Product Description
Electronica includes a wide range of contemporary electronic music designed for a wide range of uses, including foreground listening, some forms of dancing, and background music for other activities; however, unlike electronic dance music, it is not specifically made for dancing. The term was first used in the United States in the early 1990s with regards to post-rave global-influenced electronic dance music. Genres such as techno, drum and bass, downtempo, and ambient are among those encompassed by the umbrella term, entering the American mainstream from "alternative" or "underground" venues during the late 1990s. Prior to the adoption of electronica for this purpose, terms such as electronic listening music, and intelligent dance music (IDM) were used. Allmusic categorises electronica as a top-level genre on their main page, where they state that electronica includes "dozens of stylistic fusions" ranging from danceable grooves to music for headphones and chillout areas. Electronica has grown to influence mainstream crossover recordings. ... Read more

Customer Reviews (1)

The definitve book on guitar effects.
Robert Penfold delivers again. As a muscian he meets the need for low-cost, simple yet elegant plans for guitar effects. As an electronics expert Mr. Penfold magnificently and accurately analyzes the purpose of each step of design. Mr. Penfold delivers a book appropriate for the electronics professional and music amatuer, or visa versa. This is the definitive book on guitar effects ... Read more

Product Description
This book tells the story of the influential group of creative artists--Pauline Oliveros, Morton Subotnick, Ramon Sender, William Maginnis, and Tony Martin--who connected music to technology during a legendary era in California's cultural history. An integral part of the robust San Francisco "scene," the San Francisco Tape Music Center developed new art forms through collaborations with Terry Riley, Steve Reich, David Tudor, Ken Dewey, Lee Breuer, the San Francisco Actor's Workshop, the San Francisco Mime Troupe, the Ann Halprin Dancers' Workshop, Canyon Cinema, and others. Told through vivid personal accounts, interviews, and retrospective essays by leading scholars and artists, this work, capturing the heady experimental milieu of the sixties, is the first comprehensive history of the San Francisco Tape Music Center. ... Read more

Customer Reviews (2)

Masterful
,The San Francisco Tape Music Center' is a collection of essays and interviews about the first electronic music studio on the west coast. At the time, there were only a few of these institutions worldwide and fierce differences of opinion and methodology between them. In Paris, for example, were Pierre Schaeffer and Pierre Henry who came up with `musique concrète' which consisted of the montage of natural sounds on tape. This approach was anathema to the people around Karlheinz Stockhausen in Cologne, who also used tape but insisted on only utilizing electronically generated sounds.

To the initiators in San Francisco, Ramon Sender, Pauline Oliveros and Morton Subotnick, these factional disputes appeared meaningless so the chose the ecumenical name `Tape Music' as tape was the medium common to all these endeavours. Happily for us, they kept this unorthodox approach to produce a series of momentous works.

Since all of the main protagonists get to tell their story and there is also a comprehensive introductory essay by editor David Bernstein we have some overlap in the main narrative (after all, the period in question were roughly the six years from 1960 to 1966). I find the structure fitting to the subject matter as one of the main techniques used by these composers was repetition, in particular the tape loop. In repeating the main story over and over, every time with some modification and different point of view we arrive at a much more substantial story than one straight essay could have provided.

To someone interested in the technical aspects it is astounding how basic the equipment was initially. Some tape recorders and noise-making stuff, mainly car parts that were then recorded and edited. Ultimately this led to the creation of the Buchla box, one of the first, if not the first, voltage-controlled synthesizers.

Included with the book is a DVD of a concert series, where all the protagonists met again and perform their works - this movie alone is worth the price of the book.

A valuable document & educational resource
The bookis a valuable addition to the history of Experimental and Electronic Music, though I found it slightly dry in places.
What really stood out for me was the accompanying DVD, which provides very high quality documentation of a sort of 'reunion' concert. Watching it I wished I'd been at the show, and I was delighted to have such a good resource to recommend to my students. The DVD also allowed me to hear pieces I had previously only read about, as some of the performances/tape pieces included are difficult or impossible to find elsewhere. ... Read more

Product Description
Other books have been written on electronic music, but none with the breadth and accessibility offered by Modulations, the tie-in volume to the critically acclaimed film directed by Iara Lee, released in 1998. Going beyond the limits of an encyclopedia or a record guide, essays by musicians and music journalists illuminate such genres as techno, house, krautrock, disco, hip-hop, drum'n'bass, ambient, and downtempo in more expansive detail than was possible in the film. From the "art of noise" proposed by then Italian Futurists to the musique concrete experiments of Pierre Schaeffer and Pierre Henry, Modulations probes the conceptual origins of synthesized sound. Present day geographic trends and cross-fertilized styles are traced back to the experimental and groundbreaking work of diverse pioneers such as Iannis Xenakis, Kraftwerk, Giorgo Moroder, Robert Moog, and John Cage. The African-American roots of electronic music are also documented, from free-jazz fellow traveler Sun Ra to funk innovators Parliament/Funkadelic. Sections on fusion, dub, post-punk, breakbeats, latin freestyle, and Miami bass make this book an all-encompassing reference tool for devoted followers as well as an excellent introduction for curious newcomers. ... Read more

