Oxford Handbook Of Computer Music, The

Description:
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

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; 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 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; 24. Sound-based music 4 all; LEIGH LANDY; 25. Framing learning perspectives in computer music education; JORAN RUDI AND PALMYRE PIERROUX; APPENDIX ; A CHRONOLOGY OF COMPUTER MUSIC AND RELATED EVENTS; PAUL DOORNBUSCH; CONTRIBUTORS; INDEX