Musimathics is destined to be required reading and a valued reference for every composer, music researcher, multimedia engineer, and anyone else interested in the interplay between acoustics and music theory.
This is truly a landmark work of scholarship and pedagogy, and Gareth Loy presents it with quite remarkable rigor and humor. Gareth Loy. Peter M. Todd and Gareth Loy. Search Search. Search Advanced Search close Close. Musimathics, Volume 1 The Mathematical Foundations of Music By Gareth Loy A commonsense, self-contained introduction to the mathematics and physics of music; essential reading for musicians, music engineers, and anyone interested in the intersection of art and science.
Request Permissions Exam copy. The sections and chapters of the book are arranged progressively and topics can be followed from chapter to chapter and from section to section. At the same time, each section can stand alone as a self-contained unit. Readers will find The Audio Programming Book a trustworthy companion on their journey through making music and programming audio on modern computers.
The Logic of Filtering traces the profound impact of technical media on the sound of music, asking: how do media technologies shape sound? How does this affect music?
And how did it change what we listen for in music? Since the invention of sound recording in the second half of the nineteenth century, media that transmit, record, store, and reproduce physical sound inspired dreams of perfect reproduction, but were also confronted with the inevitable introduction of noise. Based on a wide range of historical, technical and theoretical sources, author Melle Jan Kromhout explores this one hundred and forty-year history of sound media and shows why noise should not be understood as unwanted by-effect, but instead plays a foundational role in shaping the sonic contours of recorded music.
The Logic of Filtering develops an extensive media archaeological analysis of the 'noise of sound media,' encompassing all the disturbances, distortions, and interferences that these media add to the sounds they reproduce. It thereby stands to enrich our understanding of the way in which sound media changed and continue to change the sonorous qualities of music, and offers new perspectives on the interaction between music, media and listeners.
The Contemporary Guitar traces the extraordinary rise of the instrument in concert music over the past century. While the guitar has stood in the vanguard of musical experimentation, its many new techniques and notations remain a mystery for many composers and players.
In The Contemporary Guitar, musician and scholar, John Schneider explains each class of technique and illustrates them with examples. Moreover, because the guitar is easily refretted, it has also become a leading instrument in the exploration of the relatively new musical language of microtonality.
In this revised and enlarged edition from the original work of three decades ago, Schneider adds a broad-ranging, entirely new chapter on the instruments, notation and repertoire with insights into the interpretation of historical works through the application of accurate contemporary tunings and temperaments. Most players who intuitively explore the subtleties of tone color will find outlined in The Contemporary Guitar the specific principles of physics that determine these subtleties which, once mastered, permit guitarists to control more completely the expressive palette of their instrument.
Designated the Rational Method of Tone Production by its author, Schneider defines in great detail the timbral characteristics of acoustic and electric instruments from theoretical, physical, and musical viewpoints. Players in search of new repertoire will find an historical survey of the literature, an exhaustive list of new music, and a multitude of techniques for bringing such music to life. The Contemporary Guitar provides audio examples online for those seeking to discover new sounds and includes the notation to perform them.
The Unorthodox Guitar: A Guide to Alternative Performance Practice is a comprehensive resource for experimentally minded guitarists and composers wishing to write for or perform on the instrument in new ways.
The book focuses primarily on unconventional approaches to guitar performance, which include alternative tunings, extended techniques, instrumental preparations, electronic augmentations, and issues related to performing and recording with a computer. Embracing all guitar types-nylon, steel-string acoustic, and electric-techniques and examples are culled from a broad range of musical genres, including blues, contemporary classical, country, folk, jazz, rock, and non-Western idioms.
While the writing offers a treasure trove of possibilities for experimental improvisation, it is oriented towards formal composition, and to that end details the controllable dimensions of the techniques and preparations at hand, along with strategies that might be adopted to notate them. Conventional guitar amplifiers, effect pedals, and pedalboards are examined, along with a discussion of analog signal chains, rig design, and best practices for the preservation of tone.
In addition, possibilities afforded by the addition of a computer to the guitar rig are explored, including signal processing, sensor augmentation, and score following. The writing is paired with a companion website that contains an abundance of audio, video, and software materials to supplement the ideas presented. Electronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Opening the door to an unlimited universe of sound, it engages spatialization as an integral aspect of composition and focuses on sound transformation as a core structural strategy.
In this new domain, pitch occurs as a flowing and ephemeral substance that can be bent, modulated, or dissolved into noise. Fingerprinting a Resonant System. Sign in to reply. Want to Read Currently Reading Read. Musimatthe demonstration music programming language discussed in Volume 1 is now available for download. The second volume looks more practical for actually implementing audio algorithms. Pico Fernandez rated it it was amazing Aug 04, Thanks for telling us about the problem.
There were a lot of errors musimatics the musical notation, which makes me wonder how much of the math and physics have errors. Topically, it was exactly what I was looking for, but the math was a little beyond me. Preview — Musimathics by Gareth Loy. Skip to content.
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