Laske

Otto Laske

Writings on Cognitive Musicology 1966-1998

1. COGNITIVE SCIENCE AND THE ARTS

What Artistic Developmental Tells About Adult Development. In Noel Zahler (Ed.), Sixth Biennial Symposium for Arts and Technology. Connecticut College, New London, CT., 93-115.

Four Uses of Self in Cognitive Science: The No-Man's Land Between Mindware and Mind. In P. Pylkkânen , P. Pylkkö, & A. Hautamäki, Eds. Brain, Mind, and Physics. Amsterdam, The Netherlands: IOS Press.

Knowledge Technology and the Arts: A Personal View. Computers and Mathematics with Applications, 32(1), 85-88. Special issue on Mathematics, Computers, and Music, M. Witten (Ed.)

Creativity: Where Do We Look For It? Invited paper, National Conference on A. I., Workshop on Creativity, Stanford University, Palo Alto, CA. In T. Dartnall (Ed.), Creativity, Cognition, and Computation. The A.A.A.I./M.I.T. Press, 1996.

Mindware and Software: Can They Meet?: Observations on AI and the Arts. Proceedings, Intern. Workshop on Knowledge Technology in the Arts, Osaka, Japan, 1-18.

Understanding Music with AI. Proceedings, First International Conference on Cognitive Musicology. Jyvaskyla, Finland, 270-276.

An Epistemic Approach to Musicology. In Goffredo Haus (Ed.) Music Processing. Madison, WI: A-R Editions, Inc. (pp. 109-118).

A Search of a Generative Grammar for Music. In (S. Schwanauer et al. eds.) Machine Models of Music. Cambrige, MA: The M.I.T. Press. [Reprint from Perspectives of New Music, 351-378. Annondale-on-Hudson, N.Y.(1974)].

A Search for a Theory of Musicality. Languages of Design - Formalisms for Word, Image and Sound, 1.3:209-228. Amsterdam, The Netherlands: Elsevier.

A.I. and Music: A Cornerstone of Cognitive Musicology. In (M. Balaban, K. Ebcioglu, O. Laske eds.) Understanding Music with AI Menlo Park, CA: The AAAI Press.

Conversation with Marvin Minsky, Foreword to Understanding Music with AI. Menlo Park, CA: The AAAI Press. Reprint in AI Magazine 13.3:31-45. AAAI Press, Menlo Park, CA.

Understanding Music with AI. Proceedings, 1991 ICMC, Bo Alphonce et al. eds, Montreal, P.Q., Canada: McGill University, 188-191.

Introduction to Cognitive Musicology. In The Journal of Musicological Research, 9:1-22. New York, NY: Gordon & Breach Science Publishers. [Reprinted from (C. Roads, ed.) Computer Music Journal, 12.1: 43-57. Cambridge, MA.: The M.I.T. Press (1988). [Also in Kognitiivinen Musiikkitiede. Jyväskylä, Finland: Jyväskylän Yliopiston Musiikkitieteen Laitoksen Julkaisusarja A: Tutkielmia Ja Raportteja 8, 1992 ].

Composition as Hypothesis Formation: A Blackboard Model of Compositional Creativity. In (V. Marik, Ed.) Proceedings, A.I. '89, 239-250. Prague, Czech Republic. Reprint in Knowledge-Based Systems,3.1:36-41. Guildford, Surrey, U.K.: Butterworth Scientific.

Can We Formalize and Program Musical Knowledge: An Inquiry into the Scope of Cognitive Musicology. Musikometrika 1, Bochum, Germany: Studienverlag N. Brockmeyer, 257-280.

Editor's Introduction, Cognitive Musicology. CC-AI 3.3:159-183. Rijksuniversiteit Gent, Ghent, Belgium.

On Competence and Performance Notions in Expert System Design. Actes, Sixièmes journées internationales sur les systèmes experts & leurs applications, 257-297, in J.C. Rault (ed.) Paris La Défense: Agence de l'Informatique.

Understanding Listening Procedurally. Sonus, 5.1:61-71. Cambridge, MA.

