By Roger T. Dean

ISBN-10: 0199792038

ISBN-13: 9780199792030

Roger T. Dean (ed.)

The Oxford guide of computing device tune bargains a cutting-edge cross-section of the main field-defining subject matters and debates in laptop tune this present day. a special contribution to the sphere, it situates laptop tune within the huge context of its construction and function around the variety of concerns - from song cognition to pedagogy to sociocultural subject matters - that form modern discourse within the field.

Fifty years after musical tones have been produced on a working laptop or computer for the 1st time, advancements in computing device computing have introduced computing device tune nearby of all listeners and composers. construction and distribution of computing device tune have grown vastly therefore, and the time is true for this survey of machine track in its cultural contexts. a powerful and foreign array of tune creators and lecturers talk about desktop music's historical past, current, and destiny with a large viewpoint, together with composition, improvisation, interactive functionality, spatialization, sound synthesis, sonification, and modeling. all through, they merge perform with idea to provide a desirable look at computing device music's probabilities and enduring appeal.


1 advent: the various futures of desktop song.
Roger T. Dean
Section I: a few histories of computing device song and its applied sciences
2. A ancient view of computing device song technology
Douglas Keislar
3. Early and early rules in desktop track - their improvement and their present forms
Paul Doornbusch
4. Sound synthesis utilizing computers
Peter Manning
Section II: The song
5. Computational techniques to composition of notated instrumental track: Xenakis and the opposite pioneers
James Harley
6. Envisaging improvisation in destiny computing device music
Roger T. Dean
Section III: Sounding Out
7. machine track: a few reflections
Trevor Wishart
8. a few notes on my digital improvisation practice
Tim Perkis
9. Combining the acoustic and the electronic: track for tools and desktops or pre-recorded sound
Simon Emmerson
Section IV: artistic and function Modes
10. Dancing the track: interactive dance and music
Wayne Siegel
11. Gesture and morphology in computer song performance
Garth Paine
12. Sensor dependent musical tools and interactive music
Atau Tanaka
13. Spatialisation and computing device music
Peter Lennox
14. The voice in desktop track and its courting to put, identification and community
Hazel Smith
Noam Sagiv, Freya Bailes and Roger T. Dean
16. An advent to info sonification
David Worrall
17. Electronica
Nick Collins
18. Generative algorithms for making track: emergence, evolution and ecosystems
Jon McCormack, Alice Eldridge, Alan Dorin and Peter McIlwain
Section V: Cognition and Computation of desktop tune
19. Computational modelling of tune cognition and musical creativity
Geraint A. Wiggins, Marcus T. Pearce and Daniel Müllensiefen
20. Soundspotting: a brand new type of process?
Michael Casey
Section VI: Sounding Out
21. Interactivity and improvisation
George E. Lewis
22. From outdoors the window: digital sound performance
Pauline Oliveros
23. Empirical stories of machine sound
Freya Bailes and Roger T. Dean
Section VII: Cultural and academic concerns
24. towards the gender ideal
Mary Simoni
25. Sound-based song four all
Leigh Landy
26. Framing studying views in computing device song education
Jøran Rudi and Palmyre Pierroux
27. A chronology of computing device tune and similar events
Paul Doornbusch

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Extra info for The Oxford Handbook of Computer Music (Oxford Handbooks)

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1941), called Experiments in Musical Intelligence (1996), deserves special mention, not for the controversy it has engendered through its mimicking of famous classical composers, but for the number of years the composer has put into refining his software and for the sheer volume of the musical corpus it has produced. Counting individual movements as separate works, Cope calculated that he had created 34 some histories of computer music and its technologies over a thousand finished compositions with his software.

The last scenario is enviable for the composer who has no technical inclination, and its presence is unsurprising in a society like that of France, where support for the arts is widely considered a necessity rather than a luxury. The opposite end of the scale, the musician-cum-hacker, may be emblematic of societies with a do-it-yourself ethos and a cultural history that celebrates the pioneer. Tool development and creative ideas are mutually influential. When the composer is also a programmer (or hardware developer), or if the engineer works closely with the user, it is more likely that creative musical goals will inform the tool’s design.

2000. The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming. Cambridge: MIT Press. , A. Luciani, and J. Florens. 1984. Responsive input devices and sound synthesis by simulation of instrumental mechanisms: The Cordis system. Computer Music Journal 8(3): 60–73. Chadabe, J. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ: Prentice-Hall. Chowning, J. 1971. The simulation of moving sound sources. Journal of the Audio Engineering Society 19: 2–6.

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The Oxford Handbook of Computer Music (Oxford Handbooks) by Roger T. Dean

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