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Digital Musician 2nd New edition [Kietas viršelis]

3.82/5 (17 ratings by Goodreads)
(Bath Spa University, UK)
  • Formatas: Hardback, 316 pages, aukštis x plotis: 254x178 mm, weight: 748 g, Follow Electronic & Experimental Music with new textboxes; 31 Line drawings, black and white; 17 Halftones, black and white; 4 Tables, black and white
  • Išleidimo metai: 20-Jun-2012
  • Leidėjas: Routledge
  • ISBN-10: 0415806593
  • ISBN-13: 9780415806596
Kitos knygos pagal šią temą:
  • Formatas: Hardback, 316 pages, aukštis x plotis: 254x178 mm, weight: 748 g, Follow Electronic & Experimental Music with new textboxes; 31 Line drawings, black and white; 17 Halftones, black and white; 4 Tables, black and white
  • Išleidimo metai: 20-Jun-2012
  • Leidėjas: Routledge
  • ISBN-10: 0415806593
  • ISBN-13: 9780415806596
Kitos knygos pagal šią temą:
The Digital Musician is a textbook for creative music technology and electronic music courses. It provides an overview of sound properties, acoustics, digital music, and sound design as a basis for understanding the compositional possibilities that new music technologies allow. Creative projects allow students to apply key concepts covered in each chapter. Topics covered include hardware hacking, live coding, interactive music, sound manipulation and transformation, software instruments, networked performance, as well as critical listening and analysis.









Features















Readers Guides outline the major topics in each chapter













Project boxes for both individuals and groups throughout each chapter













Annotated Listening Lists for each chapter, with accompanying playlists on the companion website













Recommended Further Reading and Discussion Questions at the end of each chapter













Case studies of actual composers, with contributed projects













Companion website includes reading lists, links to audio and video, and slides for use in the classroom.

Recenzijos

'Hugill's text, in keeping with his subject - the digitally networked, culturally savvy musician - reaches beyond the mere printed page through the inclusion of copious and wide-ranging listening examples, recommended further reading and creative projects... this book ticks all of the educational boxes replete with a wealth of resources to satisfy both the student and educator alike... one of the major strengths of this book is the author's lateral thinking and his almost virtuosic ability to draw together a wealth of technical and aesthetic ideas in order to illustrate his points... The Digital Musician is a highly stimulating book that asks of its readers as many questions as it attempts to answer. As such it is strongly recommended.' - Organised Sound



'The Digital Musician is an important summary of key issues concerning music practitioners using digital technologies. As an electronic musician, I found the volume stimulating and as potentially prompting further investigation into the field... [ it] is a stimulating resource for students, educators and artists looking to expand their skills and examine their inspirations and motivations.' - Martin Koszolko, RMIT University, Dance Cult