Music and Mind: An Artificial Intelligence Perspective, vol. 1-2. Collected papers published 1971-1981. San Francisco, CA.: International Computer Music Association.

On Problems of Verification in Music Theory. College Music Symposium, 19.2: 129-139. Boulder, CO.

Musicology and Psychomusicology: Two Sciences of Music.Journal of the Indian Musicological Society, 8.2: 1-24. Baroda, India.

Introduction to Psychomusicology. Journal of the Indian Musicological Society, 8.2: 25-54. Baroda, India.

Music, Memory, and Thought: Explorations in Cognitive Musicology. Ann Arbor, MI: University Research Press.

On Psychomusicology. Internat. Review of the Sociology & Aesthetics of Music, 6.2:269-281. Zagreb, Yugoslavia: Academy of Music.

Toward a Theory of Musical Cognition. Interface, 4.2: 147-208. Lisse, The Netherlands: Swets & Zeitlinger.

Musical Semantics: A Procedural Point of View. Actes du congrès de sémiotique musicale, 214-224, Pesaro, Italy: Centro di iniziativa culturale.

Toward a Center for Musical Intelligence Studies. Numus West, 5:44-46. Mercer Island, WA.

Musical Acoustics (Sonology): A Questionable Science Reconsidered. Numus West, 6:35-40. Mercer Island, WA.

The Information Processing Approach to Musical Cognition. Interface, 3.2:109- 136. Amsterdam, The Netherlands: Swets & Zeitlinger.

In Search of a Generative Grammar for Music. Perspectives of New Music, Fall/ Winter 1973 & Spring/Winter 1974, 351-378. Annondale -on-Hudson, NY: Bard College.

On the Methodology and Implementation of a Procedural Theory of Music. Proceedings, Internat. Conf. on Computers in the Humanities, St. Paul, MN (1973). Edinburgh, Scotland: Edinburgh University Press.

Introduction to a Generative Theory of Music. Utrecht, The Netherlands: Institute of Sonology.

Toward a Musical Intelligence System: OBSERVER. Numus West, 4:11-16. Mercer Island, WA.

On Musical Strategies With a View to a Generative Grammar for Music. Interface, 1.2:111-125. Amsterdam, The Netherlands: Swets & Zeitlinger.

On Problems of a Performance Model for Music. Utrecht, The Netherlands: Institute of Sonology.

An Acoulogical Performance Model for Music. Electronic Music Reports, 4. Utrecht, The Netherlands: Institute of Sonology.

2. THE ARTS IN HUMAN DEVELOPMENT
1995
The Imaginative Self: Essays in Developmental Psychology. Self-publication, West Medford, MA.
1994
Creating Music as an Articulation of Pre-Linguistic Senses of Self. Invited Paper, Conference on Technology and the Composer, Bibliothèque Nationale de Luxembourg. In J.N. Tabor (ed.) Otto Laske: Navigating New Musical Horizons. Westport, CT: Greenwood Press (1998).
What Artistic Development Tells About Adult Development. Ninth Annual Adult Development Symposium, University of Massachusetts, Amherst, MA.
1979
Goal Synthesis and Goal Pursuit in a Musical Transformation Task for Children Between Seven and Twelve Years of Age. Interface, vol. 9.2: 207-235. Amsterdam, The Netherlands: Swets & Zeitlinger.
1976
On Some Developmental Problems of Auditory Imagery. Internat. Review of the Sociology & Aesthetics of Music, 7.1:77-82, Zagreb, Yugoslavia: Academy of Music.
Toward a Theory of Musical Instruction. Interface, 5.3:125-148. Amsterdam, The Netherlands: Swets & Zeitlinger.

