Sound Production and Manipulation [SPM]  >  Synthesis and Resynthesis Techniques  ]

In early computer music, this term was used to signify sound generation systems that took no longer to compute than the length of what it was computing. More recently, this term is used as in most disciplines to signify a user’s perception of the result of digital processing as sufficiently immediate.




- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 6 - De la musique mixte à l’interactivité ( French )



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Lippe, Cort (1996). Real-Time Interactive Digital Signal Processing: A View of Computer Music
Lokki, Tapio, Hiipakka, Jarmo, Hänninen, Rami, Ilmonen, Tommi, Savioja, Lauri, Takala, Tapio (1998). Realtime Audiovisual Rendering and Contemporary Audiovisual Art
MACHOVER, Tod (1983). {Fusione fugace}. Testo esplicativo ({Fusione fugace}. Explanatory text)
Maillard, Benedict (1981). Un studio numérique de travail sur le son
Makan, Keeril (2004). An Interview with Edmund Campion
Manoury, Philippe (1990). La note et le son: un carnet de bord
Manzolli, Jonatas, Moroni, Artemis, Zuben, Fernando von, Gudwin, Ricardo (1999). Palatal Sound: An Evolutionary Approach to Algorithmic Composition
Marino, Gérard, Serra, Marie-Hélène, Raczinski, Jean-Michel (1993). The UPIC System: Origins and Innovations
Mathews, Max (1975). L’ordinateur en tant qu’instrument de musique
Mathews, Max V. (1991). The Radio Baton and Conductor Program, or: Pitch, the Most Important and Least Expressive Part of Music
Merlier, Bertrand (2002a). Qu’est-ce que l’informatique musicale ?
Molino, Jean (1989). Musique et machine
Moore, F. Richard (1987). The Dysfunctions of MIDI
Pellegrino, Ronald (1983). The Electronic Arts of Sound and Light
Pennycook, Bruce (1997). Live Electroacoustic Music: Old Problems, New Solution
Pennycook, Bruce W. (1985). Computer-Music Interfaces: A Survey
Pottier, Laurent (1999). Contrôle interactif d’une voix chantée de synthèse
Pottier, Laurent (2003). {Straps} : pièce d’Eryck Abecassis pour ensemble et électronique en concert
Pottier, Laurent, Stalla, Olivier (2000). Interpretation and Space
Povall, Richard (1996). Adding Video into the (Real)time Domain
Puckette, Miller (2002). Max at Seventeen
Racot, Gilles, Teruggi, Daniel, Favreau Emmanuel, (1999). Évolution des outils, évolution des idées
RISSET, Jean-Claude (1982). Tecniche digitali del suono: influenza attuale e prospettive future in campo musicale (Digital sound techniques: current influences and future perspectives in music)
Risset, Jean-Claude (1985b). Digital Techniques and Sound Structure in Music
Risset, Jean-Claude (1985d). Musique et perception
Risset, Jean-Claude (1992a). Composing Sounds with Computers
Risset, Jean-Claude (1993). Synthèse et matériau musical
Risset, Jean-Claude (1999a). Composing in Real-time?
Risset, Jean-Claude (1999d). Nouveaux gestes musicaux : quelques points de repère historique
Risset, Jean-Claude (2000). Temps et musique numérique
Risset, Jean-Claude (2003). Computer Music: Why?
Risset, Jean-Claude (2005). Quelques points de vue sur l’invisible
Risset, Jean-Claude, Sousa Dias, Antonio de, Lorrain, Denis, Pottier, Laurent (2002). De {Inharmonique} à {Resonant Sound Space} : temps réal et mise en espace
Roads, Curtis (1985b). Improvisation with George Lewis
Roads, Curtis (1992b). Des instruments pour un son organisé
Roads, Curtis (2003). Réflexions sur la musique électronique aujourd’hui
Rudy, Paul (2001). Separation Anxiety: Metaphoric transmutations from a paradoxical biological instrument, or: What is a cactus doing in our concert hall?
Saariaho, Kaija, Hoitenga, Camilla, Karttunen, Ansi, Barrière, Jean-Baptiste, Stoianova, Ivanka, Mathieu, Jean-Baptiste (1999). Prisma
Sapir, Sylviane (1989). Informatique musicale et temps réel; geste-structure-matériau
Schrader, Barry (1982). Introduction to Electro-acoustic Music
Settel, Zack, Lippe, Cort (1994). Real-time Timbral Transformation: FFT-based Resynthesis
Sigurbjornson, Thörkel (1978). Introduction to the HYBRID IV Working
Spain, Martin, Polfreman, Richard (2001). Interpolator: A two-dimensional graphic interpolation system for the simultaneous control of digital signal processing parameters
Spiegel, Laurie (1998). Graphical GROOVE: Memorial for the VAMPIRE, a visual music system
Stiegler, Bernard (2003). Bouillonnements organologiques et enseignement musical
Stockhausen, Karlheinz (1996). Electroacoustic Performance Practice
Stuart, Caleb (2003). The Object of Performance: Aural Performativity in Contemporary Laptop Music
Szendy, Peter (1998). Temps réel
TAMBURINI, Alessandro (1988). Il calcolatore e la musica : informatica musicale, compositore e pubblico (The computer and music: computer music, composers and the public)
Teitelbaum, Richard (2006). Improvisation, Computers and the Unconscious Mind
Teruggi, Daniel (1995). Les développements de la recherche informatique au Groupe de recherches musicales de l’Institut national de l’audiovisuel (INA-GRM)
Teruggi, Daniel (1999). L’interactivité dans les processus de création sonore et musicale
Tiffon, Vincent (2004). La musique mixte: avenir de la musique électroacoustic?
Tiffon, Vincent (2005). Les musiques mixtes : entre pérennité et obsolescence
Trayle, Mark (1999). Free Enterprise: Virtual Capital and Counterfeit Music at the End of the Century
Truax, Barry (1985). The PODX System: Interactive Compositional Software for the DMX-1000
Turner, Tad (2003). The Resonance of the Cubicle: Laptop Performance in Post-digital Musics
Warde, Ann (1999). Change Over Time: Responsibility and Power in the Midst of Catastrophe
Weinberg, Gil (2002b). The Aesthetics, History, and Future Challenges of Interconnected Music Networks
Wilson-Bokowiec, Julie, Bokowiec, Mark Alexander (2006). Kinaesonics: The intertwining relationship of body and sound