By Charles Dodge, Thomas A. Jerse
This article displays the present kingdom of computing device know-how and track composition. The authors provide transparent, useful overviews of application languages, real-time synthesizers, electronic filtering, man made intelligence, and masses extra.
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Extra info for Computer Music: Synthesis, Composition, and Performance
Sound received by the ear is processed by the auditory system, which extends from P R ESS U R E , , , I , , , ' .. _ .. I I " " .. 7 Cosine wave plotted relative to a sine wave. 8 Schematic o f the hearing apparatus o f the ear. The Acoustics and Psychoacoustics of Music 33 the outer ear to the cerebral cortex. The ear acts as a transducer, converting the mechan ical motion of vibration patterns to neural impulses. 8 illustrates the important parts of this physical apparatus. When the sound reaches the ear, it travels down the external canal to the eardrum.
5) seconds when the spoke points horizontally to the left. The tip height then continues to decrease, taking on negative val ues. 75) seconds elapsed time, the spoke points straight down and the tip height takes on its most negative value, -1. The tip then starts to rise, crossing the orig inal horizontal position at 1 second as the wheel finishes one revolution. If the wheel continues to rotate at the same speed, the pattern will repeat itself with a period of one second and, thus, with a constant frequency of 1 Hz.
The minimum specification of an event identifies the instrument that is to play and the time at which the event begins, with additional parameters required by the instrument. Examples of various sorts of score encoding in several widely used music languages will be discussed. Once the score and the descriptions of the instruments have been entered into the computer, they can be combined by a performance program: a program that turns instructions and data into sound. Performance programs vary widely, depending on the hardware and the amount of manual intervention desired during performance.