Computer Music

Genres and Categories [G&C]  ]

This term covers a broad range of music created through the use of one or more computers. The computer may work as (assistant) composer. In this case one speaks of algorithmic composition. Alternatively the computer can be used as an instrument; that is, the computer is the place where the sounds are to be generated. Here one speaks of sound synthesis. The computer is sometimes brought on stage to create and manipulate sounds made during performance. Finally, the computer may analyse incoming performance information and "reply" in what is known as interactive composition. The former two possibilities sometimes necessitate a good deal of compilation time; the latter two belong to the category of real-time. More recently, music making has witnessed the extensive use of networked computers.

 

See also:

Adaptive Music, Automated Composition, Cellular Automata, Connectionism, Constraint-based Composition, FFT, Formalism, Generative Music, Grammar, Graphic Interface, Interactivity, Internet Music, Mapping, Object-oriented, Sonogram, Spectral Analysis, Spectralisme, Stochastic Music, Synthesis and Resynthesis Techniques, Synthesis Score

 

Links:

UNESCO DigiArts

- Digital Music online course: Seminars on Digital Music ( English )
- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 2 - Une nouvelle lutherie ( French )
- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 3 - Du sonore à l’artistique: le timbre musical reconsidéré ( French )

 

Bibliography:

English - Español - Français - Deutch - Italiano

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AMES, Charles (1983). Automatismi stilistici di {Gradient}
CLEMENTI, Aldo (1983). {Fantasia su roBErto FABbriCiAni}
DOATI, Roberto (1994). Dimensione acustica - dimensione elettronica: interazioni linguistiche in un pezzo per suoni di flauto e suoni sintetici
Doati, Roberto, Vidolin, Alvise (1986). Nuova Atlantide. Il continente della musica elettronica 1900-1986
Durante, Sergio, Zattra, Laura (Eds.) (2002). Vent’anni di musica elettronica all’università di Padova. Il Centro di Sonologia Computazionale
Giomi, Francesco (2002). Scuole storiche italiane di musica elettronica
MACHOVER, Tod (1983). {Fusione fugace}. Testo esplicativo
Marinelli Elisabetta (Ed.), (1995). Il complesso di Elettra. Mappa ragionata dei centri di ricerca e produzione musicale in Italia
POUSSEUR, Henri (1976). La musica elettronica
RISSET, Jean-Claude (1982). Tecniche digitali del suono: influenza attuale e prospettive future in campo musicale
ROADS, Curtis (1986c). Ricerche sulla musica e l’intelligenza artificiale
TAMBURINI, Alessandro (1988). Il calcolatore e la musica : informatica musicale, compositore e pubblico
Vidolin, Alvise (1980). Interazione fra i livelli di rappresentazione dell’informazione musicale nella composizione mediante elaboratore
Vidolin, Alvise (1995). Documentazione, conservazione e restauro dei beni musicali elettronici
VIDOLIN, Alvise, DOATI, Roberto (1983). Bollettino 3 – Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB)
VIDOLIN, Alvise, POLO, Nicoletta (1981). Bollettino 1 – Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB)
VIDOLIN, Alvise, POLO, Nicoletta, TORRESAN, Daniele (1982). Bollettino 2 – Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB)
ZATTRA, Laura (2006b). La ’drammaturgia’ del suono elettronico nel Perseo e Andromeda di Salvatore Sciarrino
Zattra, Laura, Durante, Sergio (eds.) (2002). Vent’anni di musica elettronica all’università di Padova. Il Centro di Sonologia Computazionale

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