The Oxford Handbook of Computer Music

by Roger T. Dean

Overview

The Oxford Handbook of Computer Music offers a state-of-the-art cross-section of the most field-defining topics and debates in computer music today. A unique contribution to the field, it situates computer music in the broad context of its creation and performance across the range of issues - from music cognition to pedagogy to sociocultural topics - that shape contemporary discourse in the field.

Fifty years after musical tones were produced on a computer for the first time, developments in laptop computing have brought computer music within reach of all listeners and composers. Production and distribution of computer music have grown tremendously as a result, and the time is right for this survey of computer music in its cultural contexts. An impressive and international array of music creators and academics discuss computer music's history, present, and future with a wide perspective, including composition, improvisation, interactive performance, spatialization, sound synthesis, sonification, and modeling. Throughout, they merge practice with theory to offer a fascinating look into computer music's possibilities and enduring appeal.

Product Details

ISBN-13:	9780195331615
Publisher:	Oxford University Press
Publication date:	09/16/2009
Series:	Oxford Handbooks
Pages:	624
Product dimensions:	7.20(w) x 9.80(h) x 2.00(d)

About the Author

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)

Table of Contents

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