Customer Reviews (4)

Fun read
A light engaging read. the subtitle 'a history of Electonic Music' must be taken with a grain of salt -- really it's a pop book about the electronic dance music craze and it's arty offshoots in electronica, as viewed from the mid-nineties. Because of its focus on artists popular at the time the book was compiled and since, at this writing, a decade has passed, it's a bit of a period piece.

'Downtempo' anyone?

A cool picture book on electronic music in the 20th century
Modulations is a nice little book with some interesting info and plenty of pictures. It claims to be "a history of electronic music", but it's really more of a small-scale coffee-table book. The presentation is colorful and catchy, although it's got a bit more style than substance. If you're looking for something scholarly, this is not it. It IS, however, a fun introduction and may even expose you to some new composers and artists.

It's broken down by style covering Pioneerings, Krautrock, Disco, Post Punk, House, Hip-Hop, Techno, Jungle, Ambient, and Downtempo, in that order. Those chapter headings will give you an idea of where the editor is coming from. I don't think it's at all accurate to label Kraftwerk as "Krautrock", but this book isn't really about detailed history or critique.

At the prices it's selling for on the Marketplace, I'd say it's worth it, just to flip through every now and then. I would also say that $20 is the cutoff point where its cost exceeds its value. It's cool, but not *that* cool. Take advantage of Amazon's online reader. If it looks interesting, I'm sure you'll enjoy it. Moderately recommended.

Highly recommended
This is a tremendously informative book.Densly packed with info, and a fascinating read.My only complaint is that, since chapters were contributed by different writers, there's no style that really permeates the book.The chapter on Techno, for example, does a great job at contextualizing the Detroit sound, pointing out the influences that led to the evolution of techno, from a musical perspective, as well as from a social and even economic perspective.Unfortunately not all chapters are written the same way.The chapter on House, for example, is a bit dizzying for readers unfamiliar with the sounds and beats being described.But nevertheless... READ IT.(And Dance to it, more importantly!)

Throbbing Words on Sound!
Arty package with good content, I even mostly agree with the selected discography recommendations. Covering a nice time line from Stockhausen to present but the focus is mainly from early eighties onwards.

A good read, that offers a reasonably balanced view. One of the best books on electronic music available today, not that there are many anyway. ... Read more

Product Description
Electronic music over the last few years has conquered the Westernworld with the force of a thunderstorm. It has created a new movementthat expresses itself in Love Parades in Berlin and Zurich and in clubscenes that fans of the "old" rock and pop music scene never evendreamt of.Zurich, Switzerland has become a European center forelectronic music, and one of its most popular nightspots, founded in1997, is Rohstofflager ("warehouse for raw material"). The club hasinvited almost every DJ of importance to spin there: world-famous JeffMills and Curtis "Cajmere" Jones from Chicago, Kevin Saunderson ,Derrik May, Juan Atkins and Robert Hood from Detroit, Laurent Garnierfrom Paris, Claude Young from Glasgow, Richie Hawtin from Windsor,Canada, Luke Slater, Dave Clarke, Kevin "Hype" Ford, Ray "Grooverider"Bingham, "Goldie" and Roni Size from the United Kingdom, Cisco "TheAdvent" Ferreira from Lisbon, Helmut "Hell" Geier and Maximilian"Westbam" Lenz from Germany, Cari Lekebusch and Adam Beyer fromStockholm, and more. The stars of the international electronic musicscene are represented in this book, not only through panoramic colorportraits, but also in statements explaining why they do what they do,what happens with them while entertaining the feverish Saturday nightdancers of today, and what happens when they make the people fly totheir rhythms. This is a book for club-goers who want to know whattheir DJ's really feel and think when they are in action. And, lastbut not least: readers become listeners with the two music CDs included inthis must-have publication, which brings the energy of the dance floorto your book shelf.

80 color.
9.5 x 12.5 in. ... Read more

Customer Reviews (3)

An excellent primer
A book like this is never as complete as true fans of a musical genre would prefer and is almost instantly obsolete by the time it sees publication.

This is, however, a notable snapshot of the people who made music and the time, and gives loads of insight into their motivations as artists and culture bearers.And with the inclusion of two CDs featuring 36 tracks by covered DJs/artists, this club is well worth the price of admission.

