Spectral music design: a computational approach
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York
Oxford University Press
2021
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | xix, 488 Seiten Diagramme (schwarz-weiß) |
| ISBN: | 9780197524022 9780197524015 |
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MARC
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| 245 | 1 | 0 | |a Spectral music design |b a computational approach |
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| 300 | |a xix, 488 Seiten |b Diagramme (schwarz-weiß) | ||
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| 653 | 0 | |a Computer music | |
| 653 | 0 | |a Computer music / Computer programs | |
| 653 | 0 | |a Spectral music | |
| 653 | 0 | |a Sound / Recording and reproducing / Digital techniques | |
| 653 | 0 | |a CSound (Computer program language) | |
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Record in the Search Index
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| adam_text | CONTENTS Foreword · v Preface · vii Acknowledgments · xi PARTI BACKGROUND . 1 1 What Is the Spectrum? · 3 1.1 Functions and Signals · 3 1.1.1 Functions of Time · 4 1.1.2 Functions of Frequency · 6 1.2 Fundamental Concepts of Spectrum · 8 1.2.1 Periodicity and Pitch · 8 1.2.2 Distributed Spectra · 10 1.2.3 Dynamic Spectra · 11 1.2.4 The Uncertainty Principle · 12 1.3 Psychoacoustic Aspects · 14 1.3.1 The Cochlear Mechanism · 15 1.3.2 Critical Bandwidth · 16 1.3.3 Loudness Perception · 17 1.4 A Provisional Definition · 18 2 A History of the Spectrum · 21 2.1 Principles of Pitch and Scale · 21 2.1.1 The Pythagorean Scale · 22 2.1.2 Just Intonation · 23 2.1.3 Musical Instruments · 24 2.2 Classical Physics · 25 2.2.1 Frequency and Pitch · 25 2.2.2 Harmonics · 26 2.2.3 Strings and the Wave Equation · 26 2.2.4 Chladni Figures · 28 2.2.5 Fourier’s Theorem · 28 2.2.6 Partials and Hearing · 30 2.3 Helmholtzian Theory · 30 2.3.1 Musical Tones and Noise · 31 2.3.2 Resonators and Other Analytical Instruments · 32 2.3.3 Theory of Spectral Hearing · 34 2.3.4 Musical Timbre · 35 2.3.5 Rayleigh’s Theory of Sound · 36 2.4 Twentieth Century · 37 2.4.1 Electronic Instruments and Signal Processing · 37 2.4.2 Electronic Music · 40 2.4.3 Computer Music · 41 xiii
Contents 3 Fundamental Aspects of Audio and Music Signals · 50 3.1 The Nature of Audio Signals · 50 3.1.1 Real Signals · 51 3.1.2 Instantaneous Frequency and Phase · 52 3.2 Manipulating Analogue Audio Signals · 53 3.2.1 Non-Linear Distortion · 55 3.2.2 Noise and Signal Level · 57 3.2.3 Modulation · 58 3.2.4 DC Offset · 60 3.3 Discrete Signals · 61 3.3.1 Sampling · 63 3.3.2 The Discrete-Time Baseband · 66 3.3.3 Digital Audio · 70 PARTII TECHNIQUES . 