DOCSLIB.ORG

13 Granular Synthesis in Csound

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
13 Granular Synthesis in Csound The Csound Book Edited by Richard Boulanger The Csound Book Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming The MIT Press Cambridge, Massachusetts London, England ᭧ 2000 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. This book was set in Times Roman by Graphic Composition, Inc., on the Miles 33 typesetting system. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data The Csound book : perspectives in software synthesis, sound design, signal processing, and programming / edited by Richard Boulanger. p. cm. Discography: p. Includes bibliographical references (p. ) and index. ISBN 0-262-52261-6 (alk. paper) 1. Computer music—Instruction and study. 2. Computer composition. I. Boulanger, Richard Charles, 1956– . MT723.C77 1999 786.7Ј413453042—dc21 99-14922 CIP This book is dedicated to the memory of Dr. Robert Cooper Through his music and his evangelization of Csound, so many young musicians came to see the light. Book Contents Foreword xxvii Barry Vercoe Preface xxxi Max Mathews Acknowledgments xxxiii Introduction xxxvii How to Use This Book xxxix Software Synthesis Csound Fundamentals 1. Introduction to Sound Design in Csound 5 Richard Boulanger 2. Understanding and Using Csound’s GEN Routines 65 Jon Christopher Nelson 3. What Happens When You Run Csound 99 John ffitch viii Book Contents 4. Optimizing Your Csound Instruments 123 Paris Smaragdis 5. Using Csound’s Macro Language Extensions 137 John ffitch Imitative Synthesis 6. Designing Acoustically Viable Instruments in Csound 155 Stephen David Beck 7. Designing Legato Instruments in Csound 171 Richard Dobson 8. Contiguous-Group Wavetable Synthesis of the French Horn in Csound 187 Andrew Horner and Lydia Ayers 9. FM Synthesis and Morphing in Csound: from Percussion to Brass 197 Brian Evans 10. Modeling “Classic” Electronic Keyboards in Csound 207 Hans Mikelson Algorithmic Synthesis 11. A Survey of Classic Synthesis Techniques in Csound 223 Rajmil Fischman 12. A Guide to FM Implementation in Csound 261 Russell Pinkston 13. A Guide to Granular Synthesis in Csound 281 Allan S. C. Lee 14. A Guide to FOF and FOG Synthesis in Csound 293 Michael Clarke 15. Processing Samples with Csound’s FOF Opcode 307 Per Byrne Villez ix Book Contents Mathematical Models 16. A Look at Random Numbers, Noise, and Chaos with Csound 321 John ffitch 17. Constrained Random Event Generation and Retriggering in Csound 339 Russell Pinkston 18. Using Global Csound Instruments for Meta-Parameter Control 353 Martin Dupras 19. Mathematical Modeling with Csound: From Waveguides to Chaos 369 Hans Mikelson Signal Processing Understanding Signal Processing through Csound 20. An Introduction to Signal Processing with Csound 389 Erik Spjut 21. Understanding Csound’s Spectral Data Types 437 Barry Vercoe Delay, Chorus, Reverberation, and 3D Audio 22. Using Csound to Understand Delay Lines and Their Applications 451 Russell Pinkston 23. An Introduction to Reverberation Design with Csound 467 Eric Lyon 24. Implementing the Gardner Reverbs in Csound 483 Hans Mikelson 25. Csound-based Auditory Localization 493 David McIntyre and Eli Breder x Book Contents Working with Csound’s Signal Processing Utilities 26. Convolution in Csound: Traditional and Novel Applications 507 Erik Spjut 27. Working with Csound’s ADSYN, LPREAD, and LPRESON Opcodes 521 Magdalena Klapper 28. Csound’s Phase Vocoder and Extensions 541 Richard Karpen Modeling Commercial Signal Processing Applications 29. Efficient Implementation of Analog Waveshaping in Csound 563 Michael Pochino 30. Modeling a Multieffects Processor in Csound 575 Hans Mikelson