Sound and vision
fantastic book with great portraits of some of the most important people in electronic dance (mainly techno) today. Each artist describes in their own words what is going through their mind on the topic of techno/dance music - where they came from - how they work - etc. These are true techno artists. You won't find any Paul Oakenfolds or John Digweeds in this book which is such a relief. The bulk of the book is Detroit (Jeff Mills, Rob Hood, Derrick May, Saunderson, Larkin) Northern European (Heiko Laux, DJ Hell, Mss Djax) artists but there are a few d&b/junglists like Ed Rush and LTJ Bukem towards the back. The two CDs included are an excellent way for those unfamiliar with some of the profiles to place face, name, and sound together. Highly recommended for anyone interested in electronic dance music.

A cutting-edge showcase of modern popular culture
Compiled, arranged, and edited by Walter Huegli (in collaboration with Martin Jaeggi), Raw Music Material: Electronic Music DJs Today is an impressively presented archive featuring color photographs, personal interviews, enhanced with exciting music on two accompanying audio CDS. Presenting a cohesive and upbeat portrait of electronic music DJs in the modern age, Raw Music Material is enthusiastically recommended as a cutting-edge showcase of modern popular culture and rhythm. ... Read more

Product Description
This text draws on the author's personal experience as a musician, producer and teacher of popular music to discuss the ways in which audio technology and musical creativity in pop music are inextricably bound together. This relationship, the book argues, is exemplified by the work of Trevor Horn, who is widely acknowledged as one of the most important, innovative and successful British pop record producers of the early 1980s. In the first part of the book, Timothy Warner presents a definition of pop as distinct from British rock music, and goes on to consider the equipment and working practices that result in the specific characteristics of pop music. Part two analyses seven influential recordings produced by Trevor Horn between 1979 and 1985, revealing how the creative use of technology in the modern pop recording studio has informed Horn's work. These analyses highlight the challenges that pop music poses to the music analyst. ... Read more

Customer Reviews (1)

Definitely a 'must'
Pop Music, Technology and Creativity is the most original and wide-ranging book on pop music I have ever read. While focusing on the use of technology, which Warner considers to be one of the distinctive traits of pop music, this book is obviously not intended for the « techies ». Warner is careful to avoid all unnecessary jargon, and technology is always discussed in terms of its creative potential - never in a vacuum.
One of the many strengths of this extremely well informed book is that pop music is seen as a complex and multifaceted artefact produced by people who are both commercially aware and aesthetically motivated. Trevor Horn is a particularly good example of this, as confirmed by the long interview with him that concludes the book.
But this is not a book about Trevor Horn; it is about pop music and British pop music in particular. The seven recordings carefully analysed by Warner serve to highlight one or more interesting aspects of pop such as: the way in which the complexity of the production techniques can be reflected in the lyrics (`Video Killed the Radio Star'); scratching and sampling, and all their implications (McLaren's `Buffalo Gals'); the interaction between performer and producer (`Owner of a Lonely Heart'); the use of repetition and the importance of remixes (`Relax'); the manipulation of timbre and space (Who's afraid of the Art of Noise) ; the merits of the sequencer (Propaganda) ; the use of the Fairlight (Slave to the Rhythm), etc.
Far from being a narrow, self-contained, unit, each of the analytical chapters echoes and/or develops points touched upon previously. Furthermore Warner is always happy to elaborate on the wider musical implications of the points he makes and never ignores the visual or cultural aspects of the final product.
The result is a rich, subtle and multifaceted book which I found well written, informative, full of surprises and highly stimulating. Definitely a `must'. ... Read more

Product Description
Electronic music since 1980 has splintered into a dizzying assortment of genres and subgenres, communities and subcultures.Given the ideological differences among academic, popular, and avant-garde electronic musicians, is it possible to derive an aesthetic theory that accounts for this variety?And is there even a place for aesthetics in twenty-first-century culture?This book explores genres ranging from techno to electroacoustic music, from glitch to drone music, and from dub to drones, and maintains that culturally and historically informed aesthetic theory is not only possible but indispensable for understanding electronic music.

The abilities of electronic music to use preexisting sounds and to create new sounds are widely known. This book proceeds from this starting point to consider how electronic music changes the way we listen not only to music, but to sound itself.The common trait in recent experimental electronic music is a concern with whether sound, in itself, bears meaning.The use of previously undesirable materials like noise, field recordings, and extremely quiet sounds has contributed to electronic music's destruction of the "musical frame", the conventions that used to set apart music from the outside world. In the void created by the disappearance of the musical frame, different philosophies for listening have emerged.Some electronic music genres insist upon the inscrutability and abstraction of sound.Others maintain that sound functions as a sign pointing to concepts or places beyond the work.But all share an approach towards listening that departs fundamentally from the expectations that have governed music listening in the West for the previous five centuries. ... Read more

