DOCSLIB.ORG

The Computer Music Tutorial, 0262680823, 9780262680820, Curtis Roads

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Computer Music Tutorial, 0262680823, 9780262680820, Curtis Roads The Computer Music Tutorial, 0262680823, 9780262680820, Curtis Roads DOWNLOAD http://bit.ly/1CYj9c0 http://en.wikipedia.org/w/index.php?search=The+Computer+Music+Tutorial The Computer Music Tutorial is a comprehensive text and reference that covers allaspects of computer music, including digital audio, synthesis techniques, signal processing, musicalinput devices, performance software, editing systems, algorithmic composition, MIDI, synthesizerarchitecture, system interconnection, and psychoacoustics. A special effort has been made to impartan appreciation for the rich history behind current activities in the field.Profusely illustratedand exhaustively referenced and cross-referenced, The Computer Music Tutorial provides astep-by-step introduction to the entire field of computer music techniques. Written for nontechnicalas well as technical readers, it uses hundreds of charts, diagrams, screen images, and photographsas well as clear explanations to present basic concepts and terms. Mathematical notation and programcode examples are used only when absolutely necessary. Explanations are not tied to any specificsoftware or hardware.Curtis Roads has served as editor-in-chief of Computer Music Journal for morethan a decade and is a recognized authority in the field. The material in this book was compiled andrefined over a period of several years of teaching in classes at Harvard University, OberlinConservatory, the University of Naples, IRCAM, Les Ateliers UPIC, and in seminars and workshops inNorth America, Europe, and Asia. DOWNLOAD http://wp.me/2BBCT http://avaxsearch.com/?q=The+Computer+Music+Tutorial http://bit.ly/1sY7Lah The proceedings of the AES 5th International Conference music and digital technology, John Strawn, 1987, Music, 248 pages. The Computer , Gayle Worland, Jul 1, 2000, Juvenile Nonfiction, 32 pages. Provides an introduction to the history and development of the computer and explains how a computer works. Includes information on some of the scientists and inventors who were. Tutorial , , , , . Microsound , Curtis Roads, 2004, Music, 409 pages. A comprehensive presentation of the techniques and aesthetics of composition with sound particles.. Computer Music , E. J. Garba, Mar 14, 2004, Computers, . The Music Machine Selected Readings from Computer Music Journal, Curtis Roads, Oct 1, 1992, Computers, 725 pages. In The Music Machine, Curtis Roads brings together 53 classic articles published in Computer Music Journal between 1980 and 1985.. Electronic and Computer Music , Peter Manning, 2004, Music, 474 pages. This updated and expanded third edition of Peter Manning's classic text,Electronic and Computer Music,deals with the development of the medium from its birth to the 21st. Music Processing , Goffredo Haus, 1993, Computers, 403 pages. Proceedings of the International Computer Music Conference, Issue 1 , International Computer Music Conference, 5th, Evanston, Ill., 1978, 1978, Computer music, . Introduction to Computer Music , Nicholas Collins, Nick Collins, Feb 1, 2010, Computers, 377 pages. A must-have introduction that bridges the gap between music and computing The rise in number of composer-programmers has given cause for an essential resource that addresses. Applications of Digital Signal Processing to Audio and Acoustics , Mark Kahrs, Karlheinz Brandenburg, Mar 31, 1998, Technology & Engineering, 547 pages. Karlheinz Brandenburg and Mark Kahrs With the advent of multimedia, digital signal processing (DSP) of sound has emerged from the shadow of bandwidth limited speech processing. Analysis, Synthesis, and Perception of Musical Sounds The Sound of Music, James Beauchamp, Aug 30, 2007, Technology & Engineering, 352 pages. The