Programming Adding Opcodes 31. Extending Csound 599 John ffitch 32. Adding New Unit Generators to Csound 613 Marc Resibois Appendixes 1. List of the Csound Book Chapter Instruments 637 2. Recommended Reading 645 xi Book Contents 3. Recommended Listening 647 4. Sound Intensity and Formants Values 653 5. Pitch Conversion Table 657 6. Csound’s Error Messages 663 7. Csound Quick Reference 701 Index 727 CD-ROM Contents CD-ROM Chapters MIDI and Real-time 1. Introduction to MIDI Instrument Design in Csound Richard Boulanger 2. Csound-based Microtonal Synthesis and Control with MIDI Bill Alves 3. Real-time Synthesis in Csound with MIDI Control Michael Berry 4. MIDI Instrument Designs for Real Time Performance Gabriel Maldonado 5. Using Real-time Csound MIDI with Windows Gabriel Maldonado 6. Implementing MIDI Opcodes in Csound Gabriel Maldonado Algorithmic Composition 7. An Introduction to Cscore Archer Endrich 8. Algorithmic Score Generators Michael Gogins xiv CD-ROM Contents Interface Design 9. Creating and Using a Platform-Independent GUI for Csound in Java Michael Gogins 10. Improving a Composer’s Interface: Recent Developments to Csound for the Power Macintosh Computer Matt Ingalls 11. VMCI: An Interface to Control Csound in Real-time under Windows Gabriel Maldonado 12. Cecilia: A Production Interface to Csound Jean Piche´ and Alexandre Burton Sonification 13. Audification of Heart Rhythms in Csound Mark Ballora, Bruce Pennycook and Leon Glass 14. Some “Golden Rules” for Designing Auditory Displays Stephen Barrass 15. Using Csound for Sonification David Rossiter Software Synthesis, Signal Processing, and Sound Design 16. An Introduction to Sound Synthesis with Wavelet Packets Pedro A. G. Batista 17. Neural Processing in Csound Pedro A. G. Batista 18. Tools for Heterodyne Data Manipulation Fabio P. Bertolotti 19. NetSound: Structured Audio using Auditory Group Theory Michael A. Casey 20. Analog Dreams: Modeling Commercial Synthesizers Josep M Comajuncosas xv CD-ROM Contents 21. Physical Models of Strings and Plates Using a Simplified Mass-string Method Josep M Comajuncosas 22. Wave-terrain Synthesis Josep M Comajuncosas 23. Multi-band Processing with Time-varying Filters Rajmil Fischman 24. Spatialization—Stereo and Ambisonic Richard W. E. Furse 25. Designing Digital Butterworth and Chebyshev Filters Themis Katsianos 26. Terrain-Mapping Hans Mikelson 27. Three Modeling Approaches to Instrument Design Eduardo Reck Miranda 28. The Design of Equalizers and Compressors for Studio Use Erez Webman Composing with Csound 29. From Trapped in Convert to At Last . Free Richard Boulanger 30. Composing with Csound: Howl and Macchu Picchu Riccardo Bianchini 31. Temporal Synthesis Noel Bush 32. Recontextualizing Ambient Music with Csound Kim Cascone 33. From Research to Programming to Composition Michael Clarke xvi CD-ROM Contents 34. Composing with Digital Editing Systems and Csound Robert L. Cooper 35. Composing Fractal Music with Csound Brian Evans 36. Composing with Chaos John ffitch 37. Via Creativa/Via Transformativa, Gifts, Lux Hominum, Et Vitam Venturi III Arthur B. Hunkins 38. Composing with Csound on the Macintosh Matt Ingalls 39. Composing With Csound: adeson TN Magdalena Klapper 40. The Csound SuperSampler/Sequencer James Mobberley 41. Granular Strategies Jon Christopher Nelson 42. On Composing The Impossible Planet Luca Pavan 43. Extending Timbral Possibilities for Mixed Ensembles Ileana Perez 44. Composing Invade Areas Where Nothing’s Definite Derek Pierce 45. Reteplas: Microtonal Csound Composition Sal Sofia xvii CD-ROM Contents CD-ROM Tutorials The Original Csound Toots: A Sound Design TOOTorial for Beginners Richard Boulanger A 12-Week Csound Course Keith Hamel Exploring Analog