Product Description
Assuming no prior knowledge of the technological development in electronic music on the part of the reader, Dobson introduces and explains anical information in clear, comprehensive entries dealing with common principles and techniques, such as those on the computer, electronic components, and synthesis. Specific products are then referred to as examples of a particular approach. The DECMT works both as a reference work and as a tutorial text, moving from basic principles to specific examples. Included are entries on major commercial instruments and historical information on companies and individuals whose work has been central to the development of electronic instruments. Supplemented by three appendices, a general index, and one of instruments and manufacturers. ... Read more

Product Description
This guide to the more adventurous evolutions of music since 1945--pointillism, post-Webernism, integral serialism, free dodecaphony, aleatory and indeterminate music, graphics, musique concrete, electronic music, and theatre music--was first published in 1975 and has been reprinted several times.For this second edition, Smith Brindle has added a new chapter reviewing developments over the decade since first publication.He discusses the decline of experimentalism and the reaction against increasing cerebralism and complexity as variously illustrated by the more recent works of Stockhausen, the minimalist works of Reich and Glass, and the partial return to romanticism.He also reviews the technological revolution which has taken place in computer music and concludes that the future of music will for the time being be most closely associated with technological change and development, rather than with radical changes in compositional techniques. ... Read more

Customer Reviews (2)

A great source for the new music
As to talk about the new music and go further deeply into it, one has to clearly define the roots, social situation, paradigms, early tendencies of pioneers, theoretical backround of art in general with its relation to the overall world view and so on... Brindle's success on figuring out these concepts deserves an appreciation. The book achieves to provide a wide understanding of twentieth century music with almost all aspects of the reasoning of artistic creativity of our age. One of the most important qualities of this book also underlies in it's perfectly selected musical examples provided quite often within the text that are also including new technics used in the "new" music. From this point of view alone, it would be evaluated as the second book after Erhard Karkoschka's "Notation in New Music". Though it is mostly in charge of musicologists who are in search of a comprehensive twentieth century music source rather than composers especially focusing on compositional tools but anyway it is a must have book for both.

Fine synopsis of post-war trends in the avant garde
Worthwhile addition to the library of books devoted to contemporary music. The presentation is quite lucid and the topics covered are quite relevant for today's composer, or those interested in modern techniques. There is very little coverage of the most recent composers, namely those working in neo-tonal contexts, but there is a mention of this trend in an epilogue. I find the graphical information in the book some of the best content in the book. Some chapters try to cover somewhat technical topics too quickly, but if you read it carefully enough, it's comprehensible. ... Read more

Product Description
The Computer Music Tutorial is a comprehensive text and reference that covers all aspects of computer music, including digital audio, synthesis techniques, signal processing, musical input devices, performance software, editing systems, algorithmic composition, MIDI, synthesizer architecture, system interconnection, and psychoacoustics. A special effort has been made to impart an appreciation for the rich history behind current activities in the field.Profusely illustrated and exhaustively referenced and cross-referenced, The Computer Music Tutorial provides a step-by-step introduction to the entire field of computer music techniques. Written for nontechnical as well as technical readers, it uses hundreds of charts, diagrams, screen images, and photographs as well as clear explanations to present basic concepts and terms. Mathematical notation and program code examples are used only when absolutely necessary. Explanations are not tied to any specific software or hardware.Curtis Roads has served as editor-in-chief of Computer Music Journal for more than a decade and is a recognized authority in the field. The material in this book was compiled and refined over a period of several years of teaching in classes at Harvard University, Oberlin Conservatory, the University of Naples, IRCAM, Les Ateliers UPIC, and in seminars and workshops in North America, Europe, and Asia. ... Read more

Customer Reviews (22)

Invaluable resource
I use this book both in my own work as a computer music composer and as an instructor in computer music at my university. It is clear and detailed without being cumbersome or laborious. Indeed, for a 1200 page book it feels remarkably concise in its explanations. The biggest drawback for me is that I suck at math, which means there are times when I have to work at it to make sense of some passages. This is a fault of my own (due to sheer laziness) and not of Roads. Even so, I've been able to read about techniques that I didn't know much about beyond their sound and immediately implement them in Max/MSP simply by having had their the mechanics explained in clear detail. This is a brilliant, invaluable book for deepening my understanding of and work in computer music theory and technique.

great
this was my first purchase through amazon, and i had a very good first impression. the delivery was very quick (it arrived sooner than expected), and the product was in perfect conditions. plus, the material i ordered has very valuable content, and it would have been very hard for me to get it elsewhere. thus, i am not only satisfied, but also very happy with this deal. you can be sure amazon will be my first choice for further hard-to-get books or media. thanks.

Pretty much a computer music bible
This book is the best book to get started and continue with music involving electronics and computers.The book covers the basics and keeps going.If you touch any type of electronic device to make music, this book should be on your shelf.I can't say enough good things about this book.

