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E-grāmata: Inside Computer Music

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(Emeritus Professor of Music, Durham University), (Senior Research Fellow in Music and Music Technology, University of Huddersfield), (Professor of Music, University of Huddersfield)
  • Formāts: EPUB+DRM
  • Izdošanas datums: 15-Sep-2020
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780190659684
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Inside Computer MusicPalielināt
  • Formāts: EPUB+DRM
  • Izdošanas datums: 15-Sep-2020
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780190659684
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Inside Computer Music is an investigation of how new technological developments have influenced the creative possibilities of composers of computer music in the last 50 years. This book combines detailed research into the development of computer music techniques with nine case studies that analyze key works in the musical and technical development of computer music. The book's companion website offers demonstration videos of the techniques used and downloadable software. There, readers can view interviews and test emulations of the software used by the composers for themselves. The software also presents musical analyses of each of the nine case studies to enable readers to engage with the musical structure aurally and interactively.

Recenzijas

Inside Computer Music is a major step forward for the analysis of digital electroacoustic work...an excellent research and study resource. * Ambrose Seddon, Organised Sound * Clarke, Dufeu, and Manning analyze the roots of computer music by exploring the pivotal work, technology, and theories of multiple pioneer computer composers ... Each of the book's nine chapters showcases a pivotal piece ... A companion website allows readers to hear and understand these unique tonalities. * S. Lenig, CHOICE * It is rare to find such well-curated analytical material on electroacoustic music. I have known Francis Dhomont's Phonurgie since its creation and talked with the composer about it many times. I analyzed, performed, and taught the work for the past 20 years, and yet, there was so much new information to discover here. This book will deepen my appreciation for these compositions and present an excellent resource for my students. * Hans Tutschku, Harvard University *