Synth Techniques in Csound Jacob Joaquin Csound for Artists: Building Unique Virtual Instruments for Your Compositions Roger King A Csound Primer Hans Mikelson A Semester of Csound: Class Notes Jon Christopher Nelson A Csound Introductory Tutorial Dave Philips The Eastman Tutorials Allan Schindler An Introduction to Csound Eric L. Singer A Beginner Tutorial Barry Vercoe CD-ROM Music Selected Csound Compositions Trapped in Convert and Two Movements in C Richard Boulanger xviii CD-ROM Contents Hiway 70 Bill Alves Shadowland Steve Antosca Swarm Tim Barrass Voices ϭ Wind Mike Berry Intract Noel Bush BlueCube( ) Kim Cascone Cymbolic and Perks Robert L. Cooper Otis Sean Costello Leap Frog Steven Curtin Drums and Different Canons John ffitch For Fofs Dan Gutwein Acid Bach Suite Jeff Harrington Via Creativa/Via Transformativa , Gifts , Lux Hominum , and Et Vitam Venturi III Arthur B. Hunkins Grooving Night Thomas Huber xix CD-ROM Contents Halloween, Temple, Valentine and New Age Hans Mikelson Descent and Etude 1 William ‘Pete’ Moss Invade Areas Where Nothing’s Definite Derek Pierce Reteplas and Echoes from Mir Sal Sofia Spare Luxury One Robin Whittle Selected Student Compositions and Etudes Berklee College of Music Students of Richard Boulanger Altin, Anzola, Baron, Bax, Bregitzer, Castelli, Chen, Choi, Ciarcia, Cohen, Conrad, Cooksey, Crooker, DeGruttola, Dower, Elkins, Enhus, Friedman, Friendenreich, Gaete, Haddad, Hingoraney, Ishizaka, James, Jenkins, Jennings, Joaquin, Kang, Keddie, Keisler, Kim, Krugman, Malak, Mariano, McClinsey, Miller, Monahan, Nelson, Pease, Pietrusko, Pride, Rebel, Scaturro, Shaw, Stupka, Tavano, Thunder, Van Haecke, Varo, Vynios, Walen, Ward-Bergeman, Welsh, Yoshioka, Zuckerman Bowling Green State University Students of Burton Beerman Harden, Zygmut Glasgow Students of Eduardo Miranda Brown, Hein, McAlpine, Newton, Wade Louisiana State University Students of Stephen Beck Alderson, Blandino, Endicott, Johnson, Price, Urban MIT
Load more

Recommended publications
  • Computer Music
    THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself.
    [Show full text]
  • The Csound Book, a Cura Di Richard Boulanger. Contenuto Dei CD-Rom
    The Csound Book, a cura di Richard Boulanger. Contenuto dei CD-rom. CD1: HTML CD CD Chapters (capitoli aggiuntivi non presenti nella versione cartacea) Bill Alves , Csound-based Microtonal Synthesis and Control with MIDI Michael Berry , Real-time Synthesis in Csound with MIDI Control Gabriel Maldonado, MIDI Instrument Designs for Real Time Performance Gabriel Maldonado, Using Real-time Csound MIDI with Windows Gabriel Maldonado, Implementing MIDI Opcodes in Csound Archer Endrich, An Introduction to Cscore Michael Gogins, Algorithmic Score Generators Michael Gogins, Creating and Using a Platform-Independent GUI for Csound in Java Matt Ingalls , Improving a Composer’s Interface: Recent Developments to Csound for the Power Macintosh Computer Gabriel Maldonado , VMCI: An Interface to Control Csound in Real-time under Windows Jean Piché & Alexandre Burton , Cecilia: A Production Interface to Csound Mark Ballora, Bruce Pennycook & Leon Glass , Audification of Heart Rhythms in Csound Stephen Barrass , Some "Golden Rules" for Designing Auditory Displays David Rossiter , Using Csound for Sonification Pedro A. G. Batista, An Introduction to Sound Synthesis with Wavelet Packets Pedro A. G. Batista, Neural Processing in Csound Fabio P. Bertolotti, Tools for Heterodyne Data Manipulation Michael A. Casey, NetSound: Structured Audio using Auditory Group Theory Josep M. Comajuncosas, Analog Dreams: Modeling Commercial Synthesizers Josep M. Comajuncosas, Physical Models of Strings and Plates Using a Simplified Mass-string Method Josep M. Comajuncosas,
