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First Published in 1997. Routledge is an imprint of Taylor &
Francis, an informa company.
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.
A comprehensive text and reference that covers all aspects of
computer music, including digital audio, synthesis techniques,
signal processing, musical input devices, performance software,
editing systems, algorithmic composition, MIDI, synthesizer
architecture, system interconnection, and psychoacoustics. The
Computer Music Tutorial is a comprehensive text and reference that
covers all aspects of computer music, including digital audio,
synthesis techniques, signal processing, musical input devices,
performance software, editing systems, algorithmic composition,
MIDI, synthesizer architecture, system interconnection, and
psychoacoustics. A special effort has been made to impart an
appreciation for the rich history behind current activities in the
field. Profusely illustrated and exhaustively referenced and
cross-referenced, The Computer Music Tutorial provides a
step-by-step introduction to the entire field of computer music
techniques. Written for nontechnical as well as technical readers,
it uses hundreds of charts, diagrams, screen images, and
photographs as well as clear explanations to present basic concepts
and terms. Mathematical notation and program code examples are used
only when absolutely necessary. Explanations are not tied to any
specific software or hardware. The material in this book was
compiled and refined over a period of several years of teaching in
classes at Harvard University, Oberlin Conservatory, the University
of Naples, IRCAM, Les Ateliers UPIC, and in seminars and workshops
in North America, Europe, and Asia.
Representations of Musical Signals describes a new generation of
digital audio and computer music systems made possible by recent
advances in digital signal processing theory, hardware design, and
programming techniques.
Electronic music evokes new sensations, feelings, and thoughts in
both composers and listeners. Opening the door to an unlimited
universe of sound, it engages spatialization as an integral aspect
of composition and focuses on sound transformation as a core
structural strategy. In this new domain, pitch occurs as a flowing
and ephemeral substance that can be bent, modulated, or dissolved
into noise. Similarly, time occurs not merely as a fixed duration
subdivided by ratios, but as a plastic medium that can be
generated, modulated, reversed, warped, scrambled, and granulated.
Envelope and waveform undulations on all time scales interweave to
generate form. The power of algorithmic methods amplify the
capabilities of music technology. Taken together, these constitute
game-changing possibilities. This convergence of technical and
aesthetic trends prompts the need for a new text focused on the
opportunities of a sound oriented, multiscale approach to
composition of electronic music. Sound oriented means a practice
that takes place in the presence of sound. Multiscale means an
approach that takes into account the perceptual and physical
reality of multiple, interacting time scales-each of which can be
composed. After more than a century of research and development,
now is an appropriate moment to step back and reevaluate all that
has changed under the ground of artistic practice. Composing
Electronic Music outlines a new theory of composition based on the
toolkit of electronic music techniques. The theory consists of a
framework of concepts and a vocabulary of terms describing musical
materials, their transformation, and their organization. Central to
this discourse is the notion of narrative structure in
composition-how sounds are born, interact, transform, and die. It
presents a guidebook: a tour of facts, history, commentary,
opinions, and pointers to interesting ideas and new possibilities
to consider and explore.
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