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E-grāmata: Oxford Handbook of Computer Music

Edited by (Research Professor of Sonic Communication, University of Western Sydney)
  • Formāts: PDF+DRM
  • Sērija : Oxford Handbooks
  • Izdošanas datums: 16-Sep-2009
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780199715930
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    • Oxford Handbooks Online e-books
  • Formāts: PDF+DRM
  • Sērija : Oxford Handbooks
  • Izdošanas datums: 16-Sep-2009
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780199715930
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The Oxford Handbook of Computer Music offers a state-of-the-art cross-section of the most field-defining topics and debates in computer music today. A unique contribution to the field, it situates computer music in the broad context of its creation and performance across the range of issues - from music cognition to pedagogy to sociocultural topics - that shape contemporary discourse in the field.Fifty years after musical tones were produced on a computer for the first time, developments in laptop computing have brought computer music within reach of all listeners and composers. Production and distribution of computer music have grown tremendously as a result, and the time is right for this survey of computer music in its cultural contexts. An impressive and international array of music creators and academics discuss computer musics history, present, and future with a wide perspective, including composition, improvisation, interactive performance, spatialization, sound synthesis, sonification, and modeling. Throughout, they merge practice with theory to offer a fascinating look into computer musics possibilities and enduring appeal.
Contributors ix
1 Introduction: The Many Futures of Computer Music
3(8)
Roger T. Dean
Part I Some Histories of Computer Music and Its Technologies
2 A Historical View of Computer Music Technology
11(33)
Douglas Keislar
3 Early Hardware and Early Ideas in Computer Music: Their Development and Their Current Forms
44(41)
Paul Doornbusch
4 Sound Synthesis Using Computers
85(24)
Peter Manning
Part II The Music
5 Computational Approaches to Composition of Notated Instrumental Music: Xenakis and the Other Pioneers
109(24)
James Harley
6 Envisaging Improvisation in Future Computer Music
133(18)
Roger T. Dean
Sounding Out
7 Computer Music: Some Reflections
151(10)
Trevor Wishart
8 Some Notes on My Electronic Improvisation Practice
161(6)
Tim Perkis
9 Combining the Acoustic and the Digital: Music for Instruments and Computers or Prerecorded Sound
167(24)
Simon Emmerson
Part III Creative and Performance Modes
10 Dancing the Music: Interactive Dance and Music
191(23)
Wayne Siegel
11 Gesture and Morphology in Laptop Music Performance
214(19)
Garth Paine
12 Sensor-Based Musical Instruments and Interactive Music
233(25)
Atau Tanaka
13 Spatialization and Computer Music
258(16)
Peter Lennox
14 The Voice in Computer Music and Its Relationship to Place, Identity, and Community
274(20)
Hazel Smith
15 Algorithmic Synesthesia
294(18)
Noam Sagiv
Roger T. Dean
Freya Bailes
16 An Introduction to Data Sonification
312(22)
David Worrall
17 Electronica
334(20)
Nick Collins
18 Generative Algorithms for Making Music: Emergence, Evolution, and Ecosystems
354(29)
Jon McCormack
Alice Eldridge
Alan Dorin
Peter McIlwain
Part IV Cognition and Computation of Computer Music
19 Computational Modeling of Music Cognition and Musical Creativity
383(38)
Geraint A. Wiggins
Marcus X Pearce
Daniel Mullensiefen
20 Soundspotting: A New Kind of Process?
421(36)
Michael Casey
Sounding Out
21 Interactivity and Improvisation
457(10)
George E. Lewis
22 From Outside the Window: Electronic Sound Performance
467(6)
Pauline Oliveros
23 Empirical Studies of Computer Sound
473(20)
Freya Bailes
Roger T. Dean
Part V Cultural and Educational Issues
24 Toward the Gender Ideal
493(25)
Mary Simoni
25 Sound-Based Music 4 All
518(18)
Leigh Landy
26 Framing Learning Perspectives in Computer Music Education
536(21)
Jøran Rudi
Palmyre Pierroux
Appendix: A Chronology of Computer Music and Related Events 557(28)
Paul Doornbusch
Index 585
Roger Dean is Research Professor of Sonic Communication at the University of Western Sydney, and Founder and Artistic Director of austraLYSIS. He is also author of Hyperimprovisation: Computer Interactive Sound Improvisation (2003) and Sounds from the Corner: Australian Contemporary Jazz Since 1973 (2005)