problems of analyzing and synthesizing musical timbres have been prevalent for over half a century, and a book length exploration of this large and complex subject has been. Composers and the Computer , Curtis Roads, 1985, Music, 201 pages. Tutorial , Open Petrotechnical Staff, Jan 1, 1994, Computers, 624 pages. Musical Signal Processing , Curtis Roads, Stephen Travis Pope, Aldo Piccialli, Giovanni De Poli, Dec 19, 2013, Music, 492 pages. First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.. Guide to Brain-Computer Music Interfacing , Eduardo Reck Miranda and Julien Castet, , , . The American Indian and the United States: A Documentary History, Volume 1 A Documentary History, Wilcomb E. Washburn, 1973, Indians of North America, 3119 pagesThe Supreme Court and the Constitution readings in American constitutional history, Stanley I. Kutler, 1969, Law, 608 pages The Man Who Loved Only Numbers The Story of Paul Erdos and the Search for Mathematical Truth, Paul Hoffman, Jul 15, 1998, Biography & Autobiography, 301 pages. Chronicles the life of the Hungarian mathematician who relentlessly traveled the globe in search of intriguing problemsTechnology and the Future of Man, Volume 3 , Donald W. Shriver, 1973, Technology, 45 pages https://xuzanyiq.files.wordpress.com/2014/10/k-g-b-killing-george-bush.pdf This Terrible Sound The Battle of Chickamauga, Peter Cozzens, Jan 1, 1996, History, 675 pages. Renders the furious ebb and flow of the two-day battle, capturing both the evolving strategies of each side and the horrendous experience of the fight. This book draws fromDinosaur and other prehistoric animal factfinder , Michael J. Benton, Sep 24, 1992, Nature, 256 pages. An alphabetical guide to 200 dinosaurs and other prehistoric animals, covering where and when they lived Young Beginner's Guide to Shooting and Archery Tips for Gun and Bow, W.H. "Chip" Gross, Feb 15, 2009, Juvenile Nonfiction, 128 pages. "How-to information provides everything a young shooter needs to know to become a good shot and a safe outdoor enthusiast. The step-by-step photos show how to put the skills This study argues that political winners have become electoral losers in Northern Ireland. Sinn Fein was obliged to give up a lot to support the Good Friday Agreement--a deal. When Death Occurs A Practical Consumer's Guide : Funerals, Memorials, Burial, Cremation, Body Donation, John M. Reigle, Jan 1, 2003, Social Science, 193 pages. Presents options for funerals, memorials, burials, cremation and body donationSeeing Red , Sarah Garland, 1996, Juvenile Fiction, 32 pages. When a brave little girl and the women of Cornwall flap their red petticoats at Old Boney, Napoleon imagines that he sees redcoats and retreats to France with his men and his http://www.fishpond.co.nz/Books/The-Computer-Music-Tutorial What Believers Must Know to Grow , Tom Carter, 1990, Christian life, 107 pagesMartyn Pig , Kevin Brooks, 2003, Juvenile Fiction, 240 pages. Faced with the possibility of living with a dreadful aunt, fifteen-year-old Martyn Pig decides not to tell authorities when his alcoholic father dies accidentally, instead https://itunes.apple.com/us/book/The-Computer-Music-Tutorial/id414836340 Scorpion Bay , Michael Murphy, Apr 1, 2011, Fiction, 278 pages. When a car bomb kills the prosecuting attorney and a key witness against a powerful bioengineering industrialist, the blast shatters the life of the attorney's husband, popularPersonality in Intimate Relationships Socialization and Psychopathology, Luciano L'Abate, May 11, 2005, FAMILY & RELATIONSHIPS, 481 pages. Describes relationships along a identifiable continuum ranging from optimal functionality to severe pathology, linking the author's conceptual framework to specific diagnostic http://tiny.cc/gMnRnX The New Agenda for International Relations From Polarization to Globalization in World Politics, Stephanie Lawson, Jun 6, 2013, Political