The Oxford Handbook of Computer Music provides a state-of-the-art cross-section of the most field-defining topics and debates in the field of computer music today. From music cognition to pedagogy to sociocultural analyses, this handbook situates computer music in the broad context of its creation and performance across the full range of issues that crop up in contemporary discourse in the field.
The Oxford Handbook of Computer Music provides a state-of-the-art cross-section of the most field-defining topics and debates in the field of computer music today. From music cognition to pedagogy to sociocultural analyses, this handbook situates computer music in the broad context of its creation and performance across the full range of issues that crop up in contemporary discourse in the field.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Roger Dean is Research Professor of Sonic Communication at the University of Western Sydney, and Founder and Artistic Director of austraLYSIS. He is also author of Hyperimprovisation: Computer Interactive Sound Improvisation (2003) and Sounds from the Corner: Australian Contemporary Jazz Since 1973 (2005)
Inhaltsangabe
* Table of Contents * 1: Introduction: The many futures of computer music. * Roger T. Dean * Section I: Some histories of computer music and its technologies * 2: A historical view of computer music technology * Douglas Keislar * 3: Early hardware and early ideas in computer music - their development and their current forms * Paul Doornbusch * 4: Sound synthesis using computers * Peter Manning * Section II: The Music * 5: Computational approaches to composition of notated instrumental music: Xenakis and the other pioneers * James Harley * 6: Envisaging improvisation in future computer music * Roger T. Dean * Section III: Sounding Out * 7: Computer music: some reflections * Trevor Wishart * 8: Some notes on my electronic improvisation practice * Tim Perkis * 9: Combining the acoustic and the digital: music for instruments and computers or pre-recorded sound * Simon Emmerson * Section IV: Creative and Performance Modes * 10: Dancing the music: interactive dance and music * Wayne Siegel * 11: Gesture and morphology in laptop music performance * Garth Paine * 12: Sensor based musical Instruments and interactive music * Atau Tanaka * 13: Spatialisation and computer music * Peter Lennox * 14: The voice in computer music and its relationship to place, identity and community * Hazel Smith * Noam Sagiv, Freya Bailes and Roger T. Dean * 16: An introduction to data sonification * David Worrall * 17: Electronica * Nick Collins * 18: Generative algorithms for making music: emergence, evolution and ecosystems * Jon McCormack, Alice Eldridge, Alan Dorin and Peter McIlwain * Section V: Cognition and Computation of Computer Music * 19: Computational modelling of music cognition and musical creativity * Geraint A. Wiggins, Marcus T. Pearce and Daniel Mullensiefen * 20: Soundspotting: a new kind of process? * Michael Casey * Section VI: Sounding Out * 21: Interactivity and improvisation * George E. Lewis * 22: From outside the window: electronic sound performance * Pauline Oliveros * 23: Empirical studies of computer sound * Freya Bailes and Roger T. Dean * Section VII: Cultural and Educational Issues * 24: Toward the gender ideal * Mary Simoni * 25: Sound-based music 4 all * Leigh Landy * 26: Framing learning perspectives in computer music education * Joran Rudi and Palmyre Pierroux * Appendix * 27: A chronology of computer music and related events * Paul Doornbusch * Contributors
* Table of Contents * 1: Introduction: The many futures of computer music. * Roger T. Dean * Section I: Some histories of computer music and its technologies * 2: A historical view of computer music technology * Douglas Keislar * 3: Early hardware and early ideas in computer music - their development and their current forms * Paul Doornbusch * 4: Sound synthesis using computers * Peter Manning * Section II: The Music * 5: Computational approaches to composition of notated instrumental music: Xenakis and the other pioneers * James Harley * 6: Envisaging improvisation in future computer music * Roger T. Dean * Section III: Sounding Out * 7: Computer music: some reflections * Trevor Wishart * 8: Some notes on my electronic improvisation practice * Tim Perkis * 9: Combining the acoustic and the digital: music for instruments and computers or pre-recorded sound * Simon Emmerson * Section IV: Creative and Performance Modes * 10: Dancing the music: interactive dance and music * Wayne Siegel * 11: Gesture and morphology in laptop music performance * Garth Paine * 12: Sensor based musical Instruments and interactive music * Atau Tanaka * 13: Spatialisation and computer music * Peter Lennox * 14: The voice in computer music and its relationship to place, identity and community * Hazel Smith * Noam Sagiv, Freya Bailes and Roger T. Dean * 16: An introduction to data sonification * David Worrall * 17: Electronica * Nick Collins * 18: Generative algorithms for making music: emergence, evolution and ecosystems * Jon McCormack, Alice Eldridge, Alan Dorin and Peter McIlwain * Section V: Cognition and Computation of Computer Music * 19: Computational modelling of music cognition and musical creativity * Geraint A. Wiggins, Marcus T. Pearce and Daniel Mullensiefen * 20: Soundspotting: a new kind of process? * Michael Casey * Section VI: Sounding Out * 21: Interactivity and improvisation * George E. Lewis * 22: From outside the window: electronic sound performance * Pauline Oliveros * 23: Empirical studies of computer sound * Freya Bailes and Roger T. Dean * Section VII: Cultural and Educational Issues * 24: Toward the gender ideal * Mary Simoni * 25: Sound-based music 4 all * Leigh Landy * 26: Framing learning perspectives in computer music education * Joran Rudi and Palmyre Pierroux * Appendix * 27: A chronology of computer music and related events * Paul Doornbusch * Contributors
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