![]() ![]() Parts of the first chapter have been expanded to bring the text up to date and provide a more thorough overview of computer systems. This part of the text is fundamentally a reorganization of similar material in the first edition, with the topic of digital signals receiving expanded coverage and its own chapter. In addition, the acoustics and psychoacoustics chapter acts as an excellent reference source for tuning and auditory-perception information for computer musicians at all levels. The solid knowledge base that these chapters supply is particularly valuable for beginning to intermediate-level computer musicians. The first part of the text consists of chapters covering computers and their use in music, acoustics and psychoacoustics, and the mediation between the computer world of the first chapter and the physical world of the second chapter: digital audio. For each part of the text, I will first give a brief overview and evaluation, and then discuss the revisions and additions. The synthesis-techniques and sound-modification sections act as the focus of the text, preceded by preliminary information (computers, acoustics and psychoacoustics, and digital signals) and succeeded by compositional and performance-control strategies. There is some programming code in the chapter on computers in composition, but otherwise, the introductory chapter provides sufficient computer knowledge for the reader.Īccording to the preface, the text is divided into five parts: fundamentals, synthesis techniques, sound modification, computer-aided composition, and real-time performance. Musical training sufficient to read music and understand general compositional concerns is expected. The mathematics can get somewhat involved in the more advanced sections of the text, but generally, initial equations are set up and solutions are provided that have been solved "behind the scenes" by more advanced mathematics. ![]() With these changes, Computer Music remains an indispensable introduction to the field for beginners and a valuable reference source for experienced computer musicians.Ĭomputer Music presupposes little mathematical training beyond algebra and trigonometry, and hence is accessible to most musicians. Numerous minor additions and corrections fix errors and help to bring the text up to date, and several major additions incorporate some recent synthesis techniques. Fortunately, the second edition of this venerable text has arrived to address many of these developments. In the past decade-plus, the computer music field has embraced a number of important new or newly popular techniques and technologies such as granular synthesis, physical modeling, and the MIDI standard, just to name a few. Paperback, 1997, ISBN 0-02-8646827, 455 pages, illustrated, glossary, notes, index Schirmer Books, 1633 Broadway, New York, New York 10019, USA World Wide Web http:/ /schirmer/dodge.htmĬomputer Music, by composer Charles Dodge and hardware/software developer Thomas Jerse, has been an indispensable text for computer musicians since its publication in 1985. Jerse: Computer Music: Synthesis, Composition, and Performance, second edition ![]()
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