73 4 Continuous and Discrete Spectra · 75 4.1 The Fourier Series · 75 4.1.1 Even and Odd Functions · 76 4.1.2 Interpreting the Fourier Formula · 76 4.1.3 The Fourier Series of a Square Wave · 78 4.1.4 Complex Representation · 78 4.2 The Fourier Transform · 79 4.2.1 The Inverse Fourier Transform · 80 4.2.2 Amplitude and Phase Spectra · 80 4.2.3 The Spectra of Real Signals · 80 4.2.4 The Spectra of Fundamental Signals · 83 4.3 Convolution · 85 4.3.1 Discrete Convolution · 86 4.4 Sampling in Time and Frequency · 89 4.4.1 Finite-Time Signals · 91 4.4.2 Hard-Sync Waveforms · 94 4.5 Classic Waveforms · 96 4.5.1 The Sawtooth · 98 4.5.2 Triangle Wave · 98 4.5.3 Pulses · 100 4.5.4 Additive Synthesis · 101 4.6 The Fourier Spectrum · 102 5 Discrete Time, Discrete Frequency · 106 5.1 The Discrete Fourier Transform · 106 5.1.1 Programming the DFT · 107 5.1.2 Interpreting the DFT · 110 5.1.3 Analysis Windows · 113 5.2 The Fast Fourier Transform · 118 5.2.1 Radix-2 FFT · 118 5.2.2 Real-to-Complex and Complex-to-Real Transforms · 122 5.2.3 Other Radices · 127
Contents 5.3 Discrete-Time Convolution · 130 5.3.1 Direct Convolution · 131 5.3.2 Fast Convolution · 136 5.3.3 Partitioned Convolution · 139 5.3.4 Multiple Partitions · 142 5.3.5 Spectral Design Applications · 145 5.4 Time-Varying Convolution · 148 5.4.1 Implementation · 149 5.4.2 Spectral Design Applications · 149 5.5 The Discrete Spectrum · 152 6 Time-Frequency Processing · 156 6.1 Sub-band Signals · 156 6.1.1 Designing a Bandpass Filter · 156 6.1.2 The Phase Vocoder · 157 6.2 The Short-Time Fourier Transform · 158 6.2.1 Analysis Frame Rate · 160 6.2.2 Phase Alignment · 161 6.2.3 Resynthesis · 162 6.3 Spectral Analysis-Synthesis · 164 6.3.1 Phase Difference Method · 166 6.3.2 Instantaneous Frequencies · 167 6.3.3 One-Sample Hopsize · 169 6.3.4 Sliding Transform · 170 6.3.5 Phase Integration · 171 6.4 Streaming Spectral Processing · 172 6.4.1 The Spectral Analysis-Synthesis Class · 172 6.4.2 Spectral Signals in Csound · 179 6.5 Spectral Manipulation · 182 6.5.1 Filters · 182 6.5.2 Blurring · 183 6.5.3 Tracing · 186 6.5.4 Stenciling · 186 6.5.5 Mixing and Demixing · 187 6.5.6 Frequency Scaling and Shifting · 187 6.5.7 Spectral Envelope · 189 6.5.8 Morphing · 193 6.5.9 Spectral Delays · 193 6.6 Timescale Modifications · 195 6.6.1 Phase Locking · 196 6.6.2 Pitch and Timescale · 197 6.6.3 Csound Opcodes · 198 6.7 The Hilbert Transform · 198 6.8 The Dynamic Spectrum · 200 7 The Spectra of Filters · 204 7.1 Filters and Delays · 205 7.1.1 Pure Delays · 205 7.1.2 Inverse Comb Filter · 206
Contents 7.2 The Z-Transform · 209 xvi 7.2.1 Complex Polynomials · 210 7.2.2 Zeros · 210 7.2.3 The Z-Transform and the DFT · 211 7.3 Zeros on the Complex Plane · 211 7.3.1 First-Order Filters · 213 7.3.2 Second-Order Filters · 214 7.3.3 Minimum Phase · 216 7.3.4 Linear Phase · 217 7.4 Filter Design · 218 7.4.1 Time-Domain Method · 218 7.4.2 Frequency-Domain Method · 219 7.4.3 Design Example · 221 7.5 Feedback · 224 7.5.1 Poles · 225 7.5.2 Resonators · 226 7.5.3 Stability · 229 7.5.4 Phase Response · 230 7.6 Recursive Filter Design · 231 7.6.1 Parallel and Series Connections · 231 7.6.2 Modeling Physical Systems · 236 7.6.3 String Resonators · 237 7.6.4 Allpass Filters · 242 7.6.5 The Channel Vocoder · 248 7.7 Time-Varying Filters · 253 7.7.1 Allpass Phasers · 254 7.7.2 Audio-Rate Coefficient Modulation · 257 7.7.3 Delay Time Modulation · 259 7.8 A Generalized Concept of Spectrum · 262 8 Non-Linear Synthesis of Spectra · 26Ց 8.1 Closed-Form Synthesis Formulae · 270 8.1.1 Generalized Summation Methods · 273 8.2 