The vast majority of the book is still useful and relevant
Don't peruse through this book and let the pictures of people from the 1970's and 1980's working with musical instruments and synthesizers that appear to be assembled from Heathkits scare you away. This book still has vast quantities of information that are very relevant today to the person interested in computer music. In this age of "Garageband", it's just hard to find information on the mathematics of sound synthesis and signal processing as it applies to music in a detailed well-illustrated format. Of course, many people don't need this information nor do they want it - but if you do this is one of several sources that I turn to. It assumes that you know music, but that you do not have a background in mathematics past algebra, and it is wonderful at explaining what goes on mathematically in computer music so that you can turn to a language like CSound and put to work what you learn in this book. I even know some engineering students have had difficulties with certain signals and systems concepts that I refer to this book, and afterwards they are crystal clear.

The first four sections of the book are completely relevant today, and they deal with fundamentals, synthesis, mixing and signal processing, and sound analysis. That is the first 600 pages of the book. Section five, on the musician's interface, is relevant and correct as to history and the basic facts. Many of the instruments used as illustrations no longer exist, but the theory of operation is still employed today. The section does discuss the "Max" software in the context of interactive performance, and Max is still used in various forms. Other systems such as MODE, MacMix, and NoteWriter, are now obsolete. However, even these sections are worthwhile in talking about how such systems work even if these particular systems are defunct.

Section six, on Internals and Interconnections, is probably the section with the most obsolete material, and even then it is not that bad. The sections on MIDI and the internals of digital signal processors are good detailed explanations. DSP hardware and dataflow are especially clearly explained. However, in the chapter on system interconnections, we are in a time gone by as there is much material on how to connect to devices no longer in existence such as the 2-track and 4-track recorder. Section seven is a very short one on psychoacoustics. It is not that it is dated, it is just a very short introduction to the subject. Among the appendices, there is a very useful section on the details of Fourier analysis. This is essential knowledge for the computer musician.

I would still highly recommend this book. Just recognize that a very few sections - and a good number of the photographs of actual equipment - are dated.

Cmt
Nice book.
Although it may seem outdated, trying to making up one's mind one has to consider a few things:

It's true that synthesis techniques have evolved in a very impressive way during theese 20 years (the book as you may guess has been written during the 80's), but it's also true that many of today's so called "new" synthesis techniques (as some software synthesis companies are fond of saying) are simply the natural evolution of past ones.
Just to give you an example the plugin "melohman" by ohmforce can be viewed as moving wavetable synthesis tool combined with ring modulation and effects like delay filters etc.

On the other hand, somechapters like ones on music equipment or software for algoritmic composition -fields in which technology plays a very important role- do are really outdated.

Cmt is a very complete book, it covers most important fields involved in electronic music composition, as one can see stepping through the index. Explanation of FFT calls for a review of trigonometry and algebra if you didn't studied them well at school, like me for example.

This review must come to an end, so here it is:
If you are/want to become self-taught serious about computer music and you like to make music with softwares like Pure Data or Max/MSP this book is a good place to start. Buy it.
Profund understanding of the possibilities of synthesis techniques or effects design of course requires more specifc scientific/academic readings.
... Read more

Customer Reviews (2)

A highly interesting book.
Totally disagree with the other reviewer. I find it a fascinating and informative book. Well worth finding.

Highly innovative, but outdated
This book by Dr. Joel Naumann, head of the composition department at the University of Wisconsin Madison is a great example of experimental electronic music of the late 60's and early 70's. It goes over academicelectronic music techniques, but because of the rate at which teachnologyhas evolved, the author himself no longer uses the text. It is of someinterest to someone seeking a historical basis in electronic music, but isnot reccommended unless the reader has substantial basis of knowledge inthe area so that it is clear what is correct information, and what hasbecome incorrect because of changing technology. ... Read more

Product Description
178. Irish Favorites Features 30 of the most popular Irish songs ever, including: Danny Boy * The Harp That Once Was * Harrigan * Killarney * A Little Bit of Heaven * Molly Malone * and more. ... Read more

Customer Reviews (1)

Irish Favorites are good for piano playing.
I could sight-read most of the songs.A few needed a little practice, but it is generally medium-skilled pianist friendly.I practiced singing with an autoharp, and that went well, too. ... Read more

Product Description
This text reflects the current state of computer technology and music composition.The authors offer clear, practical overviews of program languages, real-time synthesizers, digital filtering, artificial intelligence, and much more. ... Read more

Customer Reviews (10)

Best combination of digital signal processing and music
Music synthesis is understood by a number of people just as manipulating a keyboard or just a work done by frequency equalizer. This book can remove such a misunderstandings and can give the readers the basics and advanced idea of building sound waveforms from zero to one. The readers are expected to have some knowledges of Fourier transform and analogue electronic circuits. All the engineers who are engaged in noise and vibration control should read this book.

