Truax, Barry

1976

A Communicational Approach to Computer Sound Programs

Journal of Music Theory: Vol. 20, No. 2. New Haven, Connecticut: Yale University: 227-300.

Language(s): English

Keyword(s):

Acoustic Communication Analysis

Abstract:

In this extensive article, the author discusses the function of the music theorist. He argues that because the music theorist has in the past relied to some extent on the score of a work during analysis, new works that are not score-based, such as works composed for tape and those composed using computer systems are being ignored as subjects for study. In light of this the author proposes an alternative function for the music theorist, that of an observer of musical activity, shifting the emphasis from analysis of structure (how?) to explication of process (what for?). In defining this new function the author discusses the computer music system as a model, composition system analysis, and information theory. There are several sections discussing particular technological developments that are quite technical in terms of content; however, these sections are also contextualised from a musicological perspective.

All references of the same author:

(English)

Truax, Barry (1977). The Soundscape and Technology
Truax, Barry (1980a). The Inverse Relation Between Generality and Strength in Computer Music Programs
Truax, Barry (1980b). Timbral Construction as a Stochastic Process
Truax, Barry (1982). Timbral Construction in Arras as a Stochastic Process
Truax, Barry (1985). The PODX System: Interactive Compositional Software for the DMX-1000
Truax, Barry (1986). Computer Music Language Design and the Composing Process
Truax, Barry (1990). Composing with Real-time Granular Sound
Truax, Barry (1991). Capturing Musical Knowledge in Software Systems
Truax, Barry (1992a). Electroacoustic Music and the Soundscape: The Inner and Outer World
Truax, Barry (1992b). Musical Creativity and Complexity at the Threshold of the 21st Century
Truax, Barry (1992c). Composing with Time-Shifted Environmental Sound
Truax, Barry (1994). The Inner and Outer Complexity of Music
Truax, Barry (1995a). The Composition of Environmental Sound at Simon Fraser University
Truax, Barry (1995b). La composition basée sur le timbre avec son granulaire
Truax, Barry (1996a). Electroacoustic Symbolism in Powers of Two: The Artist
Truax, Barry (1996b). Soundscape, Acoustic Communication and Environmental Sound Composition
Truax, Barry (1996c). Sounds and Sources in Powers of Two: Towards a contemporary myth
Truax, Barry (1996d). Sounds and Sources in Powers of Two Towards a Contemporary Myth
Truax, Barry (1996e). Computer Controlled Diffusion
Truax, Barry (1996f). Computer Music as Commercial or Public Culture: A Personal View
Truax, Barry (1998a). Composition and Diffusion: Space in Sound in Space
Truax, Barry (1998b). Letter to a 25 year-old electroacoustic composer
Truax, Barry (1999a). Handbook for Acoustic Ecology
Truax, Barry (1999b). Letter to a Twenty-Five Year Old Electroacoustic Composer
Truax, Barry (1999c). Sonology: A Questionable Science Revisited
Truax, Barry (2000a). The Aesthetics of Computer Music: A questionable concept reconsidered
Truax, Barry (2001a). Acoustic Communication Studies at Simon Fraser University
Truax, Barry (2001b). Acoustic Communication - Second Edition
Truax, Barry (2001c). Time and Electroacoustic Music
Truax, Barry (2002a). Electroacoustic Music and the Digital Future
Truax, Barry (2002b). Genres and Techniques of Soundscape Composition as Developed at Simon Fraser University
Truax, Barry (2003). Homoeroticism and Electroacoustic Music: Absence and Personal Voice

(Français)

Truax, Barry (1995b). La composition basée sur le timbre avec son granulaire
Truax, Barry (1996d). Sons et sources dans Powers of Two : vers un mythe contemporain
Truax, Barry (1996e). Diffusion assistée par ordinateur