Frequency and Phase Modulation Synthesis · 280 8.2.1 Phase Modulation · 281 8.2.2 Signal Bandwidth and Aliasing · 282 8.2.3 Carrier to Modulator Ratio · 284 8.2.4 Implementation · 285 8.2.5 Frequency Modulation · 286 8.2.6 Splitting Sidebands · 287 8.2.7 Feedback · 288 8.2.8 Complex PM · 289 8.2.9 Exponential FM · 291 8.3 Phase Distortion Synthesis · 292 8.3.1 Vector Phase Shaping · 293 8.4 Modified Frequency Modulation Synthesis · 296 8.4.1 Phase-synchronous ModFM · 296 8.4.2 Extended ModFM · 299
8.5 Polynomial Waveshaping · 301 8.5.1 Dynamic Spectra · 302 8.5.2 Normalization · 304 8.5.3 Implementation · 304 8.5.4 Chebyshev Polynomials · 307 8.5.5 Quadrature Waveshaping · 309 8.6 Other Distortion Functions · 311 8.7 Adaptive Modulation Methods · 313 8.7.1 Adaptive Frequency Modulation · 314 8.8 The Non-Linear Spectrum · 315 9 Noise · 320 9.1 Random Processes and Noise Signals · 321 9.1.1 Centroid and Bandwidth · 321 9.1.2 Probability Distribution and Density · 322 9.1.3 Power Spectrum Density · 323 9.1.4 Fractional Noise · 325 9.1.5 Spectral Moments · 325 9.2 Computing Noise · 328 9.2.1 Random Number Generators · 329 9.2.2 Sample and Hold · 331 9.2.3 Heterodyning · 332 9.2.4 Filtered Noise · 332 9.2.5 Wavetables · 333 9.3 Grain · 334 9.3.1 Asynchronous Granular Synthesis · 334 9.3.2 Wavelets · 337 9.3.3 Matching Pursuit · 341 9.4 The Spectral Envelope Revisited · 342 9.4.1 Linear Prediction · 342 9.4.2 Computing Prediction Coefficients · 343 9.4.3 Synthesis · 346 9.4.4 Spectral Representations · 347 9.4.5 Streaming Linear Prediction · 352 9.5 Spectral Models · 354 9.5.1 Partial Tracking · 355 9.5.2 Peak Identification · 357 9.5.3 Peak Interpolation · 358 9.5.4 Track Formation · 359 9.5.5 Frequency and Phase · 363 9.5.6 Synthesis · 365 9.5.7 Residual Extraction · 370 9.5.8 Modeling the Residual · 373 9.5.9 Transients · 375 9.5.10 Streaming Partial Track Processing · 375 9.5.11 ATS · 377 9.6 The Non-Deterministic Spectrum · 378
Contents PARTIU DESIGN . 383 xviii 10 Spectral Design in Music · 385 10.1 The Emergence of Spectral Color as a Structuring Device · 386 10.1.1 Chords and Spectra · 387 10.1.2 Instrumentation and Spectra · 388 10.2 Audio Technology · 391 10.2.1 Recording and Broadcasting as Carriers of Spectral Information · 391 10.2.2 Changes in Instrumental Sound · 392 10.2.3 The Mechano-Acoustic and the Electro-Acoustic · 393 10.3 Electronic Music · 394 10.3.1 The Feedback on Instrumental Writing · 395 10.3.2 Electric Jazz, Rock, and Pop · 396 10.3.3 Spectromorphology · 397 10.3.4 Spectral Hearing · 398 10.4 Computer Music · 398 10.4.1 Risset’s Catalog · 399 10.4.2 Case Studies · 401 10.5 The Musical Spectrum · 410 11 Computer Sound Design · 414 11.1 Additive Synthesis · 414 11.1.1 Recursion · 418 11.2 Non-Linear Distortion · 421 11.2.1 Operator FM · 421 11.2.2 Synthesis of Resonance · 425 11.3 Source-Modifier Techniques · 429 11.3.1 String Machines · 430 11.3.2 The Vocoder · 433 11.4 Granular Processing · 435 11.5 Analysis-Synthesis · 437 11.5.1 Spectral Envelopes · 438 11.5.2 Morphing · 440 11.5.3 Timescaling · 441 11.5.4 Spectral Delays ♦ 443 11.6 Design Methods · 445 12 Composing the Spectrum · 449 12.1 Spectral Music-Making · 449 12.1.1 Metaphors · 450 12.1.2 Terminology · 451 12.1.3 Realtime Systems and Performance · 451 12.1.4 Physical and Virtual Space · 452 12.1.5 Approaches to Composing the Spectrum · 453 12.2 The Composition of Mouvements · 454 12.2.1 The Generative Principle · 454 12.2.2 Variations · 456 12.2.3 Other Variants · 462
