By Charles Dodge, Thomas A. Jerse

This article displays the present nation of desktop expertise and song composition. The authors supply transparent, useful overviews of application languages, real-time synthesizers, electronic filtering, synthetic intelligence, and lots more and plenty extra.

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Computer Music: Synthesis, Composition, and Performance, 2nd Ed.

This article displays the present nation of laptop know-how and track composition. The authors provide transparent, functional overviews of application languages, real-time synthesizers, electronic filtering, synthetic intelligence, and lots more and plenty extra.

Additional info for Computer Music: Synthesis, Composition, and Performance, 2nd Ed.

Example text

At its peak, the waveform has a phase of 90°, which on the wheel can be visualized as the 90° angle formed between the spoke standing vertically and the horizontal reference position. When the waveform is 0 and decreasing, the phase is 180°, indicating that the waveform is midway through a cycle of 360°. At its most negative value, the waveform has a phase of 270°, and when it returns to its original value of 0, the phase is 360°, or equivalently 0°, since the waveform is back to where it started.

2 shows the range of intensities that can be produced by sever­ al well-known sound sources. : - - 3II a: F )< z � 0 '" :c w a. 2 The intensity of audio sources on the SPL sound scale. The shape of a cycle of a periodic waveform has a large effect on the way it sounds. 6. At this point, we will introduce the simplest and most fundamental pattern of vibratory motion, the sinusoid. 1) is an example of a sinu­ soidal pattern. Its characteristically smooth shape shows no abrupt changes in pressure and there are no sharp points on the waveform.

For example, the imposition of a decrescendo over a time frame affects the loud­ ness during every event falling in that range. The scope of an edit specifies the range to be modified. Programs difer in the types of scopes available, but they all allow a sequential groups of notes to be selected. 2). The group of events can also be replicated to another place in the score. More sophisticated programs permit nonconsecutive events to be placed in the scope of an edit. For example, a compos­ er could specify that all instances of F � be changed to F # over a range of measures.

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Computer Music: Synthesis, Composition, and Performance, 2nd by Charles Dodge, Thomas A. Jerse
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