FFT

Musicology of Electroacoustic Music [MEM]  >  Analysis  >  Audio Analysis  >  Spectral Analysis  ]

FFT (or Fast Fourier Transform) is a tool used to represent graphically the spectral constituents of a sound. The sound is mathematically analysed and is reduced to its various overtone components in their dynamic evolution over time. The graphic representation of an FFT usually plots the amplitudes of the frequency bands over time, offering a highly readable and visual representation of the sound being examined. (Source - Rodolfo Caesar (1992). The Composition of Electroacoustic Music. PhD Thesis, University of East Anglia.)

 

See also:

Additive Synthesis, Envelope, Phase Vocoder, Representation

 

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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