    [Show full text]
  • Compositional and Analytic Applications of Automated Music Notation Via Object-Oriented Programming
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Compositional and analytic applications of automated music notation via object-oriented programming Permalink https://escholarship.org/uc/item/3kk9b4rv Author Trevino, Jeffrey Robert Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Compositional and Analytic Applications of Automated Music Notation via Object-oriented Programming A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jeffrey Robert Trevino Committee in charge: Professor Rand Steiger, Chair Professor Amy Alexander Professor Charles Curtis Professor Sheldon Nodelman Professor Miller Puckette 2013 Copyright Jeffrey Robert Trevino, 2013 All rights reserved. The dissertation of Jeffrey Robert Trevino is approved, and it is acceptable in quality and form for publication on mi- crofilm and electronically: Chair University of California, San Diego 2013 iii DEDICATION To Mom and Dad. iv EPIGRAPH Extraordinary aesthetic success based on extraordinary technology is a cruel deceit. —-Iannis Xenakis v TABLE OF CONTENTS Signature Page .................................... iii Dedication ...................................... iv Epigraph ....................................... v Table of Contents................................... vi List of Figures .................................... ix Acknowledgements ................................. xii Vita .......................................... xiii Abstract of the Dissertation . xiv Chapter 1 A Contextualized History of Object-oriented Musical Notation . 1 1.1 What is Object-oriented Programming (OOP)? . 1 1.1.1 Elements of OOP . 1 1.1.2 ANosebleed History of OOP. 6 1.2 Object-oriented Notation for Composers . 12 1.2.1 Composition as Notation . 12 1.2.2 Generative Task as an Analytic Framework . 13 1.2.3 Computational Models of Music/Composition .
    [Show full text]
  • Live Coding in Sporth: a Stack Based Language for Audio Synthesis
    Live Coding in Sporth: A Stack Based Language for Audio Synthesis Paul Batchelor Center for Computer Research in Music and Acoustics [email protected] ABSTRACT This paper describes live coding musical sound in a domain-specific language called Sporth. Sporth is a stack based language ideally suited for articulating complicated modular synthesis patches using a terse syntax. Motivations for building a live coding interface will be explained, along with an overview of the Sporth language through example code. The final section will provide a brief description of the live coding listener in Sporth, as well as the recommended interface setup for re-evaluating Sporth code on the fly. 1 Introduction Sporth (Batchelor 2017b) is a domain-specific programming language for audio synthesis and creative sound design. It belongs to a family of so-called stack-based programming languages. Notable examples include Forth and Postscript. These languages revolve around a global stack data structure. As a direct result of this, stack-based languages have a distinct “arguments before function” syntax sometimes referred to as reverse-polish notation. An arithmetic expression in a typical C-like programming language could look like this: 8 * (2 + 3) The equivalent RPN expression seen in a stack-based language would look like: 8 2 3 + * While these kinds of languages may not be widely used in modern software engineering practices, they do provide some unique features useful for live coders. Stack-based languages are generally terse, so the keystroke count can kept down. In performance situations where speed is important, keystroke reduction is an important metric.
