Skip to main content Accessibility help
×
  • Cited by 4
Publisher:
Cambridge University Press
Online publication date:
June 2012
Print publication year:
2011
Online ISBN:
9780511732539

Book description

Emphasising the creative aspect of music technology, this introduction sets out an overview of the field for music students in a non-scientific and straightforward way. Engaging and user-friendly, the book covers studio concepts: basic audio and the studio workflow, including audio and MIDI recording. It explores synthesisers, samplers and drum machines as well as basic concepts for electronic performance. In considering the role of the DJ, the book addresses remixing and production, drawing upon many examples from the popular music repertoire as well as looking at the studio as an experimental laboratory. The creative workflow involved in music for media is discussed, as well as controllers for performance and the basics of hacking electronics for music. The book as a whole reflects the many exciting areas found today in music technology and aims to set aspiring musicians off on a journey of discovery in electronic music.

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×

Contents

Bibliography
Apollonio, U. 1973 Futurist ManifestosLondonThames and Hudson
Berger, E. HNeitzel, R.Kladden, C. A. 2008 http://nhca.affiniscape.com/associations/10915/files/Noise%5FNav%2Exls
Blake, A. 2009 Recording Practices and the Role of the ProducerThe Cambridge Companion to Recorded MusicCook, N.CambridgeCambridge University Press
Bongers, B. 2000 Physical Interfaces in the Electronic Arts: Interaction Theory and Interfacing Techniques for Real-Time PerformanceTrends in Gestural Control of MusicWanderley, M.Battier, M.ParisInstitut de Recherche et Coordination Acoustique Musique – Centre Pompidou
Boulanger, R. 2000 The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing and ProgrammingCambridge, MAMIT Press
Brock-Nannestad, G. 2009 The Development of Recording TechniquesThe Cambridge Companion to Recorded MusicCook, N.CambridgeCambridge University Press
Cage, J. 2009 SilenceLondonMarion Boyars
Chion, M. 1994 Audio-Vision: Sound on ScreenNew YorkColumbia University Press
Chusid, I. 2000 Manhattan Research Inc.: New Plastic Sounds and Electronic Abstractions. Composed and Performed by Raymond ScottHollandBASTA Audiovisuals
Collins, K. 2008 Game SoundCambridge, MAMIT Press
Collins, N. 2009 Handmade Electronic Music: The Art of Hardware HackingNew YorkRoutledge
Collins, N. 2009 Introduction to Computer MusicChichesterWiley
Cook, N. 2000 Analysing Musical MultimediaOxfordOxford University Press
Cook, N.Clarke, E.Leech-Wilkinson, D.Rink, D. 2009 The Cambridge Companion to Recorded MusicCambridgeCambridge University Press
Cooper, S. 2001 ColdcutAll Music Guide to Electronica: The Definitive Guide to Electronic MusicBogdanov, V.San FranciscoBackbeat Books
Covach, J. 2009 What's that Sound? An Introduction to Rock and its HistoryNew YorkW. W. Norton & Company, Inc
Cowie, D. F. 2009 www.exclaim.ca/articles/multiarticlesub.aspx?csid1=131&csid2=946&fid1=37652
Cunningham, M. 1998 Good Vibrations:A History of Record ProductionLondonSanctuary Publishing Ltd
Crab, S. 2005 http://120years.net/machines/telegraph/index.html
Creative Commons 2010 http://creativecommons.org/
Crook, T. 1999 Radio Drama: Theory and PracticeLondonRoutledge
Dacks, D. 2007 www.exclaim.ca/articles/multiarticlesub.aspx?csid1=114&csid2=779&fid1=27342
Davies, H. 2010 www.oxfordmusiconline.com/subscriber/article/grove/music/08694pg1#S08694.1
Davies, H. 2010 www.oxfordmusiconline.com/subscriber/article/grove/music/47632
Davies, G.Jones, R. 1989 Sound Reinforcement HandbookMilwaukee, WIHal Leonard Publishing Corporation
Davies, R. 1999 Complete Guide to Film Scoring: The Art and Business of Writing Music for Movies and TVBoston, MABerklee Press
Davis, R. 2010 The Complete Guide to Film ScoringBostonBerklee Press
d’Escriván, J. 2009 Sound Art (?) on/in FilmOrganised Sound 1 65
Draper, J. 1931 Sound Tricks in the TalkiesPopular Mechanics 2 236
Duignan, M.Noble, J.Biddle, R. 2005 A Taxonomy of Sequencer User-InterfacesProceedings of the International Computer Music ConferenceInternational Computer Music Association
Eisenberg, E. 2005 The Recording AngelNew Haven and LondonYale University Press
