Microsound (MIT Press)

Microsound (MIT Press)

Curtis Roads

Language: English

Pages: 424

ISBN: 0262681544

Format: PDF / Kindle (mobi) / ePub

Below the level of the musical note lies the realm of microsound, of sound particles lasting less than one-tenth of a second. Recent technological advances allow us to probe and manipulate these pinpoints of sound, dissolving the traditional building blocks of music -- notes and their intervals -- into a more fluid and supple medium. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as particle density increases. Sounds coalesce, evaporate, and mutate into other sounds. Composers have used theories of microsound in computer music since the 1950s. Distinguished practitioners include Karlheinz Stockhausen and Iannis Xenakis. Today, with the increased interest in computer and electronic music, many young composers and software synthesis developers are exploring its advantages. Covering all aspects of composition with sound particles, Microsound offers composition theory, historical accounts, technical overviews, acoustical experiments, descriptions of musical works, and aesthetic reflections. The book is accompanied by an audio CD of examples.

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Cross-synthesis can be achieved by resynthesizing from the modulus of one sound and the phase of another. Pitch-Time Changing with the Wavelet Transform Pitch-time changing with the WT can be accomplished using complex-valued signals and wavelets, since it involves stretching the grid of scale and translation values to achieve the desired duration, and then multiplying the phase of the values so that the resulting pitch is unchanged. To shift pitch by a constant factor, one multiplies the.

Of 3.01 dB. These cases are somewhat opposite to each other, however, and the Gaussian window remains a good compromise between the two. Musical Applications of the Gabor Transform Daniel Ar®b, working at the Laboratoire de Mecanique et d'Acoustique (Cen- tre Nationale de Recherche Scienti®que, Marseilles), was the ®rst to apply a digital Gabor transform to the analysis and resynthesis of musical sounds (Ar®b 1990, 1991; Risset 1992). He was soon joined by his colleague Nathalie Delprat.

Roughness, time would ®nd itself abolished. It seems that the notions of separation, . . . of diërence, of discontinuity, which are strongly interrelated, are pre-requisites to the notion of anteriority. In order for anteriority to exist, it is necessary to be able to distinguish entities, which would then make it possible tò`go'' from one to the other. . . . Time, in a smooth continuum, is illegible. (Xenakis 1989) Science has taken thousands of years to determine that the ®ne structure of.

References Neve, R. 1992. ``Rupert Neve of Amek replies.'' Studio Sound 34(3): 21±22. Newland, D. 1994. ``Harmonic and musical wavelets.'' Proceedings of the Royal Society of London A 444: 605±620. Norris, M. 1997. SoundMagic 1.0.3 Documentation. Wellington, New Zealand: Michael Norris. Nuttall, A. 1981. ``Some windows with very good sidelobe behavior.'' IEEE Trans- actions on Acoustics, Speech, and Signal Processing ASSP±29(1): 84±91. Nyquist, H. 1928. ``Certain topics in telegraph.

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