Inside computer music / Michael Clarke, Frédéric Dufeu, Peter Manning.

Clarke, Michael, 1956- author.
New York, NY : Oxford University Press, [2020]
xv, 415 pages : illustrations ; 28 cm
Computer music -- History and criticism.
Computer music.
Criticism, interpretation, etc.
"This publication (the text and the software) aims to explore the relationship between new technical innovations in computer technology for music and the creative practice of composers employing these new techniques. It asks: does the new technology lead to new sounds and new ways of structuring music, and if so how? What are the creative options, sonic and structural, presented by new software and hardware? How can these be manipulated and shaped to form music? How have particular composers developed successful working methods in using this technology? To answer such questions a set of case studies have been examined in depth, specific works in which composers have adopted new techniques, whether developed by themselves or by others. Each of these works has been researched from a number of different perspectives: the technical and musical background, the technology employed in the particular work and, through music analysis, the musical outcome. Innovative approaches have been employed both in undertaking and presenting this research. On the one hand, it has been important to find appropriate ways of presenting the musical potential of what are often highly technical processes. On the other hand, it has been necessary to find ways of analyzing music that often evades even the most basic fundamentals of traditional music analysis: notes, harmonies, or instruments"-- Provided by publisher.
Machine generated contents note: Technology and Creativity in Computer Music
Combining text and software to explore computer music from the inside
The pursuit of new perspectives in the analysis of electronic and computer music
Nine case studies from the history of computer music
1. John Chowning: Stria
Contexts for Stria
Max Mathews and the beginnings of software for computer music
Jean-Claude Risset and timbral synthesis
John Chowning and the evolution of FM synthesis
Inside Stria
The golden ratio
Timbre and FM synthesis in Stria
The golden ratio in the context of FM synthesis
Stria's synthesis algorithm
Structure of an event
Timing and duration
Frequency parameters
Attack and decay
Spatialization and reverberation
Envelope functions
The terminal interface
The shape of Stria
2. Barry Truax: Riverrun
Contexts for Riverrun
The birth and early development of granular synthesis
Inside Riverrun
Riverrun: Technique, form, and structure
Granular synthesis in Riverrun and the GSX system
Tape techniques
Spatialization in Riverrun
Sections and streams
Section 1
Transition from Section 1 to Section 2
Section 2
Section 3
Section 4
Section 5
3. Philippe Manoury: Pluton
Contexts for Pluton
First steps in the development of technologies for live computer music
The pioneering contributions of IRCAM
The development of the IRCAM 4X synthesizer
Philippe Manoury: The background to the composition of Pluton
Inside Pluton
The global form and materials of Pluton
Constitution of the digital environment for the performance of Pluton
The Trevor sampler module
Gumbos: FFT-shaped oscillators
The pitch shifter module
The frequency shifter
The reverberation modules
The quadraphonic spatialization module
Mapping the piano performance to the real-time environment
The score follower: A virtual listener to the pianist's performance
Integrating the performance into the development of electroacoustic processes
Markov sequences: Generating virtual scores from the piano performance
The interactions between the piano and the computer through the musical work
Section I Toccata
Section II Antiphony
Section III Sequences
Section IV Modulations
Section V Variations
4. Hildegard Westerkamp: Beneath the Forest Floor
Contexts for Beneath the Forest Floor
The World Soundscape Project and the evolution of soundscape composition
New directions in the development of the World Soundscape Project
Hildegard Westerkamp and her influences on soundscape composition
Inside Beneath the Forest Floor
Recording as part of the creative process
Field recording locations in British Columbia
The raw materials of Beneath the Forest Floor
Digitally processing the environmental sources
Isolating sounds from their original environment: Equalizing and gating
Reversing and looping
Extending materials over time with delay and reverberation
The Doppler effect
Transposing and harmonizing
Assembling the processed sound files into premixes
The environmental materials through the structure of Beneath the Forest Floor
Section 1 Opening
Section 2 Storm
Section 3 Water
Section 4 Ending
5. Francis Dhomont: Phonurgie
Contexts for Phonurgie
Background and early career
Musique concrete and the birth of Groupe de Recherches Musicales (GRM)
New directions for GRM: From analog to digital
The birth of SYTER
Dhomont, Quebec, and GRM
A final homage to musique concrete within Dhomont's Cycle du son
Inside Phonurgie
The materials of Phonurgie
The sound sources
Sampling of preexisting works
Indoor object recordings
Instrumental recordings
Field recordings
Processing the sound sources
Basic transformations
Complex transformations
Successive sound transformations
Building reservoirs of sound materials
Improvising with sounds and processes: Sequences-jeu
Exploring empirically software environments and SYTER
Editing the materials into the final mix
The structure of Phonurgie
6. Trevor Wishart: Imago
Contexts for Imago
The Composers Desktop Project
The development of Sound Loom as a composing resource
Inside Imago
From a single source to a variety of processed sound files
Successive Sound Loom processes
Assembling the work
The Opening of Imago
The Gamelan section
The large-scale structure of Imago
7. Jonathan Harvey: Fourth String Quartet
Contexts for the Fourth String Quartet
First steps exploring the possibilities of electronic and computer music
The IRCAM dimension
Inside the Fourth String Quartet
Inspiration and structure
Acoustic compositional techniques
Melodic cycles
Electroacoustic techniques
Loop buffers
Phase vocoders
Reverberation and biquad filters
Performing the electroacoustic part of the Fourth String Quartet
Summary of the integration of acoustic writing and electronics
8. Cort Lippe: Music for Tuba and Computer
Contexts for Music and Tuba and Computer
Early exploration of the possibilities of computer music
From composing software to real-time synthesis: The road to IRCAM
The IRCAM Musical Workstation and Max
Inside Music for Tuba and Computer
General form and materials
The digital environment for the performance of Music for Tuba and Computer
The sigmund~ object and the oscillators module
The two samplers S and T
The Toto synthesizer
Harmonizer, noiser/phaser, frequency shifters
The FFT processors
Allpass filters and reverberation
Spatialization and stereo output
Global control of the digital environment
Instrumental and electronic interactions through Music for Tuba and Computer
Section 1
Section 2
9. Natasha Barrett: Hidden Values
-The Lock
Contexts for Hidden Values
-The Lock
The early evolution of spatial technologies
The development of sound diffusion systems for performance
John Chowning
Surround sound techniques
The IRCAM Spatializer (Spat)
Vector base amplitude panning (VBAP)
Natasha Barrett and spatial projection
Inside Hidden Values
-The Lock
The musical materials of The Lock
Barrett's software environment for the playback and spatialization of materials
Three-dimensional positioning and movements operated by IRCAM's Spatialisateur
Sound source positioning
Playback of prerecorded trajectories
Sound images
Image transpositions
Spatial randomization
Spatialization and dramatization in the structure of The Lock
Section 1
Section 2
Includes bibliographical references and index.
Dufeu, Frédéric, author.
Manning, Peter, 1948- author.
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