FFT

Musicologie et musique électroacoustique [MME]

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La FFT (ou Transformée de Fourier Rapide) est un outil utilisé pour la représentation graphique des constituants du spectre d’un son. Le son est analysé mathématiquement et réduit sous la forme de données correspondant à l’évolution temporelle de la dynamique de ses partiels. La représentation graphique d’une FFT est généralement constituée de l’évolution de l’amplitude des bandes de fréquences dans le temps, offrant ainsi un graphique facilement utilisable. (Source - Rodolfo Caesar (1992). The Composition of Electroacoustic Music. Thèse de doctorat, Université d’East Anglia.)

 

See also

Synthèse additive

,

Enveloppe

,

Vocodeur de phase

,

Représentation

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Appleton, Jon H., Perera, Ronald C. (1975). The Development and Practice of Electronic Music
Bailey, Nick, Cooper, David (2000). Perceptually Smooth Timbral Guides by State-Space Analysis of Phase-Vocoder Parameters
Barlow, Clarence (1996). On the Spectral Analysis of Speech for Subsequent Resynthesis by Acoustic Instruments
Bateman, Wayne A. (1980). An Introduction to Computer Music
Bello, Angelo (2001). Notes on Composing with the UPIC System: The Equipment of Iannis Xenakis
Bossis, Bruno (2004a). {Mortuos Plango, Vivos Voco} de Jonathan Harvey ou le miroir de la spiritualité
Charbonneau, Gérard R. (1981). Timbre and the Perceptual Effects of Three Types of Data Reduction
Fischman, Rajmil (1997a). Phase Vocoder: Theory and Practice
Hoffman, Peter (2001). Analysis through Resynthesis. {Gendy3} by Iannis Xenakis
Manoury, Philippe (1984). The Arrow of Time
Murail, Tristan (1984). Spectra and pixies
Murail, Tristan (2005a). Spectra and Sprites
Paine, Garth (2003). {Reeds}: A responsive environmental installation
Piszczalski, Martin (1979a). Spectral Surfaces from Performed Music: Part 1
Piszczalski, Martin (1979b). Spectral Surfaces from Performed Music: Part 2
Piszczalski, Martin, Galler, Bernard A. (1977). Automatic Music Transcription
Polansky, Larry (1998). Signing Together, Hacking Together, Plundering Together: Sonic Intellectual Property in Cybertimes
Poullin, Jacques (1999). L’apport des techniques d’enregistrement dans la fabrication de matières et de formes musicales nouvelles. Application à la musique concrète
Risset, Jean-Claude (1969). L’ordinateur, instrument de musique
Risset, Jean-Claude (1991b). Timbre, Analysis by Synthesis: Representations, Imitations, and Variants for Musical Composition
Rodet, Xavier (1996). Recent Developments in Computer Sound Analysis and Synthesis
Settel, Zack, Lippe, Cort (1994). Real-time Timbral Transformation: FFT-based Resynthesis
Slawson, Wayne A. (1975). Sound, Electronics, and Hearing
Truax, Barry (1992b). Musical Creativity and Complexity at the Threshold of the 21st Century
Vaggione, Horacio (1994). Timbre as Syntax: A Spectral Modeling Approach
Vaggione, Horacio (1996b). Articulating Microtime
Xenakis, Iannis (1985). Music Composition Treks

 

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