    [Show full text]
  • The 1997 Mathews Radio-Baton & Improvisation Modes
    The 1997 Mathews Radio-Baton & Improvisation Modes From the Proceedings of the 1997 International Computer Music Conference – Thessaloniki Greece Richard Boulanger & Max Mathews [email protected] & [email protected] Berklee College of Music & Stanford University Introduction The Radio-Baton is a controller for live computer music performances. It tracks the motions, in three dimensional space, of the ends of two Batons which are held in the hands of a performer. The X, Y and Z trajectories of each Baton are used to control the performance. The Radio-Baton is a MIDI instrument in the sense that it has MIDI input, output, and thru connectors. All electrical communication with the Baton is done over MIDI cables using standard MIDI conventions. The Baton was designed to work with MIDI synthesizers and MIDI-based sequencing and programming software. How the Radio-Baton Works The Radio-Baton uses a simple technique to determine the XYZ coordinates of the batons. At the end of each baton is a small radio transmitting antenna. On the receiving antenna surface are 5 receiving antennas as sketched on the figure--four long thin antennas arranged along the four edges of the board and one large antenna covering the entire center area of the board. The closer a baton is to a given receiver, the stronger the signal at that receiver. By comparing the signal strengths at the #1 and #2 antennas, the computer in the electronics box can determine the X position of the baton. Comparing the #3 and #4 strengths gives the Y position. The #5 strength gives the height above the board or Z position.
    [Show full text]
  • Richard Boulanger Cloning a Dragon with the DNA from “Trapped in Convert” (In Memory of Shengzheng Zhang - John Towse)
    Richard Boulanger Cloning a Dragon with the DNA from “Trapped in Convert” (in memory of Shengzheng Zhang - John Towse) Controlled, modulated, and spatialized live by an assortment of theremin, joystick, brainwave, and pressure sensors, this 4-channel EuroRack modular synthesizer solo will feature: four Qu-Bit Nebulae modules (each running and rendering, in real-time, voltage- controlled versions of Boulanger’s classic "Trapped in Convert" Csound instruments, and a suite of new custom “Qu-Bit Csound” orchestras); plus two Thonk Music Thing Modular Radio Music modules (each playing a number of pre-rendered custom Csound orchestras as .AIF audio files); plus, one Audio Damage ODIO module (allowing for the modular system’s audio to be sent to, and returned from an iPad running the Boulanger Labs Csound for iOS app csSpectral, that is being used for real-time Phase Vocoding and other Csound-based audio processing). This newly composed, and completely re- designed solo version of the work was written to celebrate the 40th anniversary of the world premiere of Boulanger’s classic “Trapped in Convert”. "Back in the summer of 1979, when I composed "Trapped in Convert" at the EMS Studio at MIT using Barry Vercoe’s "music11" language, and then revised it at the MIT Media Lab in 1986 to serve as a beta- test suite for Vercoe’s new "Csound" language, I modeled all my sounds on those I would create in my home studio with my ARP 2600 analog synthesizer. Now, some 40 years later, and to celebrate the 40th anniversary of composition, I have been able to return to the modular synthesizer; to come full circle – but this time, I am making Csounds on the modular thanks to the design and commercial availability of the amazing Nebulae module from Qu-Bit Electronics, (the Nebulae is a EuroRack synthesizer module built around a Raspberry Pi running the latest version of Csound under the hood!).