Contents 12.2.4 Macrostructure · 467 12.2.5 Discussion · 471 12.3 Conclusion: The Spectral Playground · 473 References · 475 Index · 483 ХІХ
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| adam_txt |
CONTENTS Foreword · v Preface · vii Acknowledgments · xi PARTI BACKGROUND . 1 1 What Is the Spectrum? · 3 1.1 Functions and Signals · 3 1.1.1 Functions of Time · 4 1.1.2 Functions of Frequency · 6 1.2 Fundamental Concepts of Spectrum · 8 1.2.1 Periodicity and Pitch · 8 1.2.2 Distributed Spectra · 10 1.2.3 Dynamic Spectra · 11 1.2.4 The Uncertainty Principle · 12 1.3 Psychoacoustic Aspects · 14 1.3.1 The Cochlear Mechanism · 15 1.3.2 Critical Bandwidth · 16 1.3.3 Loudness Perception · 17 1.4 A Provisional Definition · 18 2 A History of the Spectrum · 21 2.1 Principles of Pitch and Scale · 21 2.1.1 The Pythagorean Scale · 22 2.1.2 Just Intonation · 23 2.1.3 Musical Instruments · 24 2.2 Classical Physics · 25 2.2.1 Frequency and Pitch · 25 2.2.2 Harmonics · 26 2.2.3 Strings and the Wave Equation · 26 2.2.4 Chladni Figures · 28 2.2.5 Fourier’s Theorem · 28 2.2.6 Partials and Hearing · 30 2.3 Helmholtzian Theory · 30 2.3.1 Musical Tones and Noise · 31 2.3.2 Resonators and Other Analytical Instruments · 32 2.3.3 Theory of Spectral Hearing · 34 2.3.4 Musical Timbre · 35 2.3.5 Rayleigh’s Theory of Sound · 36 2.4 Twentieth Century · 37 2.4.1 Electronic Instruments and Signal Processing · 37 2.4.2 Electronic Music · 40 2.4.3 Computer Music · 41 xiii
Contents 3 Fundamental Aspects of Audio and Music Signals · 50 3.1 The Nature of Audio Signals · 50 3.1.1 Real Signals · 51 3.1.2 Instantaneous Frequency and Phase · 52 3.2 Manipulating Analogue Audio Signals · 53 3.2.1 Non-Linear Distortion · 55 3.2.2 Noise and Signal Level · 57 3.2.3 Modulation · 58 3.2.4 DC Offset · 60 3.3 Discrete Signals · 61 3.3.1 Sampling · 63 3.3.2 The Discrete-Time Baseband · 66 3.3.3 Digital Audio · 70 PARTII TECHNIQUES . 73 4 Continuous and Discrete Spectra · 75 4.1 The Fourier Series · 75 4.1.1 Even and Odd Functions · 76 4.1.2 Interpreting the Fourier Formula · 76 4.1.3 The Fourier Series of a Square Wave · 78 4.1.4 Complex Representation · 78 4.2 The Fourier Transform · 79 4.2.1 The Inverse Fourier Transform · 80 4.2.2 Amplitude and Phase Spectra · 80 4.2.3 The Spectra of Real Signals · 80 4.2.4 The Spectra of Fundamental Signals · 83 4.3 Convolution · 85 4.3.1 Discrete Convolution · 86 4.4 Sampling in Time and Frequency · 89 4.4.1 Finite-Time Signals · 91 4.4.2 Hard-Sync Waveforms · 94 4.5 Classic Waveforms · 96 4.5.1 The Sawtooth · 98 4.5.2 Triangle Wave · 98 4.5.3 Pulses · 100 4.5.4 Additive Synthesis · 101 4.6 The Fourier Spectrum · 102 5 Discrete Time, Discrete Frequency · 106 5.1 The Discrete Fourier Transform · 106 5.1.1 Programming the DFT · 107 5.1.2 Interpreting the DFT · 110 5.1.3 Analysis Windows · 113 5.2 The Fast Fourier Transform · 118 5.2.1 Radix-2 FFT · 118 5.2.2 Real-to-Complex and Complex-to-Real Transforms · 122 5.2.3 Other Radices · 127