Excellent first book on computer music
This is a great first book on computer music for anyone who already has some training in music theory and computers. By "music theory" I simply mean that you should be able to read and write music and understand its terminology. By having knowledge of computers, if you have had any college course equivalent of "Introduction to Computer Technology" or equivalent work experience, then you qualify. I discuss the contents of this book in the context of its table of contents:

Chapter one is a broad overview and introduction to computer music and its components - operating systems, block diagrams, software, and the use of a computer in computer music.

Chapter two is a very basic introduction to acoustics and psychoacoustics in music. It presents the basic measurements of acoustics, describes the transducer mechanism of the human ear, and then discusses the psychoacoustic response of pitch, loudness, duration, and timbre.

Chapter three, "Fundamentals of Digital Audio", discusses the process of converting a signal between its analog and digital forms. This includes the restrictions, errors, and limitations imposed by the numerical representation of an audio signal. Finally, the chapter addresses the issues raised by the speed at which digital audio can be synthesized or processed. This last issue is a moving target and has changed considerably since this book was published.

Chapter four, "Synthesis Fundamentals", begins with the fundamentals of signal generation and presents techniques of additive synthesis, modulation, and noise generation. Several example computer instrument designs are shown along with examples of composition.This chapter is very important because it introduces the building blocks of synthesis - the oscillator, unit generator, etc.

Chapter five, " Synthesis Using Distortion Techniques", concentrates on frequency modulation and nonlinear waveshaping. The chapter concludes with three examples of synthesis methods that explicitly use discrete summation formulas.

Chapter six, "Subtractive Synthesis", is about creating musical tones out of complex sources by sculpting away selected portions of the spectrum of the source. Filtering is discussed at length, and musical examples are provided to show the design considerations for computer instruments with noise and periodic sources. Several examples from musical literature are given. The chapter ends with a technical description of digital filtering and some filter recipes.

Chapter seven, "Analysis-Based Synthesis Techniques", discusses techniques such as the short-term Fourier transform and wavelet methods and also discusses limitations. The operation and application of the phase vocoder is presented.

Chapter eight, "Granular Synthesis", is a very brief discussion of a complex synthesis technique whose name was coined by Xenakis, who detailed an extensive theory of grain selection in his writings. If you want to implement this technique you should read Xenakis' work on the subject plus there are some applicable articles in "The Computer Music Tutorial".

Chapter nine, "Physical Modeling", is also a very slim chapter on a very complex subject. It talks in very high level terms about approaches, excitation for physical models, waveguide filters, the physical model of the vocal tract at a block diagram level, and the use of mechanical models. The authors rightly refer the reader who wants details to "The Physics of Musical Instruments" by Fletcher and Rossing. Another and more recent work on the subject published after this book is Perry Cook's "Real Sound Synthesis for Interactive Applications".

Chapter 10, "Reverberation, Auditory Localization, and Other Sound-Processing Techniques", talks about various techniques that have to do with sound reflection, sound placement, and sound motion. This book has more implementation details than the previous two chapters had.

Chapter 11, "Composition with Computers", examines the techniques of using the computer for both random and deterministic operations to produce a composition. There are examples of actual compositions shown to help the reader develop a sense of the possibilities that are achievable with computer-aided composition. This is a chapter where musical literacy is necessary. There is also some C-code present, but it is well commented and should be somewhat legible even to the layman.

Chapter 12, "Real-Time Performance of Computer Music", presents various modes of computer music performance and some of the many devices that can be used to change the actions of a performer into musical information. Methods of transmitting information between pieces of computer equipment are discussed as well as the use of a computer to respond musically to the sound from a live performer. There is a discussion of MIDI in this chapter that may be inadequate to some readers. I suggest the latest edition of "MIDI Power" for those readers. Also, there is some discussion here about the speed of computer equipment that is no longer relevant given the date of publication.

In spite of the fact that it is nine years old, I would highly recommend this book to anyone interested in computer music. With the exception of a few paragraphs on computer technology, the entire book is still relevant, and it introduces all of the terminology that anybody interested in this subject must know. Also it is a well written and well illustrated book that reads easily.

Program independent, but falls short
The principle credit I could give to the authors are to stay away from one particular program, however, after reading up to FM synthesis so far, there isn't anything spectacular that I'd say about it.
The math support is spotty. It gives the spectral distribution of a white noise generator, but I couldn't find the basic FM synth equation. Although I could derive the equation from the diagrams of a simple FM, but I would assume that this equation is important enough for a square-inch of space.
Another noticibly annoying thing was that I was trying to generate triangular waves. The book said that you need odd harmonics, and their contribution is the inverse of the square of the harnomic, ie k = 2i+1, i>=0, contribution would be 1/(k^2). However, they neglected to say that to really get the triangular wave, you alternate the sign, ie k=2i+1,i>=0, triangular wave = sum i=0 -> infinity, (-1)^i*1/(k^2)*sinusoid is the correct way to generate such a wave.
Also, it assumes the reader has a strong music background, and certain chapters, namely chapter 2, would be hard to follow. The music jargon was not explained well, and make it hard to understand. Mind you I did have classical piano training up to Grade 9, and still it was hard to follow in that chapter.
Perhaps this book is good for people who want to compose digital music, but it is, in my opinion, insufficient for those who wants to know how it works.