    [Show full text]
  • Audio Programming Book
    The Audio Programming Book edited by Richard Boulanger and Victor Lazzarini foreword by Max V. Mathews The MIT Press Cambridge, Massachusetts London, England ( 2010 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. For information about quantity discounts, email [email protected]. Set in Stone Serif and Stone Sans on 3B2 by Asco Typesetters, Hong Kong. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data [to come] 10987654321 The Audio Programming Book DVD Contents Continuations of the Printed Text Chapters 1 Delay Lines and Noise Generation Richard Dobson 2 Digital Filters Richard Dobson 3 From C to C++ Richard Dobson 4 Audio Processing in C++ Richard Dobson 5 Audio Plugins in C++ Richard Dobson 6 APB & DVD Chapter Summaries: An Annotated Outline Richard Dobson 7 Continuing Down The Audio Stream Gabriel Maldonado 8 Working with Control Signals to Build a SoftSynth with a Cross-Platform GUI Gabriel Maldonado 9 More VST Plug-ins Victor Lazzarini 10 Algorithmic Patch Design for Synmod Eric Lyon 11 Algorithmic Sound Design Eric Lyon Foundations 12 Compiling Software in the OS X Terminal – UNIX-style Joo Won Park 13 Building Linux Audio Applications From Source: A User's Guide David L. Phillips 14 A Guide To Linux Audio Applications David L. Phillips MIDI Programming
    [Show full text]
  • WITH CSOUND PNACL and WEBSOCKETS Ashvala Vinay
    Ashvala Vinay and Dr. Richard Boulanger. Building Web Based Interactive Systems BUILDING WEB BASED INTERACTIVE SYSTEMS WITH CSOUND PN ACL AND WEB SOCKETS Ashvala Vinay Berklee College of Music avinay [at] berklee [dot] edu Dr. Richard Boulanger Berklee College of Music rboulanger [at] berklee [dot] edu This project aims to harness WebSockets to build networkable interfaces and systems using Csound’s Portable Native Client binary (PNaCl) and Socket.io. There are two methods explored in this paper. The first method is to create an interface to Csound PNaCl on devices that are incapable of running the Native Client binary. For example, by running Csound PNaCl on a desktop and controlling it with a smartphone or a tablet. The second method is to create an interactive music environment that allows users to run Csound PNaCl on their computers and use musical instruments in an orchestra interactively. In this paper, we will also address some of the practical problems that exist with modern interactive web-based/networked performance systems – latency, local versus global, and everyone controlling every instrument versus one person per instrument. This paper culminates in a performance system that is robust and relies on web technologies to facilitate musical collaboration between people in different parts of the world. Introduction At the 2015 Web Audio Conference, Csound developers Steven Yi, Victor Lazzarini and Edward Costello delivered a paper about the Csound Emscripten build and the Portable Native Client binary (PNaCl). The PNaCl binary works exclusively on Google Chrome and Chromium browsers. It allows Csound to run on the web with very minimal performance penalties.
    [Show full text]
  • National University of Ireland, Maynooth 2-4 December 2005
    EAR presents National University of Ireland, Maynooth 2-4 December 2005 Welcome to Sounds Electric ’05, a festival of electro- for Computer and Clarinet (or any melodic instrument) 'harmonious' intervals are explored in contrasting ways - in acoustic and contemporary music. This year’s edition, the This piece begins with an opening four bars of music, a raw, visceral manner using distorted electronic fourth of the series, showcases an international selection which the computer records, modifies, and then plays back manipulations and in a 'pure' almost austere way with of composers and artists, who are producing the most in a loop to the player. Upon hearing the modified sounds ethereal harmonics. The viola part is played by Karen innovative and thought-provoking music of today. the player begins to play freely with the computer- Dervan. Sounds Electric started life as a festival of Irish processed sounds. Throughout the piece the computer electroacoustic music, with its first and second editions software is constantly recording and modifying the sounds JAMES HEARON Improvisation for Violin and Computer taking place at Queen’s University, Belfast, under the of the player and in response to this the player is changing An improvisation piece featuring processed violin and direction of Michael Alcorn. The third edition moved south the sounds coming back from the computer. The result of interactive computer running live Csound5. of the border to Maynooth, establishing the festival as an constant interplay is a complex auditory feedback loop all-Ireland, cross-border event. between player and computer, in which each voice begins The Ear Ensemble The 2005 festival has been organised as an to explore the timbral characteristics of the other.