Contents 5.3 Discrete-Time Convolution · 130 5.3.1 Direct Convolution · 131 5.3.2 Fast Convolution · 136 5.3.3 Partitioned Convolution · 139 5.3.4 Multiple Partitions · 142 5.3.5 Spectral Design Applications · 145 5.4 Time-Varying Convolution · 148 5.4.1 Implementation · 149 5.4.2 Spectral Design Applications · 149 5.5 The Discrete Spectrum · 152 6 Time-Frequency Processing · 156 6.1 Sub-band Signals · 156 6.1.1 Designing a Bandpass Filter · 156 6.1.2 The Phase Vocoder · 157 6.2 The Short-Time Fourier Transform · 158 6.2.1 Analysis Frame Rate · 160 6.2.2 Phase Alignment · 161 6.2.3 Resynthesis · 162 6.3 Spectral Analysis-Synthesis · 164 6.3.1 Phase Difference Method · 166 6.3.2 Instantaneous Frequencies · 167 6.3.3 One-Sample Hopsize · 169 6.3.4 Sliding Transform · 170 6.3.5 Phase Integration · 171 6.4 Streaming Spectral Processing · 172 6.4.1 The Spectral Analysis-Synthesis Class · 172 6.4.2 Spectral Signals in Csound · 179 6.5 Spectral Manipulation · 182 6.5.1 Filters · 182 6.5.2 Blurring · 183 6.5.3 Tracing · 186 6.5.4 Stenciling · 186 6.5.5 Mixing and Demixing · 187 6.5.6 Frequency Scaling and Shifting · 187 6.5.7 Spectral Envelope · 189 6.5.8 Morphing · 193 6.5.9 Spectral Delays · 193 6.6 Timescale Modifications · 195 6.6.1 Phase Locking · 196 6.6.2 Pitch and Timescale · 197 6.6.3 Csound Opcodes · 198 6.7 The Hilbert Transform · 198 6.8 The Dynamic Spectrum · 200 7 The Spectra of Filters · 204 7.1 Filters and Delays · 205 7.1.1 Pure Delays · 205 7.1.2 Inverse Comb Filter · 206
Contents 7.2 The Z-Transform · 209 xvi 7.2.1 Complex Polynomials · 210 7.2.2 Zeros · 210 7.2.3 The Z-Transform and the DFT · 211 7.3 Zeros on the Complex Plane · 211 7.3.1 First-Order Filters · 213 7.3.2 Second-Order Filters · 214 7.3.3 Minimum Phase · 216 7.3.4 Linear Phase · 217 7.4 Filter Design · 218 7.4.1 Time-Domain Method · 218 7.4.2 Frequency-Domain Method · 219 7.4.3 Design Example · 221 7.5 Feedback · 224 7.5.1 Poles · 225 7.5.2 Resonators · 226 7.5.3 Stability · 229 7.5.4 Phase Response · 230 7.6 Recursive Filter Design · 231 7.6.1 Parallel and Series Connections · 231 7.6.2 Modeling Physical Systems · 236 7.6.3 String Resonators · 237 7.6.4 Allpass Filters · 242 7.6.5 The Channel Vocoder · 248 7.7 Time-Varying Filters · 253 7.7.1 Allpass Phasers · 254 7.7.2 Audio-Rate Coefficient Modulation · 257 7.7.3 Delay Time Modulation · 259 7.8 A Generalized Concept of Spectrum · 262 8 Non-Linear Synthesis of Spectra · 26Ց 8.1 Closed-Form Synthesis Formulae · 270 8.1.1 Generalized Summation Methods · 273 8.2 Frequency and Phase Modulation Synthesis · 280 8.2.1 Phase Modulation · 281 8.2.2 Signal Bandwidth and Aliasing · 282 8.2.3 Carrier to Modulator Ratio · 284 8.2.4 Implementation · 285 8.2.5 Frequency Modulation · 286 8.2.6 Splitting Sidebands · 287 8.2.7 Feedback · 288 8.2.8 Complex PM · 289 8.2.9 Exponential FM · 291 8.3 Phase Distortion Synthesis · 292 8.3.1 Vector Phase Shaping · 293 8.4 Modified Frequency Modulation Synthesis · 296 8.4.1 Phase-synchronous ModFM · 296 8.4.2 Extended ModFM · 299
