Csound answers that question.
To coordinate and quantify musical data, a program such as csound is invaluable. Spondike's Perception and Cognition Links These links are primarily organized by topic. From rhythm and auditory structure to auditory scene analysis, linguistic structure, and more, this set of links is very useful. I was having problems linking to some of the research papers dissertations from his site. The Musician's Guide to Perception and Cognition. New York, Schirmer Books, If the Deutsch and Rossing seem to be too technically intimidating, Butler's work provides a very readable middle ground.
Written for the musician, the book is clear while concisely covering the material.
- The Awful Truths: Famous Myths, Hilariously Debunked.
- Computer Music - Synthesis, Composition, and Performance- 2 ed (Charles Dodge, Thomas A. Jerse).pdf.
Of particular interest is a great introduction on experimentation, for those who are considering adding research to their sound design and synthesis arsenal. Overall, it is a well thought out collection of literature that can benefit the enthusiast and professional alike.
Much of the literature bridges into the realm of perception and cognition, as is the case with much of psychoacoustics. Intro Music therapists need software synthesists. By the forging of a relationship between these two disciplines, acoustic environments and interfaces can be created to meet the needs of various client and patient populations. Technology is creeping into the field of music therapy. However, at this point it is largely on the fringe. Collaboration is the key to exploring technology in the clinical-musical environment.
Get your adaptive systems chops up. Design beautiful sounds that can express emotional states and convey feeling. Then, contact the therapists. Chances are that they will want to work with you. Music Research Interfaces Thumbnail image links to full size image of the interface.
The interface provides a nice bonus in data capturing and manipulation. Boston, Berklee Press Publications, Hanser's book is an opportunity for those outside of the field of music therapy to get an inside look at the process by which a therapist works to structure clinical intervention. For therapists, and music therapy students such as myslef , the book serves as a crucial reference by which we learn to become professional clinicians. Gilsum, NH, Barcelona Publishers, This extensive and comprehensive text is the research companion to Dr.
Hanser's work in clinical process. For a music therapist considering clinical research, it serves as the ultimate reference. This text outlines the models of research that are used in music therapy, along with examples and surveys of the literature. Intro In the world of computer music there have always been those working to push into creative and integrative applications of their science and art. This selection of references from computer music texts and conference proceedings relate to the topic at hand by pointing to directions in aesthetics, cognition, psychology, and adaptive controllers taken up by computer music researchers.
The Computer Music Tutorial. Boston, MIT Press, The Computer Music Tutorial is an extremely important work in the computer music field. It primarily explores the theory of digital sound synthesis, in addition to various musical performance systems, midi technologies, synthesizer architecture and much more.
The Csound Book. Csound, being the most powerful and versatile software synthesizer in the world, is a natural must for those who want the control, precision, and functionality to effectively conduct research in sound and science. Leonardo 20 2 Leonardo 22 2 Leonardo Music Journal Apel, Willi. Harvard Dictionary of Music.
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Assayag, G, C. Rueda, M. Laurson, C. Agon, O. Computer Music Journal 23 3 Bach, J. Die Kunst der Fuge. Edited by Czerny. New York, NY: C. Peters Corporation. Berg, Paul. Boulanger, Richard Charles. Boynton, L. Lavoie, Y. Orlarney, C. Rueda, and D.
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Proceedings of the International Computer Music Conference. Brindle, Reginald Smith.
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Serial Composition. London, England: Oxford University Press. Brooks, Stephen and Brian J. Bukofzer, Manfred F. Music in the Baroque Era. New York, NY: W. Chadabe, Joel. Cope, David. Computers and Musical Style. Edited by J. Dannenberg, Roger. The Canon Score Language. Computer Music Journal 13 1 Dewdney, A. Computer Recreations. Scientific American , August, , Dodge, Charles and Curtis Bahn. Musical Fractals. Byte 11 6 Dodge, Charles. Profile: A Musical Fractal.
Computer Music Journal 12 3 Dodge, Charles and Jerse, Thomas. Computer Music: Synthesis, Composition, and Performance. Ebciouglu, K. In Understanding Music with AI. Ernst, David. The Evolution of Electronic Music. Forte, Allen.
Computer music: synthesis, composition, and performance by Dodge, Charles, , Jerse, Thomas A
The advent of inexpensive digital microprocessor chips and microcomputers opened the door to real-time generation of computer music. It was not until the advent of MIDI in that general-purpose computers started to play a key role in mainstream music production. Since its introduction, MIDI has remained the musical instrument industry standard interface through to the present day. Interesting sounds must have a fluidity and changeability that allows them to remain fresh to the ear. In computer music this subtle ingredient is bought at a high computational cost, both in terms of the number of items requiring detail in a score and in the amount of interpretive work the instruments must produce to realize this detail in sound.
Sign In Don't have an account? Start a Wiki. Contents [ show ]. Error: Bad DOI specified. Retrieved 9 July Farseeing inventor pioneered computer music. Retrieved on 28 October Back then computers were ponderous, so synthesis would take an hour. Science : —