The Oxford Handbook of Computer Music

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.

Informationen zum Autor 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) Klappentext 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. Zusammenfassung Since the first musical tones were produced on a computer in 1950, composers of computer music have produced a major body of creative works, and today the field has its own canon and accepted modes of analysis and pedagogy. As technologies improve and become increasingly available, the cost of performances - both live solo and networked - and studio composition have fallen sharply. The Oxford Handbook of Computer Music fills this gap by providing a state-of-the-art cross-section of the most field-defining topics and debates in the field of computer music today. A unique contribution to the field, it situates computer music in the broad context of its creation and performance across the full range of issues - from music cognition to pedagogy to sociocultural analyses - that crop up in contemporary discourse in the field. It focuses not only on art music, but also on the important movements of microsonics, the computer DJ, and computer-interactive performance more broadly Inhaltsverzeichnis 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 15.: Algorithmic synaesthesia 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 Müllensiefen 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 Ba...

Autorentext
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)

Klappentext
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.

Zusammenfassung
Since the first musical tones were produced on a computer in 1950, composers of computer music have produced a major body of creative works, and today the field has its own canon and accepted modes of analysis and pedagogy. As technologies improve and become increasingly available, the cost of performances - both live solo and networked - and studio composition have fallen sharply. The Oxford Handbook of Computer Music fills this gap by providing a state-of-the-art cross-section of the most field-defining topics and debates in the field of computer music today. A unique contribution to the field, it situates computer music in the broad context of its creation and performance across the full range of issues - from music cognition to pedagogy to sociocultural analyses - that crop up in contemporary discourse in the field. It focuses not only on art music, but also on the important movements of microsonics, the computer DJ, and computer-interactive performance more broadly

Inhalt
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
15.: Al…

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