Electronic and computer music
This is a revised and expanded edition of Peter Manning's classic introduction to electronic and computer musi, dealing with the development of electronic and computer music from its birth to the present day. After an introductory chapter concerned with the antecedents of electronic music from the turn of the century to the Second World War, the book continues with the birth and development of the early "classical" studios of the 1950s, examined both in terms of their design philosophy and also their compositional output. A chapter devoted to the characteristics of voltage control technology leads to a study of the subsequent upsurge of creative activity, considered under three headings: tape works, live electronic music, and the early use of electronics in rock and pop music. Attention is then turned to the sphere of computer music and its evolution from the early experiments with large commercial computers to the advanced music workstations of today. This section has been significantly expanded from the first edition to take account of the rapid development of this technology since the early 1980s, in particular the introduction of MIDI and the increasing use of the personal computer as a music tool. A bibliography and an extensive discography are included. The primary objective throughout is to provide the reader with a critical perspective of the medium both in terms of its musical output and the philosophical and technical features which have shaped its growth.
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The Background to 1945
Developments from 1945 to 1960
Paris and Musique Concrete
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acoustic additive synthesis alphanumeric keyboard amplitude analogue applications associated Atari ST audio bank basic byte CDCM Centaur CRC Centaur centre channel characteristics Cologne complete composer composition computer music consists conventional create CRI SD devices disk dynamic early electronic music electronic sounds elements envelope example facilities filters frequency functions hardware input instruments interface IRCAM keyboard latter live electronic loop loudspeakers machine Macintosh manipulation manufacturers material memory microcomputer microprocessor MIDI mode music keyboard musique concrete octave offering operation oscillator output percussion performance Philips 836 piano piece pitch processing processor produced programs pulse punched tape range RCA synthesizers recording result reverberation ring modulators sampler sampling rate Schaeffer score selection sequencer signal significant sixteen-bit sound sources specification speed Stockhausen studio switch Synclavier Synket synthesizer tape techniques timbral timbre tion Varese voice voltage voltage-controlled wave wave-form Wergo Yamaha