Eno, B. 1983 50
Everest, F. A.Pohlmann, K. C. 2009 Master Handbook of AcousticsNew YorkMcGraw-Hill Publishinghttp://lib.myilibrary.com/Browse/open.asp?ID=219318&loc=329
Everett, W. 2001 The Beatles as Musicians: The Quarry Men through Rubber SoulOxfordOxford University Press
Flans, R. 2005 http://mixonline.com/mag/audio_phil_collins_air/index.html/
Fligor, B.Meinke, D. 2009 www.asha.org/Publications/leader/2009/090526/090526e.htm
Gallagher, M. 2008 Music Tech Dictionary: A Glossary of Audio-Related Terms and TechnologiesBostonCourse Technology
Games Soundtracks’ Website 2010 www.gsoundtracks.com/interviews/folmann.htm
Gardner, W. G. 1998 3-D Audio Using LoudspeakersNorwell, MAKluwer Academic Publishers
George, Frank 1987 Wiener, NorbertThe Oxford Companion to the MindGregory, Richard L.OxfordOxford University Press
George, N. 2004 Sample ThisThat's the Joint! The Hip-Hop Studies ReaderNeal, Mark AnthonyForeman, MurrayNew YorkTaylor & Francishttp://lib.myilibrary.com?ID=34789
Ghazala, R. 2005 Circuit Bending: Build Your Own Alien InstrumentsIndianapolis, INWiley
Ghazala, R. 2010 www.anti-theory.com/bio
Gottlieb, Gary 2007 Shaping Sound in the Studio and Beyond: Audio Aesthetics and TechnologyBoston, MACourse Technology
Grimshaw, M.Lindley, C. A.Nacke, L. 2008
Gross, J. 1998 www.furious.com/perfect/christianmarclay.html
Harrison, J. 2000
Holmes, T. 2002 Electronic and Experimental MusicNew YorkRoutledge
Huber, D. M.Runstein, R. E. 2010 Modern Recording TechniquesOxfordFocal Press
Hutton, J. 2003 Daphne Oram: Innovator, Writer and ComposerOrganised Sound 1 49
Janus, S. 2004 Audio in the 21st CenturyHillsboro, ORIntel Press
Jordan, W. E. 1953 Norman McLaren: His Career and TechniquesThe Quarterly of Film Radio and Television 1 1
Landy, L. 2007 Understanding the Art of Sound OrganisationCambridge, MAMIT Press
Lethem, J. 2007 http://harpers.org/archive/2007/02/0081387
Levin, T. Y. 2003 Tones from Out of Nowhere”: Rudolph Pfenninger and the Archaeology of Synthetic SoundGrey Room 12 32
Loy, G. 2006 Musimathics: The Mathematical Foundations of MusicCambridge, MAMIT Press
Loy, G.Chowning, J. 2007 Musimathics: The Mathematical Foundations of MusicCambridge, MAMIT Press
Mandel, H. 1996 Joe Zawinul at 65: Interview with Joe ZawinulThe Wire 149
Manning, P. 2004 Electronic and Computer MusicOxfordOxford University Press
Marshall, S. 2008 The Story of The BBC Radiophonic WorkshopSound on SoundCambridgeRelative Media
Massey, H. 2000 Behind the Glass: Top Record Producers Tell How They Craft the HitsSan FranciscoBackbeat Books
McCartney, J. 1996 SuperCollider: A New Real Time Synthesis LanguageProceedings of the International Computer Music ConferenceLogroñoUniversidad de La Rioja
McCartney, J. 2002 Rethinking the Computer Music Language: SuperColliderComputer Music Journal 4 61
Michie, C. 2003 http://mixonline.com/recording/business/audio_mothers_sound
Moore, B. C. J. 2000 An Introduction to the Psychology of HearingSan DiegoAcademic Press
Moorefield, Virgil 2005 The Producer as ComposerCambridge, MAMIT Press
Mulder, Axel G. E. 1994 Virtual Musical Instruments: Accessing the Sound Synthesis Universe as a PerformerProceedings of the First Brazilian Symposium on Computer MusicBrazilUniversidade Federal de Minas Gerais
Newell, P. 2002 Studio Monitoring DesignOxfordFocal Press
Ondaatje, M. 2002 The Conversations: Walter Murch and the Art of Editing FilmLondonBloomsbury Publishing
Oswald, J. 2006 Bettered by the Borrower: The Ethics of Musical DebtAudio Culture: Readings in Modern MusicCox, C.Warner, D.LondonThe Continuum International Publishing Group
Owsinski, B. 2009 Recording Engineer's HandbookBoston, MACourse Technology
Preve, F. 2006 Remixer's Bible: Build Better BeatsSan FranciscoBackbeat Books
Puckette, M. 1991 Combining Event and Signal Processing in the Max Graphical Programming EnvironmentComputer Music Journal 3 68
Puckette, M. 1997 Pure Data: Another Integrated Computer Music EnvironmentProceedings: Second Intercollege Computer Music Concerts37TokyoKunitachi College of Music
Reck-Miranda, E. 2002 Computer Sound Design: Synthesis Techniques and ProgrammingOxfordFocal Press
Reck-Miranda, E.Wanderley, M. 2006 New Digital Musical Instruments: Control and Interaction Beyond the KeyboardMiddleton, WIA-R Editions