8.5 Polynomial Waveshaping · 301 8.5.1 Dynamic Spectra · 302 8.5.2 Normalization · 304 8.5.3 Implementation · 304 8.5.4 Chebyshev Polynomials · 307 8.5.5 Quadrature Waveshaping · 309 8.6 Other Distortion Functions · 311 8.7 Adaptive Modulation Methods · 313 8.7.1 Adaptive Frequency Modulation · 314 8.8 The Non-Linear Spectrum · 315 9 Noise · 320 9.1 Random Processes and Noise Signals · 321 9.1.1 Centroid and Bandwidth · 321 9.1.2 Probability Distribution and Density · 322 9.1.3 Power Spectrum Density · 323 9.1.4 Fractional Noise · 325 9.1.5 Spectral Moments · 325 9.2 Computing Noise · 328 9.2.1 Random Number Generators · 329 9.2.2 Sample and Hold · 331 9.2.3 Heterodyning · 332 9.2.4 Filtered Noise · 332 9.2.5 Wavetables · 333 9.3 Grain · 334 9.3.1 Asynchronous Granular Synthesis · 334 9.3.2 Wavelets · 337 9.3.3 Matching Pursuit · 341 9.4 The Spectral Envelope Revisited · 342 9.4.1 Linear Prediction · 342 9.4.2 Computing Prediction Coefficients · 343 9.4.3 Synthesis · 346 9.4.4 Spectral Representations · 347 9.4.5 Streaming Linear Prediction · 352 9.5 Spectral Models · 354 9.5.1 Partial Tracking · 355 9.5.2 Peak Identification · 357 9.5.3 Peak Interpolation · 358 9.5.4 Track Formation · 359 9.5.5 Frequency and Phase · 363 9.5.6 Synthesis · 365 9.5.7 Residual Extraction · 370 9.5.8 Modeling the Residual · 373 9.5.9 Transients · 375 9.5.10 Streaming Partial Track Processing · 375 9.5.11 ATS · 377 9.6 The Non-Deterministic Spectrum · 378
Contents PARTIU DESIGN . 383 xviii 10 Spectral Design in Music · 385 10.1 The Emergence of Spectral Color as a Structuring Device · 386 10.1.1 Chords and Spectra · 387 10.1.2 Instrumentation and Spectra · 388 10.2 Audio Technology · 391 10.2.1 Recording and Broadcasting as Carriers of Spectral Information · 391 10.2.2 Changes in Instrumental Sound · 392 10.2.3 The Mechano-Acoustic and the Electro-Acoustic · 393 10.3 Electronic Music · 394 10.3.1 The Feedback on Instrumental Writing · 395 10.3.2 Electric Jazz, Rock, and Pop · 396 10.3.3 Spectromorphology · 397 10.3.4 Spectral Hearing · 398 10.4 Computer Music · 398 10.4.1 Risset’s Catalog · 399 10.4.2 Case Studies · 401 10.5 The Musical Spectrum · 410 11 Computer Sound Design · 414 11.1 Additive Synthesis · 414 11.1.1 Recursion · 418 11.2 Non-Linear Distortion · 421 11.2.1 Operator FM · 421 11.2.2 Synthesis of Resonance · 425 11.3 Source-Modifier Techniques · 429 11.3.1 String Machines · 430 11.3.2 The Vocoder · 433 11.4 Granular Processing · 435 11.5 Analysis-Synthesis · 437 11.5.1 Spectral Envelopes · 438 11.5.2 Morphing · 440 11.5.3 Timescaling · 441 11.5.4 Spectral Delays ♦ 443 11.6 Design Methods · 445 12 Composing the Spectrum · 449 12.1 Spectral Music-Making · 449 12.1.1 Metaphors · 450 12.1.2 Terminology · 451 12.1.3 Realtime Systems and Performance · 451 12.1.4 Physical and Virtual Space · 452 12.1.5 Approaches to Composing the Spectrum · 453 12.2 The Composition of Mouvements · 454 12.2.1 The Generative Principle · 454 12.2.2 Variations · 456 12.2.3 Other Variants · 462
Contents 12.2.4 Macrostructure · 467 12.2.5 Discussion · 471 12.3 Conclusion: The Spectral Playground · 473 References · 475 Index · 483 ХІХ |
