Below the level of the musical note lies the realm of microsound, of sound particles lasting less than one-tenth of a second. Recent technological advances allow us to probe and manipulate these pinpoints of sound, dissolving the traditional building blocks of music—notes and their intervals—into a more fluid and supple medium. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as particle density increases.
In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of musical information, such as meter, phrase structure, counterpoint, pitch spelling, harmony, and key from music as we hear it? Taking a computational approach, Temperley develops models for generating these aspects of musical structure. The models he proposes are based on preference rules, which are criteria for evaluating a possible structural analysis of a piece of music.
"Once you get into the flow of things, you're always haunted by the way that things could have turned out. This outcome, that conclusion. You get my drift. The uncertainty is what holds the story together, and that's what I'm going to talk about."
Virtual Music is about artificial creativity. Focusing on the author's Experiments in Musical Intelligence computer music composing program, the author and a distinguished group of experts discuss many of the issues surrounding the program, including artificial intelligence, music cognition, and aesthetics.
Ezra Pound, best known for his Cantos, referred to himself as a "poet and composer" in the 1929 edition of Who's Who. His two BBC radio operas have been obscured by the polemics of his Italian radio broadcasts and his indictment by the United States government for treason during World War II. In this study of Pound's radio operas of the 1930s, Margaret Fisher draws on the unpublished correspondence between Pound and his maverick BBC producer, Edward Archibald Fraser Harding, to reveal a little-known aspect of Pound's career.
Ways of the Hand tells the story of how David Sudnow learned to improvise jazz on the piano. Because he had been trained as an ethnographer and social psychologist, Sudnow was attentive to what he experienced in ways that other novice pianists are not. The result, first published in 1978 and now considered by many to be a classic, was arguably the finest and most detailed account of skill development ever published.
This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it--to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film.
Art making and criticism have focused mainly on the visual media. This book, which originally appeared as a special issue of TDR/The Drama Review, explores the myriad aesthetic, cultural, and experimental possibilities of radiophony and sound art. Taking the approach that there is no single entity that constitutes "radio," but rather a multitude of radios, the essays explore various aspects of its apparatus, practice, forms, and utopias. The approaches include historical, political, popular cultural, archeological, semiotic, and feminist.
The Virtual Score examines a broad range of approaches to working with musical scores in ways suited to electronic distribution. The first section, on musical representation and interchange, discusses early music and its multiple editorial stances, scores in Braille musical notation (with and without NIFF), the GUIDO format for "adequate" (as opposed to comprehensive) music representation, Extensible Markup Language (XML) and music, and the latest methods for distributing scores online. The second section discusses retrieval and/or analysis of data from encoded melodies.
How hearing works and how the brain processes sounds entering the ear to provide the listener with useful information are of great interest to psychologists, cognitive scientists, and musicians. However, while a number of books have concentrated on individual aspects of this field, known as psychoacoustics, there has been no comprehensive introductory coverage of the multiple topics encompassed under the term. Music, Cognition, and Computerized Sound is the first book to provide that coverage.