    [Show full text]
  • Brief Biography (140 Words) James Paul Sain (B
    Very Brief Biography (140 words) James Paul Sain (b. 1959) is Professor of Music at the University of Florida where he teaches electroacoustic and acoustic music composition, theory, and technology. He founded and directed the internationally acclaimed Florida Electroacoustic Music Festival for 17 years. His compositional oeuvre spans all major acoustic ensembles, instrumental and vocal soloists, and embraces electroacoustic music. His works have been featured at major national and international societal events. He has presented his music in concert and given lectures in Asia, Europe, South America and North America. Dr. Sain is President Emeritus of the Society of Composers Inc. He previously served for several terms on American Composers Alliance Board of Governors. His music is available in print from Brazinmusikanta and American Composers Editions and on CD on the Capstone, Electronic Music Foundation, Innova, University of Lanús, Mark Masters, Albany and NACUSA labels. Brief Biography (649 words) James Paul Sain (b. 1959), a native of San Diego, California, is Professor of Music at the University of Florida where he teaches acoustic and electroacoustic music composition as well as music theory. He is Composition, Theory and Technology Co-Chair and the Director of Electroacoustic Music. He founded and directed the internationally acclaimed Florida Electroacoustic Music Festival for 17 years. He is responsible for programming over 1600 works of contemporary art music. Composers-in-residence for the festival included renowned electroacoustic music composers such as Hubert S. Howe, Jr., Cort Lippe, Gary Nelson, Jon Appleton, Joel Chadabe, Larry Austin, Barry Truax, Richard Boulanger, Paul Lansky, James Dashow, Mort Subotnick, John Chowning, Charles Dodge and Annea Lockwood.
    [Show full text]
  • Composing Purity 29Mar10
    Presented at the International Bohlen-Pierce Symposium, 7-9 March 2010, organized by the Boston Microtonal Society in partnership with Goethe Institute Boston, Berklee College of Music, Northeastern University, and the New England Conservatory of Music. ___________________________________ Composing Purity Curtis Roads Media Arts and Technology, joint appointment in Music University of California Santa Barbara CA 93106-6065 USA Point of origin Many lecturers at this symposium will address the Bohlen-Pierce scale from an analytical, theoretical, and technical perspective. By contrast, this talk is an illustrated story about a notable time in my life as a composer of a work using the Bohlen-Pierce scale. The point of origin of the composition Clang-tint can be traced to the sunny afternoon of 9 December 1990. I was a 39-year old Visiting Professor of Composition at the Oberlin Conservatory in Ohio, and I had heard on the radio a New York Times art critic praise an installation of photographic works by the Starn twins at the nearby Akron Museum of Art. 1 Figure 1. Horse and Rider. The Starn Brothers. These large-scale works (Figures 1 and 2 depict works that are at least two meters in width), combined prints and large transparencies with wood, tape, metal, and other media to create three-dimensional sculptures (Grundberg 1990). Several aspects of this work struck me. These young artists integrated “sampled” (photographed) imagery with unusual materials and innovative methods of construction (tape, clear lacquer, pipes and clamps). Image quality was treated as a parameter that could be varied from high to low within a single piece.
    [Show full text]
  • Teaching Software Synthesis Through Csound's New Modelling Opcodes
    TEACHING SOFTWARE SYNTHESIS THROUGH CSOUND'S NEW MODELLING OPCODES Richard Boulanger Berklee College of Music, 1140 Boylston Street, Boston MA 02215-3693, USA ([email protected]) John ffitch Media Technology Research Centre, University of Bath, Bath BA2 7AY, UK ([email protected]) Abstract: The computational power of today's computers brings the most powerful signal processing and synthesis tools into the home studio. For less than $2000 you can have the equivalent of the IRCAM ISPW or a NeXT running “SynthBuilder” on your battery powered PPC or PC Laptop, and all the “essential” software tools and utilities can be had commercially at low cost or are freely available over the Internet. Thus we are seeing that independent composers and freelance artists are seeking out this software, and placing demands on the designers for ease of use and general utility. This paper concentrates on one of the remaining problems which limits the widespread use of the technology, and that is the complexity in specifying every feature of a composition, and in particular describing the detailed timbral evolution of each note. We explore the new facilities in Csound which address this problem. 1. Introduction Cost is no longer the issue. For very little money you can have a machine as powerful as the previous generation of research equipment, but on your battery powered PPC or PC Laptop, and what is more, software tools and utilities are freely available over the Internet or at worst cost only small sums commercially. Thus we are seeing that independent composers and freelance artists are seeking out this software, and that is placing demands on the designers, as these new users demand ease of use and request high utility.
    [Show full text]