to a point, and the multidimensional nature of timbre is difcult to get across with colour alone.
Tidal allows many aspects of sound, such formant lters, spatialisation, pitch, onset and offset to be patterned separately, and then
composed into patterns of synthesiser control messages. Pattern
transforms can then manipulate multiple aspects of sound at once;
for example the jux transform works similarly to superimpose, but
the original pattern is panned to the left speaker, and the transformed pattern to the right. The striate pattern effectively cuts
a sample into multiple sound grains, so that those patterns of
grains can then be manipulated with further transforms. For details,
please refer to the Tidal documentation, and also to the numerous
video examples linked to from the homepage http://yaxu.org/
tidal.

6.

Live coding with Tidal

7.

The Tidal community

Over the past year, a community of Tidal users has started to grow.
This followed a residency in Hangar Barcelona, during which the
Tidal installation procedure was improved and documented. This
community was surveyed, by invitation via the Tidal on-line forum,
encouraged to give honest answers, and fteen responded. Two
demographic questions were asked. Given an optional free text
question What is your gender?, 10 identied as male, and the
remainder chose not to answer. Given an optional question What
is your age?, 7 chose 17-25, 4 chose 26-40, and the remainder
chose not to answer.
Respondents were asked to estimate the number of hours they
had used Tidal. Answers ranged from 2 to 300, with a mean of 44.2
and a standard deviation of 80.8. We can say that all had at least
played around with it for over an hour, and that many had invested
signicant time in learning it; the mode was 8 hours.
A surprising nding was that respondents generally had little or
no experience of functional programming languages before trying
Tidal. When asked the question How much experience of functional programming languages (e.g. Haskell, Lisp, etc) did you have

We have given some context to live coding Tidal, described some

implementation details and a selection of the functionality it provides. Much of this functionality comes from Haskell itself, which
has proved a suitable language for describing pattern. This is borne
out from a survey of 15 Tidal users, who generally reported positive learning experiences despite not being experienced functional
programmers.

I can make music with Tidal

Tidal has the potential to help me be
more creative
Tidal is dicult to install
Tidal is dicult to learn
I can learn Tidal just by playing with it
I would nd Tidal much easier to use
if the documentation was clearer
Tidal has changed the way I think about
making music
I need theoretical understanding of Tidal's
implementation in order to use it for music

Strongly disagree

Strongly agree

Figure 2. Likert scale questions from survey of Tidal users

References
S. Aaron, A. F. Blackwell, R. Hoadley, and T. Regan. A principled approach
to developing new languages for live coding. In Proceedings of New
Interfaces for Musical Expression 2011, pages 381386, 2011.
R. Bell. An Interface for Realtime Music Using Interpreted Haskell. In
Proceedings of LAC 2011, 2011.
A. Blackwell, A. McLean, J. Noble, and J. Rohrhuber. Collaboration
and learning through live coding (Dagstuhl Seminar 13382). Dagstuhl
Reports, 3(9):130168, 2014. . URL http://drops.dagstuhl.de/
opus/volltexte/2014/4420.
M. Clayton. Time in Indian Music: Rhythm, Metre, and Form in North Indian Rag Performance (Oxford Monographs on Music). Oxford University Press, USA, Aug. 2008. ISBN 0195339681. URL http:
//www.worldcat.org/isbn/0195339681.
N. Collins and A. McLean. Algorave: A survey of the history, aesthetics and
technology of live performance of algorithmic electronic dance music.
In Proceedings of the International Conference on New Interfaces for
Musical Expression, 2014.
N. Collins, A. McLean, J. Rohrhuber, and A. Ward. Live coding in laptop
performance. Organised Sound, 8(03):321330, 2003. . URL http:
//dx.doi.org/10.1017/s135577180300030x.
C. Elliott. Push-pull functional reactive programming. In Proceedings of
2nd ACM SIGPLAN symposium on Haskell 2009, 2009.
T. Hall.
Towards a Slow Code Manifesto.
http://www.ludions.com/slowcode/, Apr. 2007.

Published online;

P. Hession and A. McLean. Extending Instruments with Live Algorithms

in a Percussion / Code Duo. In Proceedings of the 50th Anniversary
Convention of the AISB: Live Algorithms, 2014.
T. Magnusson. ixi lang: a SuperCollider parasite for live coding. In
Proceedings of International Computer Music Conference 2011, 2011.
J. McCartney.
Rethinking the Computer Music Language: SuperCollider.
Computer Music Journal, 26(4):6168, 2002.
URL
http://www.mitpressjournals.org/doi/abs/10.1162/
014892602320991383.
A. McLean and H. Reeve. Live Notation: Acoustic Resonance? In Proceedings of International Computer Music Conference, pages 7075, 2012.
A. McLean and G. Wiggins. Tidal - Pattern Language for the Live Coding
of Music. In Proceedings of the 7th Sound and Music Computing
conference 2010, pages 331334, 2010.
A. McLean, D. Grifths, N. Collins, and G. Wiggins. Visualisation of Live
Code. In Proceedings of Electronic Visualisation and the Arts London

2010, pages 2630, 2010.

C. Nash and A. F. Blackwell. Tracking virtuosity and ow in computer
music. In Proceedings of International Computer Music Conference
2011, 2011.
M. Puckette. The Patcher. In Proceedings of International Computer Music
Conference 1988, pages 420429, 1988.
K. Sicchio. Hacking Choreography: Dance and Live Coding. Computer
Music Journal, 38(1):3139, Mar. 2014. . URL http://dx.doi.org/
10.1162/comj\_a\_00218.
A. Sorensen. Impromptu: An interactive programming environment for
composition and performance. In Proceedings of the Australasian Computer Music Conference 2005, pages 149153, 2005.
L. Spiegel. Manipulations of Musical Patterns. In Proceedings of the
Symposium on Small Computers and the Arts, pages 1922, 1981.
H. Thielemann.
Live-Musikprogrammierung in Haskell.
CoRR,
abs/1202.4269, 2012.
G. Wang and P. R. Cook. On-the-y programming: using code as an expressive musical instrument. In Proceedings of New interfaces for musical expression 2004, pages 138143. National University of Singapore,
2004.