MIT Press, Cambridge MA 1989; 725 pages, Index, double-column text, illustrations and photographs, References.
Condition: Very Good black cloth hardcover in Very Good gray, blue and black pictorial dustjacket and clear acetate glassine jacket protector. Slight shelfwear to jacket. Thick book. Binding is secure and sound, pages are clean, unmarked. A nice copy of this.
See all items by Curtis Roads
Item DescriptionPrimary source articles on the art, the science and the technology of computer music; fifty-three articles including several major articles that had been out of print, published in the Computer Music Journal between 1980 and 1985
Contents -- INTERVIEWS -- interview with Max Mathews; a conversation with James A Moorer; A conversation with Clarence Barlow; interview with Paul Lansky; Interview with David Rosenboom; interview with ROger Reynolds, Joji Yuasa, and Charles Worinen
COMPOSITION -- Computer Music Experiments 1964 - ... (Jean Claude Risset); Composing with Computers -- a Progress Report (Lejaren Hiller); Mortuos Pango, Vivos Voco -- a realization at IRCAM (Jonathan Harvey); Loudspeakers and Performers -- some problems and proposals (Dexter Morrill); Dreamsong, the composition (Michael McNabb); Composition theory in Koenig's Project One and Project Two (Otto Laske); Automated Compostion and Composed Automation (Giuseppe Englert); Timbral Construction in Arras as a Stochastic Process (Barry Truax); Interactive Composing -- an overview (Joel Chadabe); The Making of Octuor (Horacio Vaggione); Stylistic Automata in Gradient (Charles Ames); Comments on University Instruction in Computer Music Composition (Jacque Arveiller)
THE MIDI Interface -- Musicians make a Standard -- The MIDI phenomenon (Loy); Music and Microprocessors -- MIDI and the state of the art (Yavelow);
MUSIC SOFTWARE -- A note on music printing by computer (roads); Personal Composer (Miller); scope in Interactive score editors (Buxton et al); Objed and the design of timbral resources (Buxton et al); Gcomp - graphic control of mixing and processing (Banger et al); Pla, a composer's idea of a language (Schottstaedt); Flavors band - a language for specifying musical style (Fry); The 4CED Program (Abbott); Notes on the implementation of MUSBOX, a compiler for the systems concepts digital synthesizer (Loy); A Panoply of Stochastic 'cannons' (lorrain); Compositional Applications of stochastic processes (Jones); Aesthetic integration of computer-composed scores (Koenig); FORMES, composition and scheduling of processes (ROdet et al);
SYNTHESIS AND SIGNAL PROCESSING -- A Tutorial on digital sound synthesis techiques (de Poli); the CHANT Project - from the synthesis of the singing voice to synthesis in general (Rodet et al); Synthesis of plucked-string and drum timbres (Karplus et al); Extensions of the Karplus-Strong Plucked-String Algorithm (Jaffe & Smith); Responsive Input devices and sound synthesis by simulation of Instrumental Mechanisms - the Cordis System (Cadoz et al); Fundamentals of Digital Filter Theory (Smith); Timbre and the Perceptual Effects of three types of data reduction (Charbonneau); Synthesis of Timbral families by warped linear prediction (Lansky and Steiglitz); Toward an intelligent editor of digital audio -- recognition of musical constructs (Chafe et al); signal processing methods (Foster et al); A general model for spatial processing of sounds (Moore); Designing Multi-channel reverberators (Stautner and Puckette);
SIGNAL PROCESSING HARDWARE -- Synthesizers I have known and loved (James A Moorer); The Lucasfilm Audio signal processor (moorer); Developing a commercial digital sound synthesizer (Kaplan); Notes on Very Large Scale integration and the design of real-time digital sound processors (Kahrs);
MUSIC AND ARTIFICIAL INTELLIGENCE -- music, mind, and meaning (Marvin Minsky); Simulating Musical Skills by Digital computer (Rothgeb); On some computational models of music theory (Rahn); Approximation and syntactic analysis of amplitude and frequency functions for digital sound synthesis (Strawn); Musical Performance - a synthesis-by-rule approach (Sundberg et al).