Science, 256 pages. There have been significant political eras which have shaped not only the structure of world politics but the way in which it has been studied. The geopolitical and ideologicalThe Best Computer Jobs in America Twenty Minutes from Home, Carol L. Covin, 2002, Computers, 268 pages. Shows computer professional where the best jobs are and how to get them. The Best Computer Jobs in America Minutes from Home is the sixth in a series of books designed to give The Computer Music Tutorial https://xuzanyiq.files.wordpress.com/2014/10/felicia-a-freckle-fairy-tale.pdf The Ideas of the Apostle Paul , , 1884, Bible, 436 pagesA Prisoner of Birth , Jeffrey Archer, Mar 4, 2008, Fiction, 512 pages. International bestseller and master storyteller Jeffrey Archer is at the very top of his game in a story of fate and fortune, redemption and revenge. If Danny Cartwright had https://xuzanyiq.files.wordpress.com/2014/10/the-misadventures-of-salem-hyde-spelling-trouble.pdf The Haunted Screen Expressionism in the German Cinema and the Influence of Max Reinhardt, Lotte H. Eisner, 1969, Performing Arts, 360 pages. The Golden Age of German cinema began at the end of the First World War and ended shortly after the coming of sound. From The Cabinet of Dr. Caligari onwards the principalReport of the Task Force on Imputation , Great Britain. Government Statistical Service. Task Force on Imputation, 1996, Mathematics, 42 pages Cases and materials on conflict of laws , Willis L. M. Reese, Maurice Rosenberg, Peter Hay, 1990, Law, 1021 pages download The Computer Music Tutorial De Young selected works, RenГ©e Dreyfus, Fine Arts Museums of San Francisco, 2005, Antiques & Collectibles, 160 pages. The two museums that in 1970 became the Fine Arts Museums of San Francisco were at one time rival institutions. The de Young museum grew out of the California MidwinterComputer and communication systems performance modelling , Peter J.
Load more

Recommended publications
  • Navigating the Landscape of Computer Aided Algorithmic Composition Systems: a Definition, Seven Descriptors, and a Lexicon of Systems and Research
    NAVIGATING THE LANDSCAPE OF COMPUTER AIDED ALGORITHMIC COMPOSITION SYSTEMS: A DEFINITION, SEVEN DESCRIPTORS, AND A LEXICON OF SYSTEMS AND RESEARCH Christopher Ariza New York University Graduate School of Arts and Sciences New York, New York [email protected] ABSTRACT comparison and analysis, this article proposes seven system descriptors. Despite Lejaren Hiller’s well-known Towards developing methods of software comparison claim that “computer-assisted composition is difficult to and analysis, this article proposes a definition of a define, difficult to limit, and difficult to systematize” computer aided algorithmic composition (CAAC) (Hiller 1981, p. 75), a definition is proposed. system and offers seven system descriptors: scale, process-time, idiom-affinity, extensibility, event A CAAC system is software that facilitates the production, sound source, and user environment. The generation of new music by means other than the public internet resource algorithmic.net is introduced, manipulation of a direct music representation. Here, providing a lexicon of systems and research in computer “new music” does not designate style or genre; rather, aided algorithmic composition. the output of a CAAC system must be, in some manner, a unique musical variant. An output, compared to the 1. DEFINITION OF A COMPUTER-AIDED user’s representation or related outputs, must not be a ALGORITHMIC COMPOSITION SYSTEM “copy,” accepting that the distinction between a copy and a unique variant may be vague and contextually determined. This output may be in the form of any Labels such as algorithmic composition, automatic sound or sound parameter data, from a sequence of composition, composition pre-processing, computer- samples to the notation of a complete composition.
