The book is suitable for advanced undergraduate and postgraduate students in music and signal processing, and for practitioners and researchers. This book is divided into three elements.
Author: Victor Lazzarini
This book is divided into three elements. Part I provides a broad introduction to the foundations of computer music instruments, covering some key points in digital signal processing, with rigorous but approachable mathematics, and programming examples, as well as an overview of development environments for computer instruments. In Part II, the author presents synthesis and processing, with chapters on source-filter models, summation formulae, feedback and adaptive systems, granular methods, and frequency-domain techniques. In Part III he explains application development approaches, in particular communication protocols and user interfaces, and computer music platforms. All elements are fully illustrated with programming examples using Csound, Python, and Faust. The book is suitable for advanced undergraduate and postgraduate students in music and signal processing, and for practitioners and researchers.
This book is divided into two parts.
Author: Victor Lazzarini
This book is divided into two parts. The chapters in Part I offer a comprehensive introduction to the C language and to fundamental programming concepts, followed by an explanation of realtime audio programming, including audio synthesis and processing. The chapters in Part II demonstrate how the object-oriented programming paradigm is useful in the modelling of computer music instruments, each chapter shows a set of instrument components that are paired with key C++ programming concepts. Ultimately the author discusses the development of a fully-fledged object-oriented library. Together with its companion volume, Computer Music Instruments: Foundations, Design and Development, this book provides a comprehensive treatment of computational instruments for sound and music. It is suitable for advanced undergraduate and postgraduate students in music and signal processing, and for practitioners and researchers. Some understanding of acoustics and electronic music would be helpful to understand some applications, but it's not strictly necessary to have prior knowledge of audio DSP or programming, while C / C++ programmers with no experience of audio may be able to start reading the chapters that deal with sound and music computing.
On another level the computer facilitated the deployment of a new pitch scale and
even a newly defined “octave.” Digital ... As the name indicates, the orchestra file
contains “instruments,” and these can be built by the user from component unit ...
Author: Michael Clarke
Publisher: Oxford University Press, USA
"This publication (the text and the software) aims to explore the relationship between new technical innovations in computer technology for music and the creative practice of composers employing these new techniques. It asks: does the new technology lead to new sounds and new ways of structuring music, and if so how? What are the creative options, sonic and structural, presented by new software and hardware? How can these be manipulated and shaped to form music? How have particular composers developed successful working methods in using this technology? To answer such questions a set of case studies have been examined in depth, specific works in which composers have adopted new techniques, whether developed by themselves or by others. Each of these works has been researched from a number of different perspectives: the technical and musical background, the technology employed in the particular work and, through music analysis, the musical outcome. Innovative approaches have been employed both in undertaking and presenting this research. On the one hand, it has been important to find appropriate ways of presenting the musical potential of what are often highly technical processes. On the other hand, it has been necessary to find ways of analyzing music that often evades even the most basic fundamentals of traditional music analysis: notes, harmonies, or instruments"--
Interactive computer music proposes a number of considerations about what the
audience experiences in relationship of what- is-going-on-on-stage and the
overall musical result. While a traditional music instrument is a compact tool and “
Author: Uffe K. Wiil
Publisher: Springer Science & Business Media
This book constitutes the thoroughly refereed post-proceedings of the International Computer Music Modeling and Retrieval Symposium, CMMR 2003, held in Montpellier, France, in May 2003. The 20 revised full papers were carefully selected during two rounds of reviewing and improvement. Due to the interdisciplinary nature of the area, the papers address a broad variety of topics including information retrieval, programming, human-computer interaction, digital libraries, hypermedia, artificial intelligence, acoustics, signal processing, etc. The book comes with a CD-ROM presenting supplementary material for the papers included.
Computer Music Journal 26(4): 61–68. McLuhan, M. 1964. Understanding Media:
The Extensions of Man. Cambridge: MIT Press. Miranda, E. R., and M. Wanderley
. 2006. New Digital Musical Instruments: Control and Interaction beyond the ...
Author: Roger T. Dean
Publisher: Oxford University Press
The Oxford Handbook of Computer Music offers a state-of-the-art cross-section of the most field-defining topics and debates in computer music today. A unique contribution to the field, it situates computer music in the broad context of its creation and performance across the range of issues - from music cognition to pedagogy to sociocultural topics - that shape contemporary discourse in the field. Fifty years after musical tones were produced on a computer for the first time, developments in laptop computing have brought computer music within reach of all listeners and composers. Production and distribution of computer music have grown tremendously as a result, and the time is right for this survey of computer music in its cultural contexts. An impressive and international array of music creators and academics discuss computer music's history, present, and future with a wide perspective, including composition, improvisation, interactive performance, spatialization, sound synthesis, sonification, and modeling. Throughout, they merge practice with theory to offer a fascinating look into computer music's possibilities and enduring appeal.
The book is written for the musician who wishes to learn about Java programming and computer music concepts, and for the programmer who is interested in music and sound design with Java.
Author: Andrew Brown
Making Music with Java is an introduction to music making through software development in the Java programming language using the jMusic library. It explains musical and programming concepts in a coordinated way. The book is written for the musician who wishes to learn about Java programming and computer music concepts, and for the programmer who is interested in music and sound design with Java. It assumes little musical or programming experience and introduces topics and issues as they arise. Sections on computer music and programming are interlaced throughout, but kept separate enough so that those with experience in either area can skip ahead as required.
xxii + 286 pp.Includes a Foreword by Ross Kirk
Author: Eduardo Reck Miranda
Publisher: A-R Editions, Inc.
xxii + 286 pp.Includes a Foreword by Ross Kirk
2 cmusic I wrote the cmusic program in 1980 as part of the basic computer music
software developed at the Computer ... The cmusic user specifies one or more
computer instruments , each of which is composed of arbitrarily interconnected ...
Author: F. Richard Moore
This is a general introduction to the theory of computer music, giving details on sound, digital signal processing, math, and C programming. It assumes a strong knowledge of music.