Austin, J. H. (2003), Chase, chance, and creativity: The lucky art of novelty, Mit Press.

Bernardo, F., Pestana, P. D. and Martins, L. G. (2015), The Smart Stage: Designing 3D interaction metaphors for immersive and ubiquitous music systems, .

Boyle, R. (2009, March). Serendipity and Zemblanity. Himal Southasian Magazine.

Brackett, J. (2008). Examining rhythmic and metric practices in Led Zeppelin’s musical style. Popular Music, 27, 53–76.

Brown, P. (2005), Is the Future of Music Generative?, Music Therapy Today (online) (2), 215-274.

Brown, A. R., Gifford, T. and Wooller, R. (2010), Generative Music Systems for Live Performance, First International Conference on Computational Intelligence pp. 290.

Cheung, V. K., Harrison, P. M., Meyer, L., Pearce, M. T., Haynes, J.-D. and Koelsch, S. (2019), Uncertainty and surprise jointly predict musical pleasure and amygdala, hippocampus, and auditory cortex activity, Current Biology 29(23), 4084--4092.

Collins, N. (2008), The analysis of generative music programs, Organised Sound 13(3), 237--248.

Colman, D. R. (2006), The three princes of Serendip: Notes on a mysterious phenomenon, McGill Journal of Medicine: MJM 9(2), 161.

Craig, J. (2017), Adaptive audio engine for EEG-based horror game, _in _Audio Engineering Society Convention 142.

Dean, R. T. (2018), The Oxford handbook of algorithmic music, Oxford University Press.

Dias, R. and Guedes, C. (2013), A contour-based jazz walking bass generator, Sound and Music Computing Conference 2013.

Dillon, S. and Jones, A. (2009), Exploring new kinds of relationships using generative music-making software, Australasian Psychiatry 17(1‑suppl), S163--S166.

Dorin, A., McCabe, J., McCormack, J., Monro, G. and Whitelaw, M. (2012), A framework for understanding generative art, Digital Creativity 23(3-4), 239--259.

Friberg, A., Schoonderwaldt, E. and Hedblad, A. (2011), Perceptual ratings of musical parameters, Gemessene Interpretation-Computergestützte Aufführungsanalyse im Kreuzverhör der Disziplinen, Mainz: Schott, 237--253.

Ghisi, D. (2017), Music across music: towards a corpus-based, interactive computer-aided composition, PhD thesis, Paris 6.

Hannula, M., Suoranta, J. and Vadén, T. (2005), Artistic Research. Theories, Methods and Practices.

Jackendoff, R. and Lerdahl, F. (1981), Generative music theory and its relation to psychology, Journal of Music Theory 25(1), 45--90.

Huron, D. B. (2006). Sweet anticipation music and the psychology of expectation. MIT Press.

Jacobs, L. (2015), Film rhythm after sound: technology, music, and performance, University of California Press; First edition (December 18, 2014).

Jedwillat, L. and Nowack, N. (2020), A game with music or music with a game? About the video game karmaflow / Ein Spiel mit Musik oder Musik mit einem Spiel? Zum Computerspiel Karmaflow Наукателевидения 16(4), 85--108.

Jehan, T. (2000), Creating Music by Listening, PhD thesis, Massachusetts Institute of Technology.

Judge, J. (2018), The surprising thing about musical surprise, Analysis (Oxford) 78(2), 225-234.

Léo, S. (2020), The Effect of Dynamic Music in Video Games: An Overview of Current Research. Uppsala University.

Levitin, D. J. (2006), This is your brain on music: The science of a human obsession, Penguin.

Loughran, R. and O’eill, M. (2016), Generative music evaluation: why do we limit to ‘human’. Proceedings of the first Conference on Computer Simulation of Musical Creativity (CSMC 2016), Huddersfield, UK.

Mäkelä, M., Nimkulrat, N., Dash, D. and Nsenga, F.-X. (2011), On reflecting and making in artistic research, Journal of Research Practice 7(1)

Magnusson, T. and McLean, A. (2018), Performing with Patterns of Time. The Oxford Handbook of Algorithmic Music.

Margulis, E. H. (2007), Surprise and listening ahead: Analytic engagements with musical tendencies, Music Theory Spectrum 29(2), 197-217.

Miles, S. A., Rosen, D. S. and Grzywacz, N. M. (2017), A statistical analysis of the relationship between harmonic surprise and preference in popular music, Frontiers in Human Neuroscience 11, 263.

Morley, P. (2010), On gospel, Abba and the death of the record: an audience with Brian Eno, The Guardian.

Mudd, T., Holland, S. and Mulholland, P. (2019), Nonlinear dynamical processes in musical interactions: Investigating the role of nonlinear dynamics in supporting surprise and exploration in interactions with digital musical instruments, International Journal of Human-Computer Studies 128, 27-40.

Sandra Naumann and Jan Thoben and Dieter Daniels, ed., (2015), See this Sound: Audiovisuology: A Reader, Verlag der Buchhandlung Walther König.

Peerdeman, P. (2010), Sound and music in games, VU Amsterdam.

Plut, C. and Pasquier, P. (2020), Generative music in video games: State of the art, challenges, and prospects, Entertainment Computing 33, 100337.

Reina, R. (2017), Applying Karnatic Rhythmical Techniques to Western Music, Routledge.

Rumsey, F. (2015), Game audio: Generative music, emotions, and realism, Journal of the Audio Engineering Society 63(4), 293-297.

Stefan, J. and Brown, A. R. (2015), Generative music video composition: using automation to extend creative practice, Digital Creativity 26(2), 110--120.

Sterne, J. (2012), The Sound Studies Reader, Routledge.

Sweet, M. (2015), Writing interactive music for video games: a composers guide, Pearson Education.

Swift, S. (2019), FMOD, an Audio Engine for Video Games, Adapted for Theater.

Takanen, A. (2020), Analysis and comparison of Unity and FMOD sound engines,

Yang, L.-C. and Lerch, A. (2020), On the evaluation of generative models in music, Neural Computing and Applications 32(9), 4773-4784.

Young, D. M. (2012), Adaptive game music: the evolution and future of dynamic music systems in video games. PhD thesis, Ohio University.

Game Music and Audio Book References

Writing Interactive Music for Video Games: A Composer’s Guide


A Composer’s Guide to Game Music


The Complete Guide to Game Audio: For Composers, Musicians, Sound Designers


Game Sound: An Introduction to the History, Theory, and Practice of Video