Kuivila, A system for computer music performance. Kiuvila, Formula: a programming language for expressive computer music. Ames, Automated composition in retrospect: 1956–1986. Garcia, A framework for efficient and rapid development of cross-platform audio applications. Amatriain, Clam: a framework for audio and music application development. Dell, Aural: a mobile interactive system for geo-locative audio synthesis, in Proceedings of the 12th Conference on New Interfaces for Musical Expression, Michigan (2012) di Giugno, A one-card 64 channel digital synthesizer. Akoumianakis, Exploring new perspectives in network music performance: the diamouses framework. Avila, Learning Core Audio: A Hands-On Guide to Audio Programming for Mac and iOS (Addison-Wesley Professional, Upper Saddle River, 2012)Ĭ. Blackwell, From sonic pi to overtone: creative musical experiences with domain-specific and functional languages, in Proceedings of the First ACM SIGPLAN Workshop on Functional Art, Music, Modeling & Design (ACM, Boston, 2013), pp. Along with the technical advancement, the synergy between technology and creativity in computer music is also highlighted when appropriate in this chapter, as such a perspective can be beneficial to reconsider the relationship between computer technology and artistic creativity in our decades. While the evolution of computer music languages has been largely supported by the advance of computer technology and the achievement of the related research in computer science and audio engineering, it should be also noted that issues found in creative practices also have given significant influences to the development of computer music languages and systems throughout its history. The division between the eras of non-real-time computer music systems and real-time computer music systems is particularly emphasized, as it gave a significant impact on both creative practices by artists and musicians and the design of computer music languages and systems by researchers and engineers. As is often seen in other surveys of computer music history, the historical development of computer music languages and systems is divided into several overlapping eras in this chapter. As a part of the in-game economy, the game’s scrapping method leads to fewer cards circulating and making the remaining cards more valuable in general.This chapter briefly overviews the history of computer music languages and related systems, mainly focusing on those developed in the research community (hence, less focus is put on those commercial computer music software such as digital audio workstation (DAW) software or sound editor software). A certain amount of SCRAP can be used to trade creates. In addition to that, unused cards can be salvaged and turned into SCRAP. This network enables scalable and instant blockchain transactions in-game. In Synergy of Serra, the blockchain technology is being hidden in the background, thanks to the usage of Matic Network. Promo Set and Transcendent Set, however, are NFT sets. Starter Set and Base Set are free for every player in the game. Synergy of Serra has 159 different cards in its arsenal, which are divided into four different card sets: Promo Set, Starter Set, Base Set, and Transcendent Set. This pile makes the cards drawable again. These discarded cards create the Discard Pile and Discard Piles constantly shuffle and become the Draw Pile. In a total of 2 turns, the entire deck is empty. When a turn is finished, the player’s remaining cards are discarded, and five new cards are drawn. Each turn, players can take five more cards to their hands. Players start the game with ten cards only. When the round starts, Suitcases will be poured onto the table, creating the Card Pool. Before a game round, players can create a Suitcase full of 100 cards. Synergy of Serra, however, allows players to alter the decks during the game, unlike other CCGs. The game uses deck construction as its gaming mainframe each player has their deck like in any other collectible card game (CCGs).
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