Tecniche di sintesi/risintesi

Sound Production and Manipulation [SPM]  ]

Le tecniche di sintesi permettono di produrre suoni, in modo elettrico o digitale, nei quali non viene utilizzata nessuna fonte acustica di suono (ad eccezione di una fonte utilizzata come modello).

Le tecniche di risintesi permettono di modificare suoni preregistrati o sintetizzati precedentemente, generalmente attraverso un processo di applicazione di un algoritmo informatico alla rappresentazione numerica di un suono. Il suono nuovo che ne risulta sarà un suono basato su una determinata modalità di elaborazione applicata al suono originale. In questo glossario, le tecniche di sintesi e risintesi sono classificate sotto questo termine generico.

 

See also

Sintesi additiva

,

Sintesi incrociata

,

Sintesi per Difoni

,

FOF (Sintesi per Formanti)

,

Sintesi per Modulazione di Frequenza

,

Sintesi/risintesi granulare

,

Sintesi grafica

,

Sintesi Ibrida

,

Algoritmo di Karplus-Strong

,

Sintesi per Predizione Lineare (LPC)

,

Phase Vocoder

,

Sintesi sottrattiva

,

Partitura per la sintesi (partitura operativa)

,

Sintetizzatore

,

Waveset Distorsion

,

Waveshaping (Distorsione Non Lineare)

 

Links

UNESCO DigiArts

- Tutorials : sound and music applications (Mac & PC) ( English , French , Spanish )
- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 2 - Une nouvelle lutherie ( French )

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

1-60 | 61-120 | 121-180 | 181-240 | 241-266 | >> 60 next

Allouis, Jean-François, Delalande, François (1976). Syter
Arfib, D., Coutrurier, J. N., Kessous, L., Verfaille, V. (2002). Strategies of Mapping between Gesture Data and Synthesis Model Parameters Using Perceptual Spaces
Ayers, Lydia (2005). Synthesising Chinese Flutes Using Csound
Barlow, Klarenz (1999). Methoden algorithmischer Klangerzeugung anhand eigener Arbeiten: Von Klanglomeration und Schwallwellenreiten zu Synthrumentation und Spektastik (Methods of Sound Synthesis based on my own works - [followed by his own untranslatable new terms]
Bateman, Wayne (1980). Introduction to Computer Music
Bateman, Wayne A. (1980). An Introduction to Computer Music
Battier, Marc (1990). Les principaux centres de recherche musicale aux Etats-Unis
Battier, Marc (2002a). De la phonographie à la lutherie numérique. L’épiphanie du son artificiel
Battier, Marc (2002b). L’opéra et les technologies du son artificiel
Battier, Marc (2003b). Notes sur l’électronique dans un opéra récent : {K...} de Philippe Manoury
Battier, Marc, Nouno, Gilbert (2003). L’électronique dans l’opéra de Kaija Saariaho, {L’amour de loin}
Bayle, François, Chion, Michel, Vande Gorne, Annette (1994). Le caprice et la cohérence
Beauchamp, James, Horner, Andrew (1997). Spectral Modelling and Timbre Hybridisation Programs for Computer Music
Bello, Angelo (2001). Notes on Composing with the UPIC System: The Equipment of Iannis Xenakis
Bossis, Bruno (2002b). Karlheinz Stockhausen
Bossis, Bruno (2003a). Introduction à l’histoire et à l’esthétique des musiques électroacoustiques
Bossis, Bruno (2004a). {Mortuos Plango, Vivos Voco} de Jonathan Harvey ou le miroir de la spiritualité
Bossis, Bruno (2005c). La voix et la machine. La vocalité artificielle dans la musique contemporaine
Bossis, Bruno (2005d). L’intervocalité ou les avatars de la voix dans le matériau sonore
Bossis, Bruno, Couprie, Pierre (2003). Tutorials : sound and music applications
Brün, Herbert, Hamlin, Peter, Roads Curtis, (1995). Interview with Herbert Brün
Buxton, William (1978). Computers and the Composer: an Introductory Survey
Buxton, William A. S. (1977b). A Composer’s Introduction to Computer Music
Cann, Richard (1979). An Analysis/Synthesis Tutorial
Castanet, Pierre-Albert (2001a). Voyages en Nouvelles Atlantide
Chadabe, Joel (1972). Le principe du voltage-control et ses implications pour le compositeur
Chouvel, Jean-Marc (2004). Du son à la forme: les nouvelles stratégies compositionnelles issues du studio de musique électroacoustique
Chowning, John (1981). La nouvelle musique et la science : interdépendance des concepts
Chowning, John (2005). Composer le son lui-même
Code, David Loberg (1990). Observations in the Art of Speech: Paul Lansky’s {Six Fantasies}
Collins, Nick (2003b). Recursive Audio Cutting
Dack, John (2000). Ludwig Van Henry - An Interview with Pierre Henry
Dack, John (2002a). Histories and Ideologies of Synthesis
Davies, Hugh (1990). Instruments électroniques : classification et mécanismes
Davis, Deta S. (1988). Computer Applications in Music: A Bibliography
Delalande, François (1996). Musique électroacoustique, coupure et continuité
Delalande, François (2003a). Le paradigme électroacoustique
Després, Alain (1988). L’UPIC en temps réel
Deutsch, Herbert A. (1976). Synthesis: An Introduction to the History, Theory, and Practice of Electronic Music
DI SCIPIO, Agostino (1995d). Riflessioni sull’analisi della musica elettroacustica e informatica
Di Scipio, Agostino (2001a). Clarification on Xenakis: The Cybernetics of Stochastic Music
Di Scipio, Agostino (2002a). A Story of Emergence and Dissolution: Analytical Sketches of Jean-Claude Risset’s {Contours}
Dodge, Charles, Jerse, Thomas A. (1985). Computer Music Synthesis, Composition, and Performance
Doornbusch, Paul (2004). Computer Sound Synthesis in 1951: The Music of CSIRAC
Eckel, Gerhard (1993). La maîtrise de la synthèse sonore
Endrich, Archer (1997). Composers’ Desktop Project: A musical imperative
Ernst, David (1977). The Evolution of Electronic Music
Ferrari, Giordano (2005). {Perspectivae sintagma I} : une analyse
Fineberg, Joshua (2000a). Guide to the Basic Concepts and Techniques of Spectral Music
Fischman, Rajmil (1994a). Sound Processing in {Los Dados Eternos}
Genuys, François (1990). L’informatique musicale
Georgaki, Anastasía (1999a). À la recherche de la voix-Protée: penser la voix de synthèse aujourd’hui
Georgaki, Anastasía (2004). Virtual Voices on Hands: Prominent Applications on the Synthesis and Control of the Singing Voice
Gérando, Stéphane de, Risset, Jean-Claude (2003). À propos de l’œuvre pour bande seule de Jean-Claude Risset
Gérando, Stéphane de, Risset, Jean-Claude (2004). À propos de l’œuvre pour bande seule de Jean-Claude Risset
Gerzso, Andrew (1992a). De nouveaux environnements musicaux
Goto, Suguru (2000). Virtual Musical Instruments: Technological Aspects and Interactive Performance Issues
Harvey, Jonathan, Lorrain, Denis, Barrière Jean-Baptiste, Haynes, Stanley, (1984). Notes on the realization of Bhakti
Haus, Goffredo (1980). Summing Up the Situation of Computer Music in Italy at the Conference of Milan
Haynes, Stanley (1982). The Computer as a Sound Processor: A Tutorial

 

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