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E-grāmata: Sonic Art: An Introduction to Electroacoustic Music Composition

3.89/5 (18 ratings by Goodreads)

Adrian Moore (University of Sheffield, UK)

Formāts: 272 pages
Izdošanas datums: 17-Mar-2016
Izdevniecība: Routledge
ISBN-13: 9781317407928

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Formāts: 272 pages
Izdošanas datums: 17-Mar-2016
Izdevniecība: Routledge
ISBN-13: 9781317407928

Citas grāmatas par šo tēmu:

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Written by an active composer, performer and educator, Sonic Art: An Introduction to Electroacoustic Music Composition provides a clear and informative introduction to the compositional techniques behind electroacoustic music. It brings together theory, aesthetics, context and practical applications to allow students to start thinking about sound creatively, and gives them the tools to compose meaningful sonic art works.

In addition to explaining the techniques and philosophies of sonic art, the book examines over forty composers and their works, introducing the history and context of notable pieces, and includes chapters on how to present compositions professionally, in performance and online. The book is supported by an online software toolkit which enables readers to start creating their own compositions. Encouraging a hands on approach to working with sound, Sonic Art is the perfect introduction for anyone interested in electroacoustic music and crafting art from sounds.

Recenzijas

"Through this excellent book, Adrian Moore acts both as a conscientious guide for neophyte composers using sound and technology as well as an expert mentor to more experienced practitioners. Written in an approachable style but never talking down to the reader, it is an essential addition to any music and technology course reading list." Pete Stollery, Professor of Electroacoustic Music and Composition, University of Aberdeen

List of Figures

List of Tables

xiv

Preface

1 What is Sound?

(37)

1.1 Introduction

(3)

1.2 Composition and Recording

(8)

1.3 Descriptors

(9)

1.4 The Sound Object

(4)

2.5 Gesture

(3)

1.6 Texture

(3)

1.7 Landscape

(1)

1.8 Environments

(2)

1.9 The Continuum

(4)

Notes

(1)

References

(2)

2 What Does all this Software Do?

(55)

2.1 Introduction

(1)

2.2 The USSS Pd Toolkit

(19)

2.3 Compound Tools

(4)

2.4 For Advanced Users

(2)

2.5 Csound and Blue

(13)

2.6 Computer Music Software

(1)

2.7 SoX

(1)

2.8 Reverberation

(1)

2.9 Mixing

(10)

2.10 A Few Words about Kit

(1)

2.11 But If You Are Going to Buy Something

(2)

Notes

(1)

References

(1)

3 The Theory of Opposites

(14)

3.1 Introduction

(3)

3.2 Effects and Descriptors

(3)

3.3 Structure

(2)

3.4 Form

101

(1)

3.5 Originality

102

(2)

3.6 Revisiting the Mix

104

(2)

3.7 A Very Obvious Conclusion

106

(1)

Notes

106

(1)

References

106

(1)

4 Multichannel Composition

107

(14)

4.1 Composing in a Multichannel Studio

107

(1)

4.2 Multichannel Sound Manipulation

108

(6)

4.3 Multichannel Additions to the USSS Toolkit

114

(3)

4.4 The Multichannel Gesture

117

(1)

4.5 The Multichannel Texture

117

(1)

4.6 Multichannel Mixing

118

(1)

4.7 Multichannel Performance

118

(1)

4.8 Listening in Multichannel

118

(3)

Notes

118

(1)

References

119

(2)

5 Examples from the Repertoire

121

(33)

5.1 Introduction

121

(1)

5.2 Examples

122

(27)

5.3 What's Left

149

(5)

Notes

151

(1)

References

152

(2)

6 Space and Time

154

(13)

6.1 Space (and Time)

154

(2)

6.2 Time (and Space)

156

(3)

6.3 Wave -- Particle Duality

159

(1)

6.4 Quantum Theory of Opposites

160

(1)

6.5 Time and Space Equals Energy

161

(1)

6.6 The Practicalities of Time

161

(1)

6.7 The Practicalities of Space

162

(5)

Notes

166

(1)

References

166

(1)

7 Philosophical Reasonings

167

(21)

7.2 Understanding Sound and Understanding Sound

167

(11)

7.2 A Social Theory of Learning

178

(5)

7.3 An Historical Perspective

183

(1)

7.4 The Brain on Electroacoustic Music

184

(4)

Notes

185

(1)

References

185

(3)

8 The Presentation of your Work in Performance

188

(14)

8.1 Prior to the Concert

188

(8)

8.2 The Rehearsal

196

(1)

8.3 The Concert

197

(2)

8.4 The Art of Sound Diffusion

199

(1)

8.5 Further Reading

199

(3)

Notes

200

(1)

References

201

(1)

9 The Presentation of your Work Outside Performance

202

(15)

9.1 Presenting your Work for Submission

202

(9)

9.2 Presenting your Work for Competitions and Concerts

211

(2)

9.3 Backing Up and Recording your Progress

213

(1)

9.4 Presenting your Work on the Internet

214

(3)

Notes

215

(1)

References

216

(1)

Appendices

A USSS Toolkits

217

(2)

A.1 Downloading and Installing Software

217

(2)

B Composer Recollections

219

(9)

B.1 Kevin Austin

219

(1)

B.2 Jonty Harrison

220

(2)

B.3 Andrew Lewis

222

(1)

B.4 Alistair MacDonald

223

(1)

B.5 Adrian Moore

224

(1)

B.6 Louise Rossiter

225

(1)

B.7 Pete Stollery

226

(2)

C Binary Representations

228

(5)

C.1 Decimal (Base 10)

228

(1)

C.2 Binary (Base 2)

229

(1)

C.3 Counting in Binary

229

(1)

C.4 Bits, Bytes and Leading Zeros

230

(1)

C.5 Adding Binary Numbers

230

(1)

C.6 Representing Negative Numbers

230

(1)

C.7 Fractional Numbers

231

(1)

C.8 Floating point

231

(1)

C.9 ASCII Strings

232

(1)

C.10 Hexadecimal

232

(1)

D Pure Data (Pd)

233

(14)

D.1 Basic Units of Programming Pd

234

(7)

D.2 Signal Processing in Pd

241

(4)

D.3 Sampling

245

(2)

Glossary

247

(5)

Index

252

Adrian Moore is Reader in Music at the University of Sheffield and Director of the University of Sheffield Sound Studios. He is an active composer and performer of electroacoustic music.

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