Below the level of the musical note lies the realm of microsound, of sound particles lasting less than one-tenth of a second. Recent technological advances allow us to probe and manipulate these pinpoints of sound, dissolving the traditional building blocks of music -- notes and their intervals -- into a more fluid and supple medium. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as particle density increases. Sounds coalesce, evaporate, and mutate into other sounds.Composers have used theories of microsound in computer music since the 1950s. Distinguished practitioners include Karlheinz Stockhausen and Iannis Xenakis. Today, with the increased interest in computer and electronic music, many young composers and software synthesis developers are exploring its advantages. Covering all aspects of composition with sound particles, Microsound offers composition theory, historical accounts, technical overviews, acoustical experiments, descriptions of musical works, and aesthetic reflections. The book is accompanied by an audio CD of examples.

Cutting-edge perspectives on a hot topic, with few competing titles on the market Contributor list includes some very well known professionals, as well as diverse academics from different disciplines Accessible and interdisciplinary introductory volume

Create and compose production-quality music with the power of FL Studio 20 along with MuseScore and Wwise Key Features Develop widely applicable music composition techniques and create full orchestral scores Leverage the power of FL Studio to create your own production-level soundtracks Use cutting-edge tools to fuel your creative ideas and launch your composer career Book DescriptionFL Studio is a cutting-edge software music production environment and a powerful and easy-to-use tool for composing music. In this comprehensive guide, you'll discover how to use FL Studio's tools and techniques to design exciting soundtracks for your films, TV shows, video games, and much more. You'll start by understanding the business of composing, learning how to communicate, score, market your services, land gigs, and deliver music projects for clients like a professional. Next, you'll set up your studio environment, navigate key tools, such as the channel rack, piano roll, playlist, mixer, and browser, and export songs. The book then advances to show you how to compose orchestral music using MIDI (musical instrument digital interface) programming, with a dedicated section to string instruments. You'll create sheet music using MuseScore for live musicians to play your compositions. Later, you'll learn about the art of Foley for recording realistic sound effects, create adaptive music that changes throughout video games, and design music to trigger specific emotions, for example, scary music to terrify your listener. Finally, you'll work on a sample project that will help you prepare for your composing career. By the end of this book, you'll be able to create professional soundtrack scores for your films and video games. What you will learn Compose production-ready music for films and video games Plan and deliver a soundtrack music score for clients like a professional Apply practical music theory using themes, leitmotifs, scales, and modes Compose orchestral music with MIDI programming Design music for specific emotions Create sheet music with MuseScore, score music for films with Fruity Video Player, and make diegetic music Design interactive music by leveraging horizontal resequencing and vertical remixing Who this book is forThis book is for musicians and programmers who want to take their music composing skills to a professional level. Film directors and game designers who want to get involved in scoring music for their own productions will also find this book useful. All you need is a computer and FL Studio to get started.

Music is much more than listening to audio encoded in some unreadable binary format. It is, instead, an adventure similar to reading a book and entering its world, complete with a story, plot, sound, images, texts, and plenty of related data with, for instance, historical, scientific, literary, and musicological contents. Navigation of this world, such as that of an opera, a jazz suite and jam session, a symphony, a piece from non-Western culture, is possible thanks to the specifications of new standard IEEE 1599, "IEEE Recommended Practice for Defining a Commonly Acceptable Musical Application Using XML," which uses symbols in language XML and music layers to express all its multimedia characteristics. Because of its encompassing features, this standard allows the use of existing audio and video standards, as well as recuperation of material in some old format, the events of which are managed by a single XML file, which is human and machine readable - musical symbols have been read by humans for at least forty centuries.

Anyone wanting to realize a computer application using IEEE 1599 -- music and computer science departments, computer generated music research laboratories (e.g. CCRMA at Stanford, CNMAT at Berkeley, and IRCAM in Paris), music library conservationists, music industry frontrunners (Apple, TDK, Yamaha, Sony), etc. -- will need this first book-length explanation of the new standard as a reference.

The book will include a manual teaching how to encode music with IEEE 1599 as an appendix, plus a CD-R with a video demonstrating the applications described in the text and actual sample applications that the user can load onto his or her PC and experiment with.

Now in its tenth edition, the Audio Production Worktext offers a comprehensive introduction to audio production in radio, television, and film. This hands-on, student-friendly text demonstrates how to navigate modern radio production studios and utilize the latest equipment and software. Key chapters address production planning, the use of microphones, audio consoles, and sound production for the visual media. The reader is shown the reality of audio production both within the studio and on location. New to this edition is material covering podcasting, including online storage and distribution. The new edition also includes an updated glossary and appendix on analog and original digital applications, as well as self-study questions and projects that students can use to further enhance their learning. The accompanying instructor website has been refreshed and includes an instructor's manual and PowerPoint images. This book remains an essential text for audio and media production students seeking a thorough introduction to the field.

Coproduction in the Recording Studio: Perspectives from the Vocal Booth details how recording studio environments affect performance in the vocal booth. Drawing on interviews with professional session singers, this book considers sociocultural and sociotechnical theory, the modern home studio space, as well as isolation and self-recording in light of the COVID-19 pandemic. This is cutting-edge reading for advanced undergraduates, scholars and professionals working in the disciplines of recording studio production, vocal performance, audio engineering and music technology.

Sound Inventions is a collection of 34 articles taken from Experimental Musical Instruments, the seminal journal published from 1984 through 1999. In addition to the selected articles, the editors have contributed introductory essays, placing the material in cultural and temporal context, providing an overview of the field both before and after the time of original publication. The Experimental Musical Instruments journal contributed extensively to a number of sub-fields, including sound sculpture and sound art, sound design, tuning theory, musical instrument acoustics, timbre and timbral perception, musical instrument construction and materials, pedagogy, and contemporary performance and composition. This book provides a picture of this important early period, presenting a wealth of material that is as valuable and relevant today as it was when first published, making it essential reading for anyone researching, working with or studying sound.