Roads, C. 1996 The Computer Music TutorialCambridge, MAMIT Press
Roads, C. 2004 MicrosoundCambridgeMIT Press
Rosen, J. 2006 www.blender.com/guide/68321/greatest-songs-ever-good-times.html
Rumsey, F.McCormick, T. 2009 Sound and RecordingOxfordFocal Press
Schedel, M. 2007 Electronic Music and the StudioThe Cambridge Companion to Electronic MusicCollins, N.d’Escriván, J.CambridgeCambridge University Press
Schmeder, A.Freed, A.Wessel, D. 2010 Best Practices for Open Sound ControlProceedings of the 2010 Linux Audio ConferenceUtrechtHogeschool voor de Kunsten
Schnell, N.Battier, M. 2002 Introducing Composed Instruments, Technical and Musicological ImplicationsProceedings of the 2002 Conference on New Instruments for Musical ExpressionDublin
Serafin, S. 2004 Sound Design to Enhance Presence in Photorealistic Virtual RealityProceedings of the 2004 International Conference on Auditory DisplaySidneyAustralia
Serafin, S. 2007 Computer Generation and Manipulation of SoundsThe Cambridge Companion to Electronic MusicCollins, N.d’Escriván, J.CambridgeCambridge University Press
Sieveking, L. 1934 The Stuff of RadioLondonCassell
Slaven, N. 2003 Electric Quixote: The Definitive Story of Frank ZappaLondonOmnibus Press
Smith, J. O. 1991 Viewpoints on the History of Digital SynthesisProceedings of the International Computer Music ConferenceMontreal1International Computer Music Association
Sorensen, A. 2005 Impromptu: An Interactive Programming Environment for Composition and PerformanceProceedings of the Australasian Computer Music ConferenceBrisbaneAustralasian Computer Music Association149
STEIMwww.steim.org/steim/piepen.html#e13 2010
Sullivan, M. 1987 More Popular than Jesus”: The Beatles and the Religious Far RightPopular Music 3 313
Suzuki, Y.Mellert, V.Richter, U.Møller, H.Nielsen, L.Hellman, R.Ashihara, K.Ozawa, K.Takeshima, H. 2003 http://ids-ge.ch/IMG/pdf/is-01e.pdf
Sweetser, P.Wyeth, P. 2005 GameFlow: A Model for Evaluating Player EnjoymentGames ACM Computers in Entertainment 3
Theisen, E. 1937 68
Toiviainen, P. 2007 The Psychology of Electronic MusicThe Cambridge Companion to Electronic MusicCollins, N.d’Escriván, J.CambridgeCambridge University Press
Tolonen, T.Välimäki, V.Karjalainen, M. 1998 Evaluation of Modern Sound Synthesis MethodsReport No. 48 of the TKK Acoustics Lab Report SeriesHelsinki University of Technology, Department of Electrical and Communications Engineering, Laboratory of Acoustics and Audio Signal Processingwww.acoustics.hut.fi/publications
Toop, D. 2000 Rap AttackVicenzaLegoprint
Volker, H. 1987 History of CyberneticsThe Oxford Companion to the MindRichard, L.Gregory. OxfordOxford University Press
Wanderley, M.Depalle, P. 2004 Gestural Control of Sound SynthesisProceedings of the IEEE 4 632
Wang, G.Cook, P. 2003 ChucK: A Concurrent, On-the-fly, Audio Programming LanguageProceedings of the International Computer Music ConferenceSingaporeInternational Computer Music Association
Wang, G. 2007 A History of Programming and MusicThe Cambridge Companion to Electronic MusicCollins, N.d’Escriván, J.CambridgeCambridge University Press
Watson, B. 1996 Frank Zappa as Dadaist: Recording Technology and the Power to RepeatContemporary Music Review 1 109
Wierzbicki, J. 2005 Louis and Bebe Barron's Forbidden Planet: A Film Score GuideLanham, MDScarecrow Press
Wright, M.Freed, A.Momeini, A. 2003 OpenSound Control: State of the Art 2003Proceedings of the 2003 Conference on New Interfaces for Musical ExpressionMontreal
Xenakis, I. 1992 Formalized MusicStuyvesant, NYPendragon Press
Filmography
Crosland, Alan 1927
Lucas, George 1971
Tarkovsky, Andrei 1972
Wise, Robert 1951
Spielberg, Stephen 2005
Discography
Beatles, The 1967
Beatles, The 2009
Bee-Gees 1988
Holly, Buddy 1957
Holly, Buddy
Esquivel, Juan García 1962
Genesis 2009
Horn, Trevor 2004
Paul, Les 2005
London, Johnny 2006
Meek, Joe 1960
Meek, Joe 2006
Blues, Moody 2008
Floyd, Pink 1994
Presley, Elvis 1954
Radiohead 2001
Schaeffer, P.Henri, P. 1973
Faces, Small 1999
Spector, P. 2006 Phil Spector Definitive CollectionUniversal Music TV, a division of Universal Music Operations Ltd
Stoller, MikeLeiber, Jerry 1956
Stock, AitkenWaterman, 1987
Summer, Donna 2007
Wilson, Brian 2000
Zappa, Frank 1999

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.