    [Show full text]
  • Syllabus EMBODIED SONIC MEDITATION
    MUS CS 105 Embodied Sonic Meditation Spring 2017 Jiayue Cecilia Wu Syllabus EMBODIED SONIC MEDITATION: A CREATIVE SOUND EDUCATION Instructor: Jiayue Cecilia Wu Contact: Email: [email protected]; Cell/Text: 650-713-9655 Class schedule: CCS Bldg 494, Room 143; Mon/Wed 1:30 pm – 2:50 pm, Office hour: Phelps room 3314; Thu 1: 45 pm–3:45 pm, or by appointment Introduction What is the difference between hearing and listening? What are the connections between our listening, bodily activities, and the lucid mind? This interdisciplinary course on acoustic ecology, sound art, and music technology will give you the answers. Through deep listening (Pauline Oliveros), compassionate listening (Thich Nhat Hanh), soundwalking (Westerkamp), and interactive music controlled by motion capture, the unifying theme of this course is an engagement with sonic awareness, environment, and self-exploration. Particularly we will look into how we generate, interpret and interact with sound; and how imbalances in the soundscape may have adverse effects on our perceptions and the nature. These practices are combined with readings and multimedia demonstrations from sound theory, audio engineering, to aesthetics and philosophy. Students will engage in hands-on audio recording and mixing, human-computer interaction (HCI), group improvisation, environmental film streaming, and soundscape field trip. These experiences lead to a final project in computer-assisted music composition and creative live performance. By the end of the course, students will be able to use computer software to create sound, design their own musical gears, as well as connect with themselves, others and the world around them in an authentic level through musical expressions.
    [Show full text]
  • 62 Years and Counting: MUSIC N and the Modular Revolution
    62 Years and Counting: MUSIC N and the Modular Revolution By Brian Lindgren MUSC 7660X - History of Electronic and Computer Music Fall 2019 24 December 2019 © Copyright 2020 Brian Lindgren Abstract. MUSIC N by Max Mathews had two profound impacts in the world of music ​ synthesis. The first was the implementation of modularity to ensure a flexibility as a tool for the user; with the introduction of the unit generator, the instrument and the compiler, composers had the building blocks to create an unlimited range of sounds. The second was the impact of this implementation in the modular analog synthesizers developed a few years later. While Jean-Claude Risset, a well known Mathews associate, asserts this, Mathews actually denies it. They both are correct in their perspectives. Introduction Over 76 years have passed since the invention of the first electronic general purpose computer,1 the ENIAC. Today, we carry computers in our pockets that can perform millions of times more calculations per second.2 With the amazing rate of change in computer technology, it's hard to imagine that any development of yesteryear could maintain a semblance of relevance today. However, in the world of music synthesis, the foundations that were laid six decades ago not only spawned a breadth of multifaceted innovation but continue to function as the bedrock of important digital applications used around the world today. Not only did a new modular approach implemented by its creator, Max Mathews, ensure that the MUSIC N lineage would continue to be useful in today’s world (in one of its descendents, Csound) but this approach also likely inspired the analog synthesizer engineers of the day, impacting their designs.
    [Show full text]
  • The Path to Half Life
    The Path to Half-life Curtis Roads A composer does not often pause to explain a musical path. When that path is a personal break- through, however, it may be worthwhile to reflect on it, especially when it connects to more gen- eral trends in today’s musical scene. My electronic music composition Half-life por- trays a virtual world in which sounds are born and die in an instant or emerge in slow motion. As emerging sounds unfold, they remain stable or mutate before expiring. Interactions between different sounds sug- gest causalities, as if one sound spawned, trig- gered, crashed into, bonded with, or dis- solved into another sound. Thus the introduc- tion of every new sound contributes to the unfolding of a musical narrative. Most of the sound material of Half-life was produced by the synthesis of brief acoustic sound particles or grains. The interactions of acoustical particles can be likened to photo- graphs of bubble chamber experiments, which were designed to visualize atomic inter- actions. These strikingly beautiful images por- tray intricate causalities as particles enter a chamber at high speed, leading to collisions in which some particles break apart or veer off in strange directions, indicating the pres- ence of hidden forces (figure 1). Figure 1. Bubble chamber image (© CERN, Geneva). Composed years ago, in 1998 and 1999, Half-life is not my newest composition, nor does it incor- porate my most recent techniques. The equipment and software used to make it was (with exception of some custom programs) quite standard. Nonetheless this piece is deeply significant to me as a turning point in a long path of composition.
