This major header in the Subject Index consists of relevant means employed in the sonic production of electroacoustic music.
Links:
UNESCO DigiArts
- Practical seminar : Creating a simple electroacoustic piece in easy stages ( English , French )- Digital Creation with Sounds and Music ( English , French )
Bibliography: Battier, Marc (2003e). Digital Creation with Sounds and Music - an online introduction
Bossis, Bruno (2003). Practical seminar : Creating a simple electroacoustic piece in easy stages
Bossis, Bruno (2003a). Introduction à l’histoire et à l’esthétique des musiques électroacoustiques
Bossis, Bruno, Couprie, Pierre (2003). Tutorials : sound and music applications
Chadabe, Joel (1997b). Electric Sound: The Past and Promise of Electronic Music
Eaglestone, Barry, Ford, Nigel, Clowes, Mark (2001). Do Composition Systems Support Creativity? – An Evaluation
Elliot, Kevin (1993). A Behavioural or Actor-Based Paradigm of Sound Production and Studio Composition
Howe, Hubert S. (1975). Electronic Music Synthesis
Manning, Peter (2004). Electronic and Computer Music - Revised and Expanded Edition
Manning, Peter (2006). The significance of {techné} in understanding the art and practice of electroacoustic composition
Naumann, Joel, Wagoner, James D. (1985). Analog Electronic Music Techniques: In Tape, Electronic, and Voltage-Controlled Synthesizer Studios
Pole, Giovanni de, Rocchesso, Davide (1998). Physically Based Sound Modelling
Roads, Curtis (1996c). The Computer Music Tutorial
Rudi, Jøran (1996). Electroacoustics in Norway - This Site Under Construction
Spain, Martin, Polfreman, Richard (2001). Interpolator: A two-dimensional graphic interpolation system for the simultaneous control of digital signal processing parameters
Taylor, Gregory (2002). An Interview with Carl Stone
Wishart, Trevor (1994). Audible Design: A Plain and Easy Introduction to Practical Sound Design
- Abstract-shaping
- Amplification
- Composed Space
- Distortion
- Effect
- Electroacoustic Devices
- Electroacoustic Instruments
- Faktura
- Mixing
- Recording
- Remixing
- Sampling
- Scratching
- Sequencing
- Signal Processing
- Sound Shaping
- ADSR [Attack, Decay, Sustain, Release]
- Brassage
- Chorusing
- Compression
- Constructed Continuation
- Constructive Distortion
- Convolution
- Delay
- Echo
- Editing
- Envelope
- Envelope Following
- Envelope Generation
- Equalisation
- Expansion
- Fader Gesture
- Feedback
- Filter
- Flanging
- Freezing
- Gating and Ducking
- Harmonising
- Limiting
- Loop
- Modulation
- Morphing
- Morphology
- Phase-shifting
- Phasing
- Pitch-shifting
- Plug-in
- Reverberation
- Reverse
- Sample and Hold
- Scrubbing [Tape scrubbing]
- Sound Transformation
- Spectral Shaping
- Spectral Thickening
- Strong Action
- Temporal Shaping
- Time-compression
- Time-scaling
- Time-stretching
- Transfer Function
- Transposition
- Varispeed
- Vocoding
- Sound Source
- Synthesis and Resynthesis Techniques
- Additive Synthesis
- Cross-synthesis
- Diphone Synthesis
- FOF
- Frequency Modulation Synthesis
- Granular Synthesis and Resynthesis
- Graphic Synthesis
- Hybrid Synthesis
- Klanglomeration
- Linear Predictive Coding
- Oscillator
- Phase Vocoder
- Physical Modelling
- Pulse-train
- Real-time
- Schwellenreiten
- Speech Synthesis
- Subtractive Synthesis
- Synthrumentation
- Visual Representation
- Waveset
- Waveset Distortion
- Waveshaping
- Wavetable
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