3. KNOWLEDGE ACQUISITION FOR KNOWLEDGE-BASED SYSTEMS
1993
Technology Management as Action Research: Challenges for Organizational Re- Education. CC-AI 10 (1), 235-284. Ghent, Belgium: Ghent University.
1992
The OBSERVER Tradition of Knowledge Acquisition. (M. Balaban, K. Ebcioglu, O. Laske, eds.), Understanding Musica with AI. Menlo Park, CA: The AAAI Press.
1990
On the Acquisition of Compositional Knowledge in Music. In (V.Marik Ed.) Proceedings, AI '90, 278-298. Prague, Czechoslovakia.
A Course in Knowledge Management. Landsberg, Germany: WIC GmbH.
1989
Articulating Musical Intuitions by Way of Rules. Proceedings, Second International Workshop on Artificial Intelligence and Music. Detroit, MI, 148-173.

4. DESIGN OF INTERFACES FOR COMPUTER MUSIC SYSTEMS
1985
Considering Human Memory in Designing User Interfaces for Computer Music Systems. Foundations of Computer Music (C. Roads, ed.), 551-567. Cambridge, MA The M.I.T. Press. [Reprint from Computer Music Journal, vol. 2.4: 39-45. Menlo Park, CA: People's Computer Company (1978)].
1978
Understanding the Behavior of Users of Interactive Computer Music Systems. Interface, 7.2:159-168. Amsterdam, The Netherlands: Swets & Zeitlinger.
1977
Toward a Theory of User Interfaces for Computer Music Systems. Computer Music Journal, 1.4: 53-60. Menlo Park, CA: People's Computer Company.

5. THEORY OF MUSIC ANALYSIS AND LISTENING
1986
Toward a Computational Theory of Musical Listening. Proceedings, 1983 Intern. Conf. on Music, Reason, and Emotion (F. Vandamme & J. Broeckx, H. Sabbe, eds.), Ghent, Belgium: Communication and Cognition, 18.4:363-392.
1984
Keith: A Rule System for Making Music-Analytical Discoveries. In (M. Baroni et al. eds.) Proceedings, 1982 Intern. Conf. on Musical Grammars and Computer Analysis, 165-200. Florence, Italy: Leo S. Olschki.
1980
Toward an Explicit Theory of Musical Listening. Computer Music Journal, 4.2: 73-83. Cambridge, MA.: The M.I.T. Press.
1977
Toward a Process Model of Musical Structures. Proceedings, Internat.Workshop on the Cognitive Viewpoint, 295-304. Rijksuniversiteit Gent, Ghent, Belgium: Communication and Cognition.

6. THEORY OF COMPOSITION
1991
Toward an Epistemology of Composition. (Otto Laske, ed.) Interface, 20.3-4: 235-269. Amsterdam, The Netherlands: Swets & Zeitlinger.
Furies and Voices: Composition-Theoretical Observations. in (D. Baggi, ed.) Readings in Computer-Generated Music. Los Alamitos, CA: IEEE Computer Science Press. [also Proceedings, Third Arts and Technology Symposium, Connecticut College. New London, CT, 180-192].
Two Paradigms of Music Research: Composition and Listening. In (B. Bel et B. Vecchione, eds.) Actes, Colloque Musique et assistance Informatique, 179-185. Marseille, France: Laboratoire Musique et Informatique Marseille.
Composition musicale et assistance informatique: un exemple de composition interprétative. (B. Bel & B. Vecchione, eds.) Actes, Séminaire créativité en art Centre de Recherche en Sciences de la Musique, Université Aix-en-Provence (1990).
1990
The Computer as the Artist's Alter Ego, Leonardo, New York, NY: Pergamon Journals, 23(1):53-66.
1989
Composition Theory: An Enrichment of Music Theory. Interface, 18/1-2: 45- 59. Amsterdam, The Netherlands: Swets & Zeitlinger. [Reprint from Proceedings, Second Arts and Technology Symposium. New London, CT.: Connecticut College, 101-119].
Composition Theory in Koenig's Project One and Project Two. The Music Machine (C. Roads, ed.), 119-130. Cambridge, MA: The M.I.T. Press. [Reprinted from Computer Music Journal, 5.4:54-65. Cambridge, MA..: The M.I.T. Press (1981). Translated into Russian (1983).
1987
Verification and Sociological Interpretation in Musicology. Series Music Theories, p. 119-154. Tokyo, Japan: Keiso. (Japanese). [Reprint from (1977) Intern. Rev. Soc. & Aesthetics of Music, 8.1: 212-236. Zagreb, Yugoslavia: Academy of Music.]
1982
A Definition of Computer Music. Proceedings 1981 International Computer Music Conference, 31-56. San Francisco, CA: Computer Music Association.
A Definition of Computer Music. Feedback Papers, 27-28: 8-24. Cologne, Germany: Feedback Studio Köln.
1982
L'informatica musicale. Numero e Suono, 45-48. La Biennale di Venezia (Barbara Barbini et al. eds.). Venice, Italy.
1981
Subscore Manipulation as a Tool for Compositional and Sonic Design. Proceedings, 1980 Internat. Comp. Mus. Conf., 2-21. Flushing, N.Y.: Queens College & Computer Music Association, San Francisco, CA.
Automated Composition/Composed Automation. Translation from the French (G.Englert). Computer Music Journal, 5.4: 30-35. Cambridge, MA.: The M.I.T. Press.
Composition Theory: A New Discipline for Artificial Intelligence and Computer Music. Music & Mind, vol.2.
1980
On Composition Theory as a Theory of Self-Reference. (K. Gaburo, ed.) Allos, 419-431. La Jolla, CA: Lingua Press.

