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Foundations of Music Technology [Mīkstie vāki]

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  • Formāts: Paperback / softback, 272 pages, weight: 420 g
  • Izdošanas datums: 01-Jul-2015
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 0199368295
  • ISBN-13: 9780199368297
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  • Mīkstie vāki
  • Cena: 128,69 €
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Foundations of Music TechnologyPalielināt
  • Formāts: Paperback / softback, 272 pages, weight: 420 g
  • Izdošanas datums: 01-Jul-2015
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 0199368295
  • ISBN-13: 9780199368297
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780199368297.html
Keywords:
Foundations of Music Technology explores the core concepts of music technology and its uses as a mechanism to facilitate musicianship in a way that is accessible to all students--from the musician with limited technology skills to the technology expert with little knowledge in music notation. The text uses a free, customized software application for Mac or PC in order to demonstrate fundamental concepts of music technology germane to all professional applications like recording, synthesis, digital notation, MIDI, automating effects, acoustics, and more. With the concepts grasped using this "software-independent" approach, students can then transfer those learned skills over to the software of their choice.

Recenzijas

"Foundations of Music Technology offers clear explanations of concepts, excellent examples, and interesting chapter assignments." --Adam Vidiksis, Temple University "The overall approach is excellent and unique. Foundations of Music Technology is pedagogically efficient with software applications that promote self-learning, exploration, and hands-on experiments." --Frederick W. Bianchi, Worcester Polytechnic Institute "The software on the book's website is creative enough to solidify the concepts discussed and simple enough that it's not intimidating to people who have limited computer experience." --Scott Velazco, Daytona State College "The software components provide the most accurate experience for beginning music technologists. They're my favorite part of this book." --Michael Albaugh, Director of Education Operations at Jazz at Lincoln Center