I (heart) Computing
If you're looking to get a good fundemental understanding of sound this book is the way to go. It's the book you read after spending hours randomly turning knobs on a synthisizer and realizing that you have no clue how to describe or control the knob-to-sound beaviors that you hear. There's a heavy price to pay -- both in money and in hours of trying to wrap your brain around mathematical descriptions of sound waves -- but it's worth the gains.

should have been my first book
i've been making computer music with supercollider and before that
with a commercial graphical patch up package for several years now,
and i wish that this had been the first book i had read.
the first book i did in fact read was roads' 'computer music tutorial',
which is a great book which i also highly recommend, but is more of
a reference than a tutorial, both in its layout and style. the dodge/jerse book
is so clearly and pedagogically written, that even though i already knew
a great deal of the material, it solidified quite a lot of it into place for me.

the thing i liked best about it is that the authors invariably direct you
to compositions made using the methods just described. in other words
the methods are not just described in a vacuum.

expect to learn from this book the basics of acoustics and psychoacoustics,
digital audio and sampling theory, and a slew of sound synthesis techniques,
as well as about composition.

who should buy this:

the serious computer music student, who does not necessarily have any
experience yet in computer music, but who is not afraid of some hard study.

the computer musician using either a graphical patch up system ( max/msp, reaktor, pd etc... )
or using some Music-N derived language (supercollider, csound) would both benefit tremendously
from a thorough study of the contents of this book.

the mathematics level required for this book is not high. your algebra should be strong
with a solid understanding of exponents and logarithms, and some basic trig wouldn't
hurt either.

a note about the C++ source code. first off if you don't program, there is nothing to be scared
of, the source only appears in the chapter on composition, and if you do program in C but not C++,
then you should know that you will be fine, because the code snippets are effectively written in C.
aparantly the first edition included fortran code for ugens and was quite a different book. if you want a book on ugen internals, you won't find it in this second edition, but Moore's is terrific, 'Elements of Computer Music'. ... Read more

Customer Reviews (5)

Out of print but can be ordered direct from the publisher in PDF format
This book can be ordered from McGraw-Hill's Higher Education eBookstore in PDF format for $15. I downloaded my pdf copy from them in minutes. Just register, pay and download.
If I'm right, this textbook is still being used to this day in academia hence it's availability through their site only. You may also get binded copies for you and your students for a good price if you happen to be a teacher.
I hope Mcgraw-hill considers reprinting this book.

Out of print but can be ordered direct from the publisher for little.
This book can be ordered from McGraw-Hill's Higher Education eBookstore in PDF format for $15.23. I downloaded my pdf copy from them in about 15 mins. Just register, pay and download.
If I'm right, this textbook is still being used to this day in academia hence it's availability through their site only. You may also get binded copies for you and your students for a good price if you happen to be a teacher.
I hope Mcgraw-hill considers reprinting this book.

Definitive Text On Analog Synthesis
From the basics to the most advanced techniques for sound synthesis, this is the definitive text. I do not have the faintest notion as to why this book is out of print.

Every bit of information in its 150 or so pages is as current for the understanding and programming of todays virtual and hardware synths as it was to the modular synths of the 70's when this book was written. It is an incredibly easy read considering the depth of the information presented.

As an example, in reading this book, I now understand how and why I can use a ring modulator as an audio gate. Ever wonder why you can reproduce a 20 kHz sine wave with only two samples if sampling at 40kHz as per the Nyquist criterion. The straightforward explanation of the concepts of electronic signals will help you in the understanding. I feel comfortable with additive synthesis, subtractive synthesis, what FM is, what AM is and how these techniques are applicable in generating and sculpting electronic sounds.

Although originally this book sold for around $8.00 it is def. worth $100+.

Find a copy of this book -if you love creating electronic music. With any freeware synth (there are so many available on line -Crystal 2, Synth1, SynC are favorites) you will never be bored. Never use presets again. Create and understand the design of sound!

"Old skool"
I have not been entirely surprised to see a renascence of analog synth in popular music. This book is particularly useful for anyone looking to understand the various aspects of sound synthesis and loaded with diagrams (my favorites are the patch diagrams). I haven't found too many other books that describe how the sounds are constructed rather than how to play the instrument. I do not let this book leave my house.

