Digital Da Vinci: computers in music
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Springer
2014
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XIX, 267 S. Ill., graph. Darst. |
Internformat
MARC
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Datensatz im Suchindex
| _version_ | 1804152246211969024 |
|---|---|
| adam_text | Contents
A Tale of Four Moguls: Interviews with Quincy Jones,
Karlheinz
Brandenburg, Tom
Silverman,
and Jay L. Cooper
.......... 1
Newton Lee
1.1
Interview with Quincy Jones
.......................................................... 1
1.2
Interview with
Karlheinz
Brandenburg
.......................................... 4
1.3
Interview with Tom
Silverman
....................................................... 6
1.4
Interview with Jay
L.
Cooper
......................................................... 8
References
............................................................................................... 11
Getting on the Billboard Charts: Music Production
as Agile Software Development
............................................................. 13
Newton Lee
2.1
Music Appreciation and Songwriting
............................................ 13
2.2
Relationship between Music and Computer Programming
........... 15
2.3
Computers and Music in the Digital Age
....................................... 16
2.4
Music Production (Software Development) Life Cycle
................ 17
References
............................................................................................... 26
Producing and Its Effect on Vocal Recordings
.................................... 29
M.
Nys sim
Lefford
3.1
Process and Procedures
.................................................................. 31
3.2
Producing
....................................................................................... 42
3.3
Instinct and Non-Linguistic Communication
................................. 57
3.4
Features and Their Functions
......................................................... 67
3.5
Conclusions
.................................................................................... 72
References
............................................................................................... 72
IX
Contents
Mediated Interactions and Musical Expression
—
A Survey
.............. 79
Dennis Reidsma, Mustafa Radha and Anton Nijhoit
4.1
Introduction
.................................................................................... 79
4.2
Users and Musical Instruments: Conceptual Framework
.............. 80
4.3
Interaction Modes for Musical Expression:
The Instrument as Tool
................................................................... 81
4.4
Mediated Communication in Musical Expression:
The Instrument as Medium
............................................................ 84
4.5
Co-Creative Agents: The Instrument as Agent
.............................. 90
4.6
Discussion
...................................................................................... 93
References
............................................................................................... 95
Improvising with Digital Auto-Scaffolding
:
How
Mimi
Changes and Enhances the Creative Process
...................................... 99
Isaac Schankler, Elaine Chew and
Alexandre
R. J.
François
5.1
Introduction
.................................................................................... 99
5.2
The
Mimi
System
........................................................................... 100
5.3
Performance
Strategies
.................................................................. 106
5.4
Formal
Structures
...........................................................................
Ill
5.5
Mimi4x
and User-Guided Improvisations
..................................... 116
5.6
Conclusion
..................................................................................... 123
References
............................................................................................... 124
Delegating Creativity: Use of Musical Algorithms in
Machine Listening and Composition
................................................... 127
Shlomo Dubnov and Greg Surges
6.1
Introduction
.................................................................................... 127
6.2
History of Mathematical Theory of Music
and Compositional Algorithms
...................................................... 128
6.3
Generative Music in Popular Music Practices
............................... 129
6.4
Computer Modeling of Music
........................................................ 132
6.5
Machine Improvisation
.................................................................. 134
6.6
Modeling of Musical Style
............................................................. 135
6.7
Musical Semantics
......................................................................... 137
6.8
Computational Aesthetics
.............................................................. 138
6.9
Audio Oracle
.................................................................................. 141
6.10
Music Experience of Expectation and Explanation
..................... 145
6.11
Analyzing Visions Fugitives
..................................................... 148
6.12
Conclusion: The Challenge of Composing
and the Pleasure of Listening
....................................................... 156
References
............................................................................................... 157
Contents xi
7 Machine
Listening of Music
.................................................................. 159
Juan Pablo
Bello
7.1
Introduction
.................................................................................... 159
7.2
Timbre
............................................................................................ 160
7.3
Rhythm
........................................................................................... 166
7.4
Tonality
.......................................................................................... 174
7.5
Conclusions
.................................................................................... 179
References
............................................................................................... 181
8
Making Things Growl, Purr and Sing
.................................................. 185
Stephen Barrass and Tim Barrass
8.1
Introduction
.................................................................................... 185
8.2
Affective Sounds
............................................................................ 186
8.3
Aesthetics of Sonic Interfaces
........................................................ 188
8.4
The Sonification of Things
............................................................. 189
8.5
Mozzi
:
An Embeddedable Sonic Interface to Smart Things
.......... 194
References
............................................................................................... 202
9
EEG-Based Brain-Computer Interface for Emotional
Involvement in Games Through Music
................................................ 205
Raffaella Folgieri,
Mattia G. Bergomi
and
Simone
Castellani
9.1
Introduction
.................................................................................... 205
9.2
Implicit and Explicit
ВСІ
in Games: A Short Review
................... 206
9.3
Enhancing Gamers Emotional Experience
Through Music
............................................................................... 207
9.4
Conclusions
.................................................................................... 233
References
............................................................................................... 234
10
Computer and Music Pedagogy
............................................................ 237
Kai
Ton Chau
10.1
The Quest
..................................................................................... 237
10.2
Technology and the Music Classroom
......................................... 238
10.3
Approach in Music Learning
........................................................ 241
10.4
Fuzzy Logic and Artificial Intelligence
....................................... 251
10.5
Summary
...................................................................................... 252
References
............................................................................................... 253
Index
................................................................................................................ 255
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| title | Digital Da Vinci computers in music |
| title_auth | Digital Da Vinci computers in music |
| title_exact_search | Digital Da Vinci computers in music |
| title_full | Digital Da Vinci computers in music Lee Newton |
| title_fullStr | Digital Da Vinci computers in music Lee Newton |
| title_full_unstemmed | Digital Da Vinci computers in music Lee Newton |
| title_short | Digital Da Vinci |
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