Synthesis and Resynthesis Techniques

Sound Production and Manipulation [SPM]  ]

Synthesis Techniques concern means of producing sound, electronically or digitally, in which no physical acoustic source is used (except possibly as a model).

Resynthesis Techniques concern the modification of exisiting recorded or synthesised sounds, generally through the application of a computing algorithm to some form of computer representation of the sound. Frequently Resynthesis Techniques will involve the creation of a new ’output’ sound based on the desired signal processing applied to the original ’input’ sound.

For the purposes of the Subject Index, specific Synthesis/Resynthesis Techniques may be looked up under this umbrella term.

 

See also:

Additive Synthesis, Cross-synthesis, Diphone Synthesis, FOF, Frequency Modulation Synthesis, Granular Synthesis and Resynthesis, Graphic Synthesis, Hybrid Synthesis, Karplus Strong Algorithm, Linear Predictive Coding, Phase Vocoder, Subtractive Synthesis, Synthesis Score, Synthesizer, Waveset Distortion, Waveshaping

 

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 | >> Next 60

Risset, Jean-Claude (1999c). Évolution des outils de création sonore
Risset, Jean-Claude (2001a). Synthèse et traitements des sons : sur la composition de {Sud}
Risset, Jean-Claude (2005). Quelques points de vue sur l’invisible
Risset, Jean-Claude, Baudoux, Roald (2003). Interview Jean-Claude Risset
Risset, Jean-Claude, Gontcharoff, Paul (2001). Interview de Jean-Claude Risset
Risset, Jean-Claude, Meston, Olivier (2001). Portrait d’un homme cultivé
Roads, Curtis (1992b). Des instruments pour un son organisé
Rossille, Frédéric-André (1998). Nouvelles technologies musicales et imageries mentales
Ruget-Langlois, Nathalie (1999). Musique et technologie : la démarche particulière de Marco Stroppa. Entretien avec le compositeur
Saariaho, Kaija, Hoitenga, Camilla, Karttunen, Ansi, Barrière, Jean-Baptiste, Stoianova, Ivanka, Mathieu, Jean-Baptiste (1999). Prisma
Schœller, Philippe (1986). Mutation de l’écriture : {Éclat, Stria, Désintégrations}
Sciarrino, Salvatore, Somigli, Paolo (2003). Nature technologique
Serra, Marie-Hélène (1993b). La synthèse dynamique stochastique de Iannis Xenakis
Smith III, Julius Orion (1993). Observations sur l’histoire de la synthèse numérique du son
Sousa Dias, Antonio de (2005). Articulation musique - image : les cas de {Réflexion faite...} et {Natureza morta - visages d’une dictature}
Teruggi, Daniel (1995). Les développements de la recherche informatique au Groupe de recherches musicales de l’Institut national de l’audiovisuel (INA-GRM)
Tiffon, Vincent (2002). Jean-Claude Risset : {Sud} (1985)
Vaggione, Horacio (2003). Composition musicale et moyens informatiques : questions d’approche
Vande Gorne, Annette (1995). Une histoire de la musique électroacoustique
Veitl, Anne (2004). Le compositeur à l’ordinateur (1955-1985) : des moyens de rationalisation aux outils de réalisation
Victor, Michèle (1975). L’informatique musicale
Wanderley, Marcello, Depalle, Philippe (1999). Contrôle gestuel de la synthèse sonore
Xenakis, Iannis (1981). Les chemins de la composition musicale

 

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