    [Show full text]
  • Eastman Computer Music Center (ECMC)
    Upcoming ECMC25 Concerts Thursday, March 22 Music of Mario Davidovsky, JoAnn Kuchera-Morin, Allan Schindler, and ECMC composers 8:00 pm, Memorial Art Gallery, 500 University Avenue Saturday, April 14 Contemporary Organ Music Festival with the Eastman Organ Department & College Music Department Steve Everett, Ron Nagorcka, and René Uijlenhoet, guest composers 5:00 p.m. + 7:15 p.m., Interfaith Chapel, University of Rochester Eastman Computer Wednesday, May 2 Music Cente r (ECMC) New carillon works by David Wessel and Stephen Rush th with the College Music Department 25 Anniversa ry Series 12:00 pm, Eastman Quadrangle (outdoor venue), University of Rochester admission to all concerts is free Curtis Roads & Craig Harris, ecmc.rochester.edu guest composers B rian O’Reilly, video artist Thursday, March 8, 2007 Kilbourn Hall fire exits are located along the right A fully accessible restroom is located on the main and left sides, and at the back of the hall. Eastman floor of the Eastman School of Music. Our ushers 8:00 p.m. Theatre fire exits are located throughout the will be happy to direct you to this facility. Theatre along the right and left sides, and at the Kilbourn Hall back of the orchestra, mezzanine, and balcony Supporting the Eastman School of Music: levels. In the event of an emergency, you will be We at the Eastman School of Music are grateful for notified by the stage manager. the generous contributions made by friends, If notified, please move in a calm and orderly parents, and alumni, as well as local and national fashion to the nearest exit.
    [Show full text]
  • 43558913.Pdf
    ! ! ! Generative Music Composition Software Systems Using Biologically Inspired Algorithms: A Systematic Literature Review ! ! ! Master of Science Thesis in the Master Degree Programme ! !Software Engineering and Management! ! ! KEREM PARLAKGÜMÜŞ ! ! ! University of Gothenburg Chalmers University of Technology Department of Computer Science and Engineering Göteborg, Sweden, January 2014 The author grants Chalmers University of Technology and University of Gothenburg the non-exclusive right to publish the work electronically and in a non-commercial purpose and to make it accessible on the Internet. The author warrants that he/she is the author of the work, and warrants that the work does not contain texts, pictures or other material that !violates copyright laws. The author shall, when transferring the rights of the work to a third party (like a publisher or a company), acknowledge the third party about this agreement. If the author has signed a copyright agreement with a third party regarding the work, the author warrants hereby that he/she has obtained any necessary permission from this third party to let Chalmers University of Technology and University of Gothenburg store the work electronically and make it accessible on the Internet. ! ! Generative Music Composition Software Systems Using Biologically Inspired Algorithms: A !Systematic Literature Review ! !KEREM PARLAKGÜMÜŞ" ! !© KEREM PARLAKGÜMÜŞ, January 2014." Examiner: LARS PARETO, MIROSLAW STARON" !Supervisor: PALLE DAHLSTEDT" University of Gothenburg" Chalmers University of Technology" Department of Computer Science and Engineering" SE-412 96 Göteborg" Sweden" !Telephone + 46 (0)31-772 1000" ! ! ! Department of Computer Science and Engineering" !Göteborg, Sweden, January 2014 Abstract My original contribution to knowledge is to examine existing work for methods and approaches used, main functionalities, benefits and limitations of 30 Genera- tive Music Composition Software Systems (GMCSS) by performing a systematic literature review.