7. PHILOSOPHY OF ART AND OF THE HUMANITIES
1992
The Humanities as Sciences of the Artificial. Interface 21.3-4:239-255. Lisse, The Netherlands.
1991
A propos du but projectif de la versification: l'esthétique de Charles Olson. (B. Bel & B. Vecchione, eds.) Actes, Séminaire créativité en art. Centre de Recherche en Sciences de la Musique, Université Aix-en-Provence.
1973
On the Understanding and Design of Aesthetic Artifacts. Musik und Verstehen, 189-216. Cologne, Germany: Arno Volk Verlag.

8. REVIEWS
1993
Review of David Cope's Computers and Musical Style. AI Magazine, 13.2. Menlo Park, CA.
1992
About Vecchione's Musicological Research Today: Interrogations, Interdisciplines, Metamusicology. Interface 21.3-4: 313-318.
1991
Understanding Music with AI: An Introduction. Proceedings, 1991 ICMC, Montreal, Quebec: McGill University.
1989
Comments on the First Workshop on A.I. and Music, St. Paul, MN, 1988. In (J.Rahn, ed.) Perspectives of New Music, 27.2. Seattle, WA.
1987
Marc Leman, Otto Laske: Music, Memory, and Thought. Computer Music Journal, 11.4:52-54. Cambridge, MA: The M.I.T. Press.
1978
The Tuning of the World. Review of Murray Schaefer's Tuning of the World. Musical Quarterly, LXIV, 3: 394-397. New York, NY.
1977
Toward a Musicology for the Twentieth Century. Review of J.J. Nattiez's Fondements d'une sémiologie musicale. Perspectives of New Music, 220-225. Annondale-on-Hudson, NY.

9. TEXTS IN GERMAN
1987
Memorandum zur Gründung eines Instituts für Musikalische Informatik. In Computermusik (G. Batel, ed.), 79-93. Laaber, Germany: Laaber Verlag.
Kurze Einführung in die kognitive Musikwissenschaft: Die Folgen des Computers in der Musik. (G. Batel, ed.). In Computermusik, 169- 194. Laaber, Germany: Laaber Verlag.
1983
Musik und Künstliche Intelligenz: Ein Forschungsüberblick. Feedback Papers, vol. 30: 4-36. Cologne, Germany.: Feeback Studio Köln.
1982
Computermusik und Musikalische Informatik. Neuland, vol. 2: 209-213 (H.Henck, ed.). Cologne, Germany.
1966
Über die Dialektik Platos und des frühen Hegel. Ph.D. Thesis, München, Germany: Mikroskopie.
See also unpublished German writings.