Inside Computer Music is an investigation of how new technological developments have influenced the creative possibilities of composers of computer music in the last 50 years. This book combines detailed research into the development of computer music techniques with thorough studies of ninecase studies analysing key works in the musical and technical development of computer music. The text is linked to demonstration videos of the techniques used and software which offers readers the opportunity to try out emulations of the software used by the composers for themselves and view videointerviews with the composers and others involved in the production of the musical works. The software also presents musical analyses of each of the nine case studies using software and video alongside text to enable readers to engage with the musical structure aurally and interactively.
How a team of musicians, engineers, computer scientists, and psychologists developed computer music as an academic field and ushered in the era of digital music. In the 1960s, a team of Stanford musicians, engineers, computer scientists, and psychologists used computing in an entirely novel way: to produce and manipulate sound and create the sonic basis of new musical compositions. This group of interdisciplinary researchers at the nascent Center for Computer Research in Music and Acoustics (CCRMA, pronounced “karma”) helped to develop computer music as an academic field, invent the technologies that underlie it, and usher in the age of digital music. In The Sound of Innovation, Andrew Nelson chronicles the history of CCRMA, tracing its origins in Stanford's Artificial Intelligence Laboratory through its present-day influence on Silicon Valley and digital music groups worldwide. Nelson emphasizes CCRMA's interdisciplinarity, which stimulates creativity at the intersections of fields; its commitment to open sharing and users; and its pioneering commercial engagement. He shows that Stanford's outsized influence on the emergence of digital music came from the intertwining of these three modes, which brought together diverse supporters with different aims around a field of shared interest. Nelson thus challenges long-standing assumptions about the divisions between art and science, between the humanities and technology, and between academic research and commercial applications, showing how the story of a small group of musicians reveals substantial insights about innovation. Nelson draws on extensive archival research and dozens of interviews with digital music pioneers; the book's website provides access to original historic documents and other material.
This agenda-setting book presents state of the art research in Music and Human-Computer Interaction (also known as ‘Music Interaction’). Music Interaction research is at an exciting and formative stage. Topics discussed include interactive music systems, digital and virtual musical instruments, theories, methodologies and technologies for Music Interaction. Musical activities covered include composition, performance, improvisation, analysis, live coding, and collaborative music making. Innovative approaches to existing musical activities are explored, as well as tools that make new kinds of musical activity possible. Music and Human-Computer Interaction is stimulating reading for professionals and enthusiasts alike: researchers, musicians, interactive music system designers, music software developers, educators, and those seeking deeper involvement in music interaction. It presents the very latest research, discusses fundamental ideas, and identifies key issues and directions for future work.
This survey chronicles the major advances in computer music that have changed the way music is composed, performed, and recorded. It contains many of the classic, seminal articles in the field (most of which are now out of print) in revised and updated versions. Computer music pioneers, digital audio specialists, and highly knowledgeable practitioners have contributed to the book. Thirty-six articles written in the 1970s and 1980s cover sound synthesis techniques, synthesizer hardware and engineering, software systems for music, and perception and digital signal processing. The editors have provided extensive summaries for each section.Curtis Roads is editor of Computer Music Journal. John Strawn is a Research Associate at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University.
The first of its kind, this is book consists of twenty-one essays describing the many different uses of the digital computer in the field of music. Musicologists will find that various historical periods-from medieval to contemporary-are represented, and examples of computer analysis of ethnic music are considered. Edmund A. Bowles contributes an entertaining historical survey of music research and the computer. Lejaren Hill here discusses computer composition, both in this country and in Europe, and gives a bibliography of composers and their works. A. James Gabura's essay describes experiments in analyzing and identifying the keyboard styles of Haydn, Mozart, and Beethoven. There is also a section of particular interest to music librarians.
Teach Your Students How to Use Computing to Explore Powerful and Creative IdeasIn the twenty-first century, computers have become indispensable in music making, distribution, performance, and consumption. Making Music with Computers: Creative Programming in Python introduces important concepts and skills necessary to generate music with computers.
Computing is transforming how we interact with music. New theories and new technologies have emerged that present fresh challenges and novel perspectives for researchers and practitioners in music and human-computer interaction (HCI). In this collection, the interdisciplinary field of music interaction is considered from multiple viewpoints: designers, interaction researchers, performers, composers, audiences, teachers and learners, dancers and gamers. The book comprises both original research in music interaction and reflections from leading researchers and practitioners in the field. It explores a breadth of HCI perspectives and methodologies: from universal approaches to situated research within particular cultural and aesthetic contexts. Likewise, it is musically diverse, from experimental to popular, classical to folk, including tango, laptop orchestras, composition and free improvisation.
Pascal Programming for Music Research addresses those who wish to develop the programming skills necessary for doing computer-assisted music research, particularly in the fields of music theory and musicology. Many of the programming techniques are also applicable to computer assisted instruction (CAI), composition, and music synthesis. The programs and techniques can be implemented on personal computers or larger computer systems using standard Pascal compilers and will be valuable to anyone in the humanities creating data bases. Among its useful features are: -complete programs, from simple illustrations to substantial applications; -beginning programming through such advanced topics as linked data structures, recursive algorithms, DARMS translation, score processing; -bibliographic references at the end of each chapter to pertinent sources in music theory, computer science, and computer applications in music; -exercises which explore and extend topics discussed in the text; -appendices which include a DARMS translator and a library of procedures for building and manipulating a linked representation of scores; -most algorithms and techniques that are given in Pascal programming translate easily to other computer languages. Beginning, as well as advanced, programmers and anyone interested in programming music applications will find this book to be an invaluable resource.
Intentions in Communication brings together major theorists from artificial intelligence and computer science, linguistics, philosophy, and psychology whose work develops the foundations for an account of the role of intentions in a comprehensive theory of communication. It demonstrates, for the first time, the emerging cooperation among disciplines concerned with the fundamental role of intention in communication.The fourteen contributions in this book address central questions about the nature of intention as it is understood in theories of communication, the crucial role of intention recognition in understanding utterances, the use of principles of rational interaction in interpreting speech acts, the contribution of intonation contours to intention recognition, and the need for more general models of intention that support a view of dialogue as a collaborative activity.The contributors are Michael E. Bratman, Philip R. Cohen, Hector J. Levesque, Martha E. Pollack, Henry Kautz, Andrew J. I. Jones, C. Raymond Perrault, Daniel Vanderveken, Janet Pierrehumbert, Julia Hirschberg, Richmond H. Thomason, Diane J Litman, James F. Allen, John R. Searle, Barbara J. Grosz, Candace L. Sidner, Herbert H. Clark and Deanna Wilkes-Gibbs. The book also includes commentaries by James F. Allen, W. A Woods, Jerry Morgan, Jerrold M. Sadock Jerry R. Hobbs, and Kent Bach.Philip R. Cohen is a Senior Computer Scientist at the Artificial Intelligence Center at SRI International and is a Senior Researcher with the Center for the Study of Language and Information; Jerry Morgan is Associate Professor, Department of Linguistics and Beckman Institute for Advanced Science and Technology at the University of Illinois; Martha E. Pollack is a Computer Scientist at the Artificial Intelligence Center at SRI International and is a Senior Researcher with the Center for the Study of Language and Information. Intentions in Communication is included in the System Development Foundation Benchmark Series.