    [Show full text]
  • Expressive Musical Robots : Building, Evaluating, and Interfacing with An
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Expressive Musical Robots: Building, Evaluating, and Interfacing with an Ensemble of Mechatronic Instruments By: Jim Murphy A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2014 Supervisory Committee Supervisor: Dr. Ajay Kapur (New Zealand School of Music, Victoria University of Wellington School of Engineering and Computer Science) Co-Supervisor: Dr. Dale A. Carnegie (Victoria University of Wellington School of Engineering and Computer Science) ©Jim W. Murphy, 2014 ii “Merlin himself, their elderly creator, said he had devoted years to these machines, his favorites, still unfinished.” James Gleick Abstract Expressive Musical Robots: Building, Evaluating, and Interfacing with an Ensemble of Mechatronic Instruments by Jim Murphy An increase in the number of parameters of expression on musical robots can result in an increase in their expressivity as musical instruments. This thesis focuses on the design, construction, and implementation of four new robotic instruments, each designed to add more parametric control than is typical for the current state of the art of musical robotics. The principles followed in the building of the four new instruments are scalable and can be applied to musical robotics in general: the techniques exhibited in this thesis for the construction and use of musical robotics can be used by composers, musicians, and installation artists to add expressive depth to their own works with robotic instruments.
    [Show full text]
  • Composing with Process
    Research > COMPOSING WITH PROCESS: COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC SYSTEMS MUSIC #4.1 Generative music is a term used to describe music which has Time been composed using a set of rules or system. This series of six episodes explores generative approaches (including This episode looks at the relationship between time and music. It examines the algorithmic, systems-based, formalised and procedural) to impact of technological development and how time is treated within a range of composition and performance primarily in the context of musical idioms. experimental technologies and music practices of the latter part of the twentieh century and examines the use of determinacy and indeterminacy in music and how these 01. Summary relate to issues around control, automation and artistic intention. The fourth episode in this series introduces the idea of time and its relationship to musical practices. The show opens with thoughts about time drawn from Each episode in the series is accompanied by an additional philosophy, science and musicology and shows how these are expressed in programme featuring exclusive or unpublished sound pieces musical form, and looks at the origins of sonic action, musical behaviors and by leading sound artists and composers working in the field. notational systems as a way of engaging with the temporal realm. With a specific reference to the emergence of sound recording technologies – both vinyl and tape – the show examines how new technologies have impacted musical vocabularies and changed the relationship between sound, time and music. It closes with a PDF Contents: brief look at how computer based editing has extended this paradigm and opened the way for stochastic methods of sound generation.
    [Show full text]
  • An Interview with Max Mathews
    Tae Hong Park 102 Dixon Hall An Interview with Music Department Tulane University Max Mathews New Orleans, LA 70118 USA [email protected] Max Mathews was last interviewed for Computer learned in school was how to touch-type; that has Music Journal in 1980 in an article by Curtis Roads. become very useful now that computers have come The present interview took place at Max Mathews’s along. I also was taught in the ninth grade how home in San Francisco, California, in late May 2008. to study by myself. That is when students were (See Figure 1.) This project was an interesting one, introduced to algebra. Most of the farmers and their as I had the opportunity to stay at his home and sons in the area didn’t care about learning algebra, conduct the interview, which I video-recorded in HD and they didn’t need it in their work. So, the math format over the course of one week. The original set teacher gave me a book and I and two or three of video recordings lasted approximately three hours other students worked the problems in the book and total. I then edited them down to a duration of ap- learned algebra for ourselves. And this was such a proximately one and one-half hours for inclusion on wonderful way of learning that after I finished the the 2009 Computer Music Journal Sound and Video algebra book, I got a calculus book and spent the next Anthology, which will accompany the Winter 2009 few years learning calculus by myself.