Acknowledgments xiii
About the companion website xv
Technology and Creativity in Computer Music
1(1)
Combining text and software to explore computer music from the inside
1(2)
The pursuit of new perspectives in the analysis of electronic and computer music
3(5)
Nine case studies from the history of computer music
8(7)
1 John Chowning: Stria
15(38)
Contexts for Stria
15(20)
Max Mathews and the beginnings of software for computer music
15(8)
Jean-Claude Risset and timbral synthesis
23(2)
John Chowning and the evolution of FM synthesis
25(10)
Inside Stria
35(16)
The golden ratio
37(1)
Timbre and FM synthesis in Stria
38(1)
The golden ratio in the context of FM synthesis
39(1)
Stria's synthesis algorithm
40(2)
Structure of an event
42(1)
Timing and duration
43(1)
Frequency parameters
43(3)
Attack and decay
46(1)
Spatialization and reverberation
47(1)
Envelope functions
47(1)
The terminal interface
48(1)
The shape of Stria
48(3)
Conclusions
51(2)
2 Barry Truax: Riverrun
53(34)
Contexts for Riverrun
53(18)
The birth and early development of granular synthesis
53(18)
Inside Riverrun
71(11)
Riverrun: Technique, form, and structure
71(2)
Granular synthesis in Riverrun and the GSX system
73(2)
Tape techniques
75(1)
Spatialization in Riverrun
76(1)
Sections and streams
76(1)
Section 1
77(1)
Transition from Section 1 to Section 2
78(1)
Section 2
78(2)
Section 3
80(1)
Section 4
80(1)
Section 5
81(1)
Conclusions
82(5)
3 Philippe Manoury: Pluton
87(40)
Contexts for Pluton
87(18)
First steps in the development of technologies for live computer music
87(1)
The pioneering contributions of IRCAM
88(2)
The development of the IRCAM 4X synthesizer
90(7)
Philippe Manoury: The background to the composition of Pluton
97(8)
Inside Pluton
105(20)
The global form and materials of Pluton
106(2)
Constitution of the digital environment for the performance of Pluton
108(1)
The Trevor sampler module
108(2)
Gumbos: FFT-shaped oscillators
110(2)
The pitch shifter module
112(1)
The frequency shifter
113(1)
The reverberation modules
114(1)
The quadraphonic spatialization module
114(1)
Mapping the piano performance to the real-time environment
115(1)
The score follower: A virtual listener to the pianist's performance
115(1)
Integrating the performance into the development of electroacoustic processes
116(1)
Markov sequences: Generating virtual scores from the piano performance
117(1)
The interactions between the piano and the computer through the musical work
118(1)
Section I Toccata
118(1)
Section II Antiphony
119(2)
Section III Sequences
121(1)
Section IV Modulations
122(1)
Section V Variations
123(2)
Conclusions
125(2)
4 Hildegard Westerkamp: Beneath the Forest Floor
127(34)
Contexts for Beneath the Forest Floor
127(15)
The World Soundscape Project and the evolution of soundscape composition
127(5)
New directions in the development of the World Soundscape Project
132(3)
Hildegard Westerkamp and her influences on soundscape composition
135(7)
Inside Beneath the Forest Floor
142(17)
Recording as part of the creative process
144(1)
Field recording locations in British Columbia
145(1)
The raw materials of Beneath the Forest Floor
145(2)
Digitally processing the environmental sources
147(1)
Isolating sounds from their original environment: Equalizing and gating
148(1)
Reversing and looping
149(1)
Extending materials over time with delay and reverberation
150(1)
The Doppler effect
151(1)
Transposing and harmonizing
151(2)
Assembling the processed sound files into premixes
153(1)
The environmental materials through the structure of Beneath the Forest Floor
154(1)
Section 1 Opening
154(2)
Section 2 Storm
156(1)
Section 3 Water
157(1)
Section 4 Ending
158(1)
Conclusions
159(2)
5 Francis Dhomont: Phonurgie
161(38)
Contexts for Phonurgie
161(19)
Background and early career
161(3)
Musique concrete and the birth of Groupe de Recherches Musicales (GRM)
164(5)
New directions for GRM: From analog to digital
169(2)
The birth of SYTER
171(7)
Dhomont, Quebec, and GRM
178(1)
A final homage to musique concrete within Dhomont's Cycle du son
179(1)
Inside Phonurgie
180(17)
The materials of Phonurgie
182(1)
The sound sources
183(1)
Synthesis
183(1)
Sampling of preexisting works
184(1)
Indoor object recordings
184(1)
Instrumental recordings
184(1)
Field recordings
185(1)
Processing the sound sources
185(1)
Basic transformations
186(1)
Complex transformations
186(1)
Successive sound transformations
187(1)
Building reservoirs of sound materials
187(1)
Improvising with sounds and processes: Sequences-jeu
188(2)
Exploring empirically software environments and SYTER
190(2)
Editing the materials into the final mix
192(1)
The structure of Phonurgie
193(4)
Conclusions
197(2)
6 Trevor Wishart: Imago
199(34)
Contexts for Imago
199(17)
The Composers Desktop Project
199(6)
The development of Sound Loom as a composing resource
205(11)
Inside Imago
216(14)
From a single source to a variety of processed sound files
217(1)
Successive Sound Loom processes
218(1)
Assembling the work
219(1)
The Opening of Imago
220(5)
The Gamelan section
225(2)
The large-scale structure of Imago
227(3)
Conclusions
230(3)
7 Jonathan Harvey: Fourth String Quartet
233(38)
Contexts for the Fourth String Quartet
233(17)
First steps exploring the possibilities of electronic and computer music
233(6)
The IRCAM dimension
239(11)
Inside the Fourth String Quartet
250(19)
Inspiration and structure
250(3)
Acoustic compositional techniques
253(1)
Melodic cycles
253(2)
Rhythms
255(2)
Electroacoustic techniques
257(1)
Loop buffers
258(1)
Phase vocoders
259(1)
Granulation
260(2)
Reverberation and biquad filters
262(1)
Harmonizers
263(1)
Spatialization
263(4)
Performing the electroacoustic part of the Fourth String Quartet
267(2)
Summary of the integration of acoustic writing and electronics
269(1)
Conclusions
269(2)
8 Cort Lippe: Music for Tuba and Computer
271(36)
Contexts for Music and Tuba and Computer
271(16)
Early exploration of the possibilities of computer music
272(2)
From composing software to real-time synthesis: The road to IRCAM
274(4)
The IRCAM Musical Workstation and Max
278(9)
Inside Music for Tuba and Computer
287(19)
General form and materials
289(1)
The digital environment for the performance of Music for Tuba and Computer
290(1)
The sigmund~ object and the oscillators module
291(4)
The two samplers S and T
295(1)
The Toto synthesizer
296(1)
Harmonizer, noiser/phaser, frequency shifters
297(1)
The FFT processors
298(2)
Allpass filters and reverberation
300(1)
Spatialization and stereo output
301(1)
Global control of the digital environment
302(1)
Instrumental and electronic interactions through Music for Tuba and Computer
303(1)
Section 1
303(1)
Section 2
304(2)
Conclusions
306(1)
9 Natasha Barrett: Hidden Values---The Lock
307(40)
Contexts for Hidden Values---The Lock
307(22)
The early evolution of spatial technologies
307(1)
The development of sound diffusion systems for performance
308(1)
John Chowning
309(2)
Surround sound techniques
311(1)
Ambisonics
312(4)
The IRCAM Spatializer (Spat)
316(3)
Vector base amplitude panning (VBAP)
319(2)
Natasha Barrett and spatial projection
321(8)
Inside Hidden Values---The Lock
329(15)
The musical materials of The Lock
330(4)
Barrett's software environment for the playback and spatialization of materials
334(1)
Three-dimensional positioning and movements operated by IRCAM's Spatialisateur
335(1)
Sound source positioning
335(2)
Playback of prerecorded trajectories
337(1)
Sound images
338(1)
Rotations
339(1)
Image transpositions
339(1)
Spatial randomization
340(1)
Spatialization and dramatization in the structure of The Lock
340(1)
Section 1
341(2)
Section 2
343(1)
Conclusions
344(3)
Conclusion 347(6)
Notes 353(40)
Bibliography 393(12)
Index 405
Michael Clarke is Professor of Music at the University of Huddersfield, UK where he is currently Director of the IRiMaS project (Interactive Research in Music as Sound), funded by a European Research Council (ERC) Advanced Grant.

Frédéric Dufeu is Senior Research Fellow in Music and Music Technology at the University of Huddersfield and currently working on the IRiMaS project .

Peter Manning is Emeritus Professor of Music at Durham University.
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