List of Figures and Tables
xii
Preface xiv
Notes to the Second Edition xviii
Acknowledgements xix
PART I Engaging
1(70)
1 Creative Identity
3(17)
What Are You?
3(4)
Project 1 (Elementary): Elevator Pitch
7(1)
Where Have You Come From?
8(5)
Where Are You Going?
13(3)
Introduction to the Case Studies
16(4)
Project 2 (Intermediate): Personal Vision Statement
18(2)
2 Aural Awareness
20(18)
Listening
20(3)
Listening Modes
21(1)
Listening Purposes
22(1)
Listening Situations
23(2)
Project 3 (Elementary): Listen, Listen
24(1)
The Soundscape
25(5)
Project 4 (Intermediate): Soundwalk
27(1)
Soundscape Composition
27(2)
Project 5 (Advanced): Soundscape Piece
29(1)
Hearing
30(2)
Project 6 (Elementary): Speech Patterns
32(1)
The Ear---Brain Connection
32(2)
Information: The Mechanics of Hearing
33(1)
Machine Listening
34(4)
3 Exploring Sound
38(21)
Acoustics and Psychoacoustics
38(3)
Information: Fundamentals of Acoustics
40(1)
Sound Structures
41(3)
Project 7 (Intermediate): Sound Structures
44(1)
Duration
44(3)
Project 8 (Elementary): Extended Duration
46(1)
Pitch and Tuning
47(4)
Information: The Harmonic Series
48(1)
Harmonicity and Inharmonicity
49(1)
Project 9 (Advanced): Drone Piece
50(1)
From Noise to Silence
51(5)
Information: Noise and Loudness
52(2)
Project 10 (Advanced): Incomplete Silence
54(2)
Timbre
56(3)
Project 11 (Intermediate): Timbral Study
57(2)
4 Listening to Music
59(12)
The Musician's Ear
59(2)
Aural Phenomena
61(1)
Active Listening
62(2)
Critical Listening
64(3)
Listening to Electro-acoustic Music
67(4)
Project 12 (Elementary): Sud
68(3)
PART II Creating
71(110)
5 Organizing Sound
73(20)
Sound-Art, Sonic Art and Sound Design
73(3)
Project 13 (Intermediate): Hearing Hearing
76(1)
Sound in Space
76(5)
Information: Behaviour of Sound in Space
77(3)
Project 14 (Intermediate): Diffraction Installation
80(1)
Network Space
81(2)
Project 15 (Elementary): Sonic Wiki
82(1)
Spatialization
83(5)
Multichannel Sound Diffusion
84(1)
Information: Spatialization Layouts
84(3)
Project 16 (Advanced): Types of Space
87(1)
Sound through Time
88(5)
Spectromorphology
89(2)
Project 17 (Advanced): Quintessence
91(2)
6 Digitizing Sound
93(24)
Sampling
94(5)
Fourier Transforms
95(3)
Project 18 (Elementary): FFT Processing
98(1)
File Formats
99(1)
Project 19 (Elementary): File Formats
100(1)
Representing
100(3)
Wave-form Diagrams
101(1)
Spectograms
101(2)
Synthesizing
103(6)
Information: Sinusoids
104(4)
Project 20: Analysis-Synthesis
108(1)
Processing
109(8)
Time Domain Processes
110(1)
Frequency Domain Processe
111(1)
Project 21 (Elementary): Reverse EQ
112(1)
Dynamic Processes
113(1)
Spatial Processes
113(1)
Spectral Processes
114(1)
Project 22 (Elementary): Sonic Morph
115(2)
7 Creating Music
117(21)
The Composer
117(1)
Why Compose?
118(3)
Project 23 (Intermediate): Inspiration Box
121(1)
The Compositional Process
121(2)
Aural Imagination
123(1)
Project 24 (Intermediate): Sunset
123(1)
Intention and Result
124(1)
Freedom and Constraint
125(3)
Project 25 (Advanced): Sudoku
127(1)
Originality and Style
128(2)
Project 26 (Advanced): Pastiche
130(1)
Form and Structure
130(5)
Project 27 (Advanced): Open-form Work
134(1)
Mood and Modalities
135(3)
Project 28 (Advanced): Night Piece
136(2)
8 Instruments and Media
138(21)
Musicians and their Instruments
138(1)
Organology
139(2)
Project 29 (Advanced): Infra-Instrument
140(1)
Extended Acoustic Instruments
141(3)
Project 30 (Elementary): Sound Byte for Voice or Percussion
142(2)
Software Instruments
144(2)
Project 31 (Elementary): Restricted Instruments
145(1)
MIDI
146(2)
Information: Some Typical MIDI Set-ups
146(2)
Sound Sources
148(1)
Hardware Hacking
148(2)
Multimedia
150(1)
Fixed Media
151(1)
Interactive Music
152(3)
Live Performers
155(4)
Project 32 (Advanced): ... From Scratch
157(2)
9 Performing and Musicianship
159(22)
The Performer
159(1)
Performance Situations
160(2)
Networked Performance
162(3)
Project 33 (Advanced): Ping-Hack-Rom-Seed
164(1)
Performance Scores
165(2)
Being Live
167(2)
Improvisation
169(2)
Project 34 (Advanced): Improvisation Ensemble
170(1)
Live Coding
171(2)
Musicianship
173(8)
Technical Mastery
174(1)
Critical Judgement
175(1)
Aural Skills
176(1)
Musical Literacy
176(1)
Ensemble Abilities
177(1)
Creativity
177(1)
Virtuosity
177(1)
Project 35 (Intermediate): Visual Score
178(3)
PART III Knowing
181(58)
10 Cultural Context
183(19)
Digital Culture
185(2)
Project 36 (Intermediate): I Hate...
187(1)
The Thinking Musician
187(2)
Emergence
189(1)
Cultural Diversity
190(7)
Gamelan
191(2)
Indian Classical Music
193(1)
West African Drumming
194(3)
Cultural Translations
197(5)
Autarkeia Aggregatum
198(1)
Bret Battey
`Poem for Bali' from Beauty in the Beast
198(1)
Wendy Carlos
Fourth World, Vol. I - Possible Musics
199(1)
John Hassell
Brian Eno
Chant d'Ailleurs
200(1)
Alejandro Vinao
Project 37 (Intermediate): Cultural Translation
201(1)
11 Critical Engagement
202(19)
Critical Theory
202(2)
Modernism and Postmodernism
204(2)
Structuralism and Deconstruction
206(3)
Project 38 (Advanced): Creative Deconstruction
209(1)
Some Notes about Semiotics
209(2)
Musicology
211(2)
Aesthetics
213(5)
Project 39 (Intermediate): Aesthetic Experiment
217(1)
Critical Judgement
218(3)
Project 40 (Elementary): Balloon Debate
219(2)
12 Understanding Digital Music
221(18)
Digital Music
221(5)
Project 41 (Elementary): Random Play
223(1)
Audience or User-Controlled Music
223(1)
Computer-Controlled Music
224(1)
Composer/Performer-Controlled Music
225(1)
Project 42 (Intermediate): Mood Music
226(1)
Genre
226(6)
Project 43 (Advanced): Digital Minimalism
231(1)
Notation
232(1)
Analysis
233(4)
Evocative Transcription
237(2)
Project 44 (Advanced): Analysis Project
238(1)
PART IV Being
239(45)
13 The Digital World
241(17)
The Digital Musician
241(1)
The Changing Workplace
242(3)
Careers
245(2)
Business
247(3)
Networking and Self-Promotion
250(3)
Project 45 (Intermediate): Pecha Kucha
252(1)
Production and Publishing
253(3)
Project 46 (Advanced): Sonic Branding
255(1)
Education and Training
256(2)
14 Case Studies
258(26)
Research Questions
258(1)
Biographies
259(5)
Interviews
264(20)
Appendix: Historical Listening List 284(8)
Notes 292(9)
Index 301
Andrew Hugill is Director of the Institute Of Creative Technologies at De Montfort University, Leicester, UK, where he founded the Music Technology programme.