Synthesis Score

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

A central concept of the MUSIC family of programs is division of synthesis tasks into two components, the orchestra and the score. The ’orchestra’ is constructed from statements which define a network of unit generators and processors, generally representing recognisable studio devices such as oscillators, filters, envelope-shapers, and reverberation units. In due course a number of more specialist unit generators were added to programs such as Csound as a direct result of research into new algorithms for the synthesis of sound. Since these devices are software simulations the only limit on the number of unit generator definitions is the maximum workspace available in memory. The ’score’, as its title suggests, provides performance data for the orchestra. Suitable sequences of control information must be provided for each unit generator, including details of starting times and durations for each set of values, as well as the values themselves. (Source - Peter Manning (1993). Electronic and Computer Music, Second Edition. Oxford University Press.)


See also:

Graphic Synthesis, Synthesis and Resynthesis Techniques



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Alphabetical order - Chronological order

Burns, Christopher (2002b). Tracing Compositional Process: Software Synthesis Code as Documentary Evidence
Nelson, Peter (1997). The UPIC System as an Instrument of Learning
Supper, Martin (2001). A Few Remarks on Algorithmic Composition
Vidolin, Alvise (1980). Interazione fra i livelli di rappresentazione dell’informazione musicale nella composizione mediante elaboratore (Interaction among the representation levels of musical data in computer music composition)
Vidolin, Alvise (ed.) (1980). Musica e elaboratore. Orientamenti e prospettive (Music and Computer. Guidelines and perspectives)
Xenakis, Iannis (1996). Determinacy and Indeterminacy