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| author | Lazzarini, Victor 1969- |
| author_GND | (DE-588)143254375 |
| author_facet | Lazzarini, Victor 1969- |
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| author_sort | Lazzarini, Victor 1969- |
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| bvnumber | BV047438429 |
| ctrlnum | (OCoLC)1286874454 (DE-599)BVBBV047438429 |
| format | Book |
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| id | DE-604.BV047438429 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T18:00:22Z |
| indexdate | 2024-07-10T09:12:10Z |
| institution | BVB |
| isbn | 9780197524022 9780197524015 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032840657 |
| oclc_num | 1286874454 |
| open_access_boolean | |
| owner | DE-12 DE-19 DE-BY-UBM |
| owner_facet | DE-12 DE-19 DE-BY-UBM |
| physical | xix, 488 Seiten Diagramme (schwarz-weiß) |
| psigel | BSB_NED_20211201 |
| publishDate | 2021 |
| publishDateSearch | 2021 |
| publishDateSort | 2021 |
| publisher | Oxford University Press |
| record_format | marc |
| spelling | Lazzarini, Victor 1969- Verfasser (DE-588)143254375 aut Spectral music design a computational approach New York Oxford University Press 2021 xix, 488 Seiten Diagramme (schwarz-weiß) txt rdacontent n rdamedia nc rdacarrier Musique spéctrale (DE-588)4674316-9 gnd rswk-swf Computermusik (DE-588)4113239-7 gnd rswk-swf Digitaltechnik (DE-588)4012303-0 gnd rswk-swf Computer music Computer music / Computer programs Spectral music Sound / Recording and reproducing / Digital techniques CSound (Computer program language) Python (Computer program language) Computermusik (DE-588)4113239-7 s Musique spéctrale (DE-588)4674316-9 s Digitaltechnik (DE-588)4012303-0 s DE-604 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032840657&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Lazzarini, Victor 1969- Spectral music design a computational approach Musique spéctrale (DE-588)4674316-9 gnd Computermusik (DE-588)4113239-7 gnd Digitaltechnik (DE-588)4012303-0 gnd |
| subject_GND | (DE-588)4674316-9 (DE-588)4113239-7 (DE-588)4012303-0 |
| title | Spectral music design a computational approach |
| title_auth | Spectral music design a computational approach |
| title_exact_search | Spectral music design a computational approach |
| title_exact_search_txtP | Spectral music design a computational approach |
| title_full | Spectral music design a computational approach |
| title_fullStr | Spectral music design a computational approach |
| title_full_unstemmed | Spectral music design a computational approach |
| title_short | Spectral music design |
| title_sort | spectral music design a computational approach |
| title_sub | a computational approach |
| topic | Musique spéctrale (DE-588)4674316-9 gnd Computermusik (DE-588)4113239-7 gnd Digitaltechnik (DE-588)4012303-0 gnd |
| topic_facet | Musique spéctrale Computermusik Digitaltechnik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032840657&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT lazzarinivictor spectralmusicdesignacomputationalapproach |