By Charles Dodge, Thomas A. Jerse
This article displays the present nation of machine expertise and tune composition. The authors provide transparent, useful overviews of software languages, real-time synthesizers, electronic filtering, synthetic intelligence, and masses extra.
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Additional resources for Computer Music: Synthesis, Composition, and Performance
3II a: F )< z � 0 '" :c w a. 2 The intensity of audio sources on the SPL sound scale. The shape of a cycle of a periodic waveform has a large effect on the way it sounds. 6. At this point, we will introduce the simplest and most fundamental pattern of vibratory motion, the sinusoid. 1) is an example of a sinu soidal pattern. Its characteristically smooth shape shows no abrupt changes in pressure and there are no sharp points on the waveform. When the waveform is at a point near 0, it has a steep slope indicating that the pressure is changing quickly.
Figure 1. 7 shows some of the most widely distributed computer music software in use in the mid-1990s. The facilities listed represent an extremely broad range of musi cal possibilities, from "freeware" to commercially available systems, and from deferred time software that runs very slowly on home PCs to real-time computer music instruments. Under the direct digital synthesis heading, the first three entries are descendants from Mathews's work at Bell Laboratories. As their names imply (Csound, Cmusic, Cmix), all are written in the C programming language and run on a variety of brands and models of computers.
Chapters 4 through 10 will present the principles of synthesis instrument design and sound modification techniques, with illustrative examples. Once the instruments of the computer orchestra are defined, the musician must describe how and when the instruments are to play. This ordinarily takes the form of a score-a list of musical events. Each event can be thought of as a "note," in the sense that it calls upon an instrument to perform, even though the event need not be a note in the traditional sense.