    [Show full text]
  • Composing with Encyclospace: a Recombinant Sample-Based
    Composing with EncycloSpace: a Recombinant Sample-based Algorithmic Composition Framework Yury Viacheslavovich Spitsyn Moscow, Russian Federation A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music Advisor: Professor Judith Shatin, Ph.D. University of Virginia July 31, 2015 ⃝c Copyright by Yury V. Spitsyn, 2015. All rights reserved. Abstract Recorded sounds have been in compositional circulation since the early days of musique concr`ete, yet there have been major lacunae in the design of computer tools for sample-based algorithmic composition. These are revealed by the absence of algorithmic methods based on quantified representation of the sampled sounds con- tent. With the exception of pitch-tracking and amplitude following, the parametric utilization of recorded sounds lags far behind that of synthetic sound methods, which are parametric by design. During the last decade, musical informatics have established computational methods to break through the informational opaqueness of sound recordings. By extracting semantic data (called descriptors or features), sampled sounds can be converted into quantifiable form and more easily described, diagrammed and compared. This technology has resulted in numerous compositional applications focused on descriptor-based sound manipulations and database usage. Surprisingly, com- positional strategies have gravitated to a narrow range of manipulations, called concatenative synthesis and music mosaicing. Inherent limitations in current ap- proaches motivated a search for open-ended design principles for corpus-based sample-oriented algorithmic composition. This dissertation examines theoretical and practical ways to approach this problem before proposing a solution. To avoid conceptual shortcomings, we start with an overarching perspective by introducing the ontological topology of music as devel- oped by Guerino Mazzola.
    [Show full text]
  • Implementing Real-Time Granular Synthesis Ross Bencina Draft of 31St August 2001
    Copyright ©2000-2001 Ross Bencina, All rights reserved. Implementing Real-Time Granular Synthesis Ross Bencina Draft of 31st August 2001. Overview This article describes a flexible architecture for Real-Time Granular Synthesis that accommodates a number of Granular Synthesis variants including Tapped Delay Line, Stored Sample and Synthetic Grain Granular Synthesis in both Pitch Synchronous and Asynchronous forms. Three efficient algorithms for generating grain envelopes are reviewed and two methods for generating stochastic grain onset times are discussed. Readers are advised to consult the literature for further information on the theory and applications of Granular Synthesis.1, 2, 3,4,5 Background Granular Synthesis or Granulation is a flexible method for creating animated sonic textures. Sounds produced by granular synthesis have an organic quality sometimes reminiscent of sounds heard in nature: the sound of a babbling brook, or leaves rustling in a tree. Forms of granular processing involving sampled sound may be used to create time stretching, time freezing, time smearing, pitch shifting and pitch smearing effects. Perceptual continua for granular sounds include gritty / smooth and dense / sparse. The metaphor of sonic clouds has been used to describe sounds generated using Granular Synthesis. By varying synthesis parameters over time, gestures evocative of accumulation / dispersal, and condensation / evaporation may be created. The output of a Granular Synthesizer or Granulator is a mixture of many individual grains of sound. The sonic quality of a granular texture is a result of the distribution of grains in time and of the parameters selected for the synthesis of each grain. Typically, grains are quite short in duration and are often distributed densely in time so that the resultant sound is perceived as a fused texture.
    [Show full text]
  • X an ANALYTICAL APPROACH to JOHN CHOWNING's PHONÉ Reiner Krämer, B.M. Thesis Prepared for the Degree of MASTER of MUSIC UNIV
    X AN ANALYTICAL APPROACH TO JOHN CHOWNING’S PHONÉ Reiner Krämer, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS May 2010 APPROVED: David B. Schwarz, Major Professor Andrew May, Committee Member Paul E. Dworak, Committee Member Eileen M. Hayes, Chair of the Division of Music History, Theory, and Ethnomusicology Graham H. Phipps, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music Michael Monticino, Dean of the Robert B. Toulouse School of Graduate Studies Copyright 2010 By Reiner Krämer ii TABLE OF CONTENTS LIST OF TABLES ..................................................................................................v LIST OF FIGURES ............................................................................................... vi INTRODUCTION ...................................................................................................1 The Pythagoras Myth.........................................................................................1 A Challenge .......................................................................................................2 The Composition..............................................................................................11 The Object........................................................................................................15 PERSPECTIVES .................................................................................................18 X.......................................................................................................................18
    [Show full text]