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This innovative volume brings together under one cover a comprehensive, easily understandable overview of the computer music field, including composing, teaching, recording, arranging, and printing of music. The focus of this book is on what computer music systems are and the principles upon which they are based. Section I describes and compares the musical capabilities of dozens of computer systems, providing a general introduction to the field. Presents discussion of terminology and buzzwords, offers a tutorial on digital music techniques, and describes how the MIDI standard lets music keyboards communicate with each other and with personal computers. Section II discusses and analyzes 196 computer music programs in the areas of early childhood, music composition, ear-training, music theory, instrumental methods, music appreciation, history, terminology, sequencing, editing, printing, transcription, and music analysis.
Providing a distillation of knowledge in the various disciplines of arts education (dance, drama, music, literature and poetry and visual arts), this essential handbook synthesizes existing research literature, reflects on the past, and contributes to shaping the future of the respective and integrated disciplines of arts education. While research can at times seem distant from practice, the Handbook aims to maintain connection with the live practice of art and of education, capturing the vibrancy and best thinking in the field of theory and practice. The Handbook is organized into 13 sections, each focusing on a major area or issue in arts education research.
This text reflects the current state of computer technology and music composition. The authors offer clear, practical overviews of program languages, real-time synthesizers, digital filtering, artificial intelligence, and much more.
Featuring chapters by the world's foremost scholars in music education and cognition, this handbook is a convenient collection of current research on music teaching and learning. This comprehensive work includes sections on arts advocacy, music and medicine, teacher education, and studio instruction, among other subjects, making it an essential reference for music education programs. The original Handbook of Research on Music Teaching and Learning, published in 1992 with the sponsorship of the Music Educators National Conference (MENC), was hailed as "a welcome addition to the literature on music education because it serves to provide definition and unity to a broad and complex field" (Choice). This new companion volume, again with the sponsorship of MENC, explores the significant changes in music and arts education that have taken place in the last decade. Notably, several chapters now incorporate insights from other fields to shed light on multi-cultural music education, gender issues in music education, and non-musical outcomes of music education. Other chapters offer practical information on maintaining musicians' health, training music teachers, and evaluating music education programs. Philosophical issues, such as musical cognition, the philosophy of research theory, curriculum, and educating musically, are also explored in relationship to policy issues. In addition to surveying the literature, each chapter considers the significance of the research and provides suggestions for future study.Covering a broad range of topics and addressing the issues of music education at all age levels, from early childhood to motivation and self-regulation, this handbook is an invaluable resource for music teachers, researchers, and scholars.
While computers have had a major influence on music composition, both through electroacoustic music and computer-assisted composition (CAC), there can remain a divide between those pursuing more traditional writing techniques (intuitive composition done by hand) and those incorporating algorithmic elements in their music. The following is an exploration of some of the ways to produce smoother intersections between the worlds of intuitive writing and computer-assisted composition, through the use of a number of different computer-assisted composition software and practises. These range from situations where the computer provides little more than a gentle nudge or a pool of information from which to draw, to situations where, through the user's input, the computer exerts a high degree of control on the final musical information. Works by Matthew Lane will demonstrate the use of some of these technologies, alongside detailed explanations of how they were incorporated. A first section will look at composition and programming techniques for low integration of CAC, reflecting a more intuitive approach. The works Mutations II, "Waves" and "Run" from Short Pieces on Falling, Never a Moment Lost, and (Let Me Hear) What Maria Hears, amongst others, will serve to demonstrate the efficiency of these techniques. A second section focuses on medium integration of CAC, as demonstrated by the author's modular progression management system. This framework, developed in OpenMusic, helps in the generation of progression passages, and is adaptable and easily modified for different works. This framework will be examined primarily through the works Melodious Viscosity and Like a Square Peg. The third and final section looks at high CAC integration through gesture, using the author's software ScoreScrub. Using this software, the user can effectively "scrub" across existing score samples to produce new musical passages. The primary works analysed will be Gift efter Carl Herman Erlandsson and the orchestral work Världen och jag.
With the ongoing development of algorithmic composition programs and communities of practice expanding, algorithmic music faces a turning point. Joining dozens of emerging and established scholars alongside leading practitioners in the field, chapters in this Handbook both describe the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music. Organized into four sections, chapters explore the music's history, utility, community, politics, and potential for mass consumption. Contributors address such issues as the role of algorithms as co-performers, live coding practices, and discussions of the algorithmic culture as it currently exists and what it can potentially contribute society, education, and ecommerce. Chapters engage particularly with post-human perspectives - what new musics are now being found through algorithmic means which humans could not otherwise have made - and, in reciprocation, how algorithmic music is being assimilated back into human culture and what meanings it subsequently takes. Blending technical, artistic, cultural, and scientific viewpoints, this Handbook positions algorithmic music making as an essentially human activity.