Foreword xi
Introduction xiii
1 Properties Of Sound 1(13)
Overview
1(1)
What Is Sound?
1(1)
Frequencies
1(3)
Timbre
4(1)
The Harmonic Series and Timbre
5(2)
Our Hearing Range
7(1)
Spectrogram Analysis
8(2)
Combining Timbres
10(2)
Summary
12(1)
Key Concepts
13(1)
Key Terms
13(1)
2 Audio 14(27)
Overview
14(1)
Before We Begin
14(1)
The Signal Path
15(1)
Microphones
16(2)
Keeping a Uniform Signal
18(1)
Impedance
18(1)
Cables
19(5)
XLR Cables
19(1)
Balanced and Unbalanced Signals
20(1)
Balanced 'A" Tip, Ring, and Sleeve (TRS) Cables
21(1)
Unbalanced Tip and Sleeve (TS) Cables
22(1)
Other Cables
23(1)
Mixers
24(4)
Audio Interfaces
28(3)
Higher Sampling Rates
29(1)
Compressed Audio
29(1)
Bit Depth and Sampling Rate
30(1)
Audio Interface I/Os
31(1)
Digital Audio Workstations
31(2)
Speakers and Amplifiers
33(1)
Microphone Types and Basic Placement
34(5)
Microphone Placement
36(1)
Panning
37(1)
Other Technologies and Techniques
38(1)
Summary
39(1)
Key Concepts
40(1)
Key Terms
40(1)
3 Audio Editing Software 41(10)
Overview
41(1)
Basic DAW Functions
41(3)
Basic Recording and Editing
42(2)
Gain Levels
44(1)
Importing Audio
44(1)
Overdubbing and Preventing Feedback
44(2)
Loop-Based DAWs
46(4)
Summary
50(1)
Key Concepts
50(1)
Key Terms
50(1)
4 Synthesis 51(15)
Overview
51(1)
Waveforms
51(1)
Additive Synthesis
52(1)
Envelopes and ADSR curves
53(2)
Physical Modeling
55(1)
Combining Waves
56(5)
Phase
57(1)
Multiplying Waves
57(1)
Ring Modulation
58(1)
Amplitude Modulation (AM) Synthesis
59(1)
Frequency Modulation (FM) Synthesis
59(2)
Subtractive Synthesis
61(2)
Sample-Based Synthesis
63(1)
Granular Synthesis
63(1)
Summary
64(1)
Key Concepts
64(1)
Key Terms
65(1)
5 MIDI 66(14)
Overview
66(1)
Before MIDI
66(2)
The MIDI Protocol
68(8)
Note On and Note Off Messages
72(1)
MIDI Programs
73(1)
Controller Messages
74(1)
MIDI Channels
74(1)
Piano Roll
75(1)
Sampling
76(2)
Other Protocols
78(1)
Summary
79(1)
Key Concepts
79(1)
Key Terms
79(1)
6 Music Notation Software 80(7)
Overview
80(1)
Basic Notation Application Functions
80(1)
Note Entry
81(3)
Importing MIDI Files
84(1)
Importing MIDI Files in DAWs
85(1)
Future Work
85(1)
Summary
85(1)
Key Concepts
86(1)
Key Terms
86(1)
7 Sequencing Midi 87(34)
Overview
87(1)
Basic Setup
87(7)
The Live Browser
89(2)
Max for Live
91(1)
Plug-Ins Device Browser
92(1)
Other Menus
93(1)
Places
93(1)
Adding Book Content
93(1)
Working in Live
94(1)
Arrangement View
95(2)
MIDI and Audio Tracks
97(21)
MIDI
98(4)
MIDI Pitch Editor
102(1)
MIDI Velocity Editor
103(2)
Loops
105(2)
Adding Tracks
107(1)
Inserting a New MIDI Clip
107(4)
Recording with a MIDI Keyboard or the Computer MIDI Keyboard
111(6)
Changing Tempo
117(1)
Saving and Cleaning Up the Set
118(1)
Exporting Rendered Audio
118(1)
Summary
118(2)
Key Concepts
120(1)
Key Terms
120(1)
8 Acoustics 121(14)
Overview
121(1)
The Hearing Process
121(2)
Room Acoustics
123(3)
Resonance
126(1)
Sound Systems
127(1)
Phase Cancellation
128(1)
Psychoacoustics
129(1)
Loudness
130(3)
Summary
133(1)
Key Concepts
133(1)
Key Terms
134(1)
9 Effects 135(13)
Overview
135(1)
Gain and Distortion
135(2)
Tone-Shaping Controls in Effects
137(1)
Gate
138(1)
Compression
138(2)
Effects and Performance
140(1)
Output Gains in Effects
140(1)
Limiting
141(1)
EQ
141(2)
Delay
143(1)
Reverb
144(1)
Chorus
144(1)
Flanger
145(1)
Effects Chain
145(1)
Effects in DAWs
146(1)
Summary
147(1)
Key Concepts
147(1)
Key Terms
147(1)
10 Sequencing And Performing With Audio 148(24)
Overview
148(1)
Session View
148(7)
Recording and Editing Clips
155(2)
Recording Audio
157(1)
Audio Channels
158(4)
Adding Effects
162(3)
Key and MIDI Mapping
165(4)
Record to the Arrangement View
169(1)
Summary
170(1)
Key Concepts
171(1)
Key Terms
171(1)
11 Technology In Performance 172(8)
Overview
172(1)
Old Venues with a New Twist
172(1)
A Little History: Electroacoustic Music
173(2)
Film, Television, Video Games, Multimedia, and the Studio
175(1)
Interactive Music
176(2)
Interactive Music Systems
178(1)
Further Possibilities
178(1)
Summary
178(1)
Key Concepts
179(1)
Key Terms
179(1)
12 Technology In Education 180(12)
Overview
180(1)
Technology for a Purpose
180(2)
Composition
180(1)
Performance
181(1)
Education
181(1)
Technology-Based Musical Instruments
182(1)
Interactive Music Systems
182(3)
Separating Cognitive Functions of Musicianship from Physical Actions
185(2)
Technology Dictating Pedagogy
186(1)
Notation
186(1)
Educational Considerations
187(1)
Informal Music Learning through Technology
188(1)
Technology in Practical Educational Use
189(1)
Summary
190(1)
Key Concepts
190(1)
Key Terms
191(1)
13 Technology In Composition 192(9)
Overview
192(1)
Algorithmic Composition
192(6)
Early American Algorithmic Composition: David Cope
193(1)
Rule-Based Algorithmic Composition
194(1)
Data-Driven Algorithmic Composition
195(1)
Issues of Authorship
196(2)
Algorithmic Composition Methods
198(1)
Software and Tools
198(2)
Precomposed Loop and Pattern Software
198(1)
Sound Manipulation
199(1)
Composer of Algorithms and Algorithmic Composition
199(1)
Summary
200(1)
Key Concepts
200(1)
Key Terms
200(1)
14 Introduction To Music Programming 201(35)
Overview
201(1)
Programming Languages
201(2)
Introduction to Max
203(4)
The Max Window
207(8)
Help Patchers
209(1)
Arguments
209(1)
Separating Items in a Message
210(1)
Numbers: Integers and Floating Points
210(3)
Aligning
213(1)
Commenting
213(1)
Inspector
214(1)
Generating Music
215(15)
The RAT Patch: Creating Random Atonal Trash
215(2)
Synthesizing MIDI Numbers
217(3)
Adding Timing
220(5)
Slider Patch
225(1)
Rat Patch 2
225(5)
MIDI Input
230(4)
Summary
234(1)
Key Concepts
235(1)
Key Terms
235(1)
Glossary 236(15)
References 251(7)
Index 258
V.J. Manzo (PhD Temple University, M.M. New York University) is Assistant Professor of Music Technology and Cognition at Worcester Polytechnic Institute (WPI). He is a composer and guitarist with research interests in theory and composition, artificial intelligence, interactive music systems, and music cognition. V.J. is the Oxford University Press author of the books MAX/MSP/Jitter for Music on developing software-based interactive music systems and coauthor of Interactive Composition: Strategies Using Ableton Live and Max for Live. For more information, visit his website vjmanzo.com.