And _why_ is this out of print?
Allan Strange's book is perhaps the definitive text on modular synthesis methods, written from a standpoint that's musically understandable, as opposed to requiring a part-background in electronic engineering tounderstand. Not that Strange doesn't go into the engineering concepts; hemost certainly does, but everything here is treated in such a balanced,even manner that allows those interested in the musical concepts to havetheir desire for information satiated, and those looking for engineeringconcepts will find the book equally well-ordered. Useful both as a textbookand a reference document, the book also contains numerous illustrations anddiagrams of modules by Moog, ARP, Buchla et al. I consider this to be aninvaluable work for those exploring modular or most any other analogsynthesis methods, and I also consider it nigh-criminal that such animportant work should be allowed to go out of print. Someone should pickthis back up and reissue it! ... Read more

Product Description
13 songs, including: Could I Have This Dance ¥ Getting to Know You ¥ Just the Way You Are ¥ Longer ¥ Somewhere out There ¥ When IÕm Sixty-Four ¥ Yesterday. ... Read more

Product Description
This is the resource for creating truly inspired arrangements! Full of tips and tricks covering techniques for building digital arrangements in a variety of styles, including country, gospel, pop, jazz, rock, Latin and more. Teaches basic MIDI, sequencing, production concepts, and arranging techniques for a variety of digital instrument sounds. Make your MIDI sequences and grooves come alive! Also includes a General MIDI disk with more than 50 sequenced samples, helpful definitions, and more. ... Read more

Customer Reviews (6)

Writing In a Digital World . . .
Mr. LaCounte has no business teaching anyone anything about writing.I have never read, in published form, so many grammatical, spelling, and homophonic errors!He has no conception of there/their/they're and other sound alikes.He has no concept of what is and isn't a contraction.Ways to show possession are a foreign language.If I could, I'd ask for a refund!

Description is better than the book...
After having browsed through this book, I realized that it has been created for basic level beginners, which does not come out so clearly in the book description.
Even though it's meant for entry level musicians and arrangers, It must be said that ideas are presented vaguely. Also, all the examples and scores in the book become useless if the reader does not have any experience in music notation/music reading.
All in all, I can say that It does not match expectations.
I must say that this is the first book of the Berkley Press that I've found negative.

A big disappointment...
I should have paid more attention to the sticker on the front of the book that proclaims: "Great for Beginners!"It's sad that Berklee Press not only published, but continues to promote this book.I expected much better.

I've been hanging around music for a while, but am more of a "seasoned hobbiest" than anything else.Yet there was only a couple of things I found useful in this book.Because the book is called "Arranging in the Digital World," I was expecting to get a book that taught some arranging, including some discussion about common ways to use a keyboard in an ensemble.Instead, the author fails on both of these points.First, in the introduction he states, "Our focus will be on sequencing techniques... rather than actual writing techniques."Last time I checked, arranging was WRITING appropriate parts.So, maybe this book should have been entitled, "Sequencing in the Digital World," since the author doesn't go into any depth about the kinds of parts you might want to write.The author also assumes that you are a seasoned keyboard player already (who else uses midi?) and so skips discussing keyboard altogether with this dismissive quote, "I assume you are already familiar with the piano..."I don't know how a serious book on arranging can say nothing about what keyboards might typically play in an ensemble.

Other than a sample midi song fragment or two in a handful of styles (mostly jazz & latin), there just isn't much "arranging" to be found.You can read the whole book in an hour and it's not likely that you'll ever pick it back up again....

There are Much Better Books!
This gets two stars only because it includes a floppy disk of MIDI files of examples. But not everyone has a floppy drive anymore. (By the way: MIDI or 'musical instrument digital interface' is the language a computer and an electronic keyboard [or other instruments nowadays] use to communicate. Sequencing software is rather like a recorder or stenographer in that the computer captures every nuance of each note one plays. Editing is a lot like correcting, copying, and moving around words in word processing programs. Adding a swirling bell voice here, transposing a tune by a few steps, and so many other possibilities let me feel as if I were painting with the notes of instruments and tones.)

It's unusual for me to be negative about the totality of a book, a movie, or whatever; however, this how-to from the press for reknowned Berklee College of Music barely scratches the surface of the amazing art of combining notes and sounds to become a symphony or a jazz trio. I kept expecting more as I progressed through this short paperback, but by the end this seemed to have been the semester project of a frosh or sophomore for which he'd earn a B- for submitting it by the deadline. There are lots of bits of information needing further explanation or exploration. Things are brought up but not developed in a way which would help a beginner. And there just ain't much for someone with experience.

Considering that a major pro musician is quoted on the backcover saying, among other sentiments, it's "A Godsend".It was this review which hooked me into buy "Arranging". Now I'm wondering about this musician or the editor of critical reviews.

If I were to try to direct a beginner to real help, I'd suggest studying the manuals which came with her keyboard and software. Usually these are very useful as one develops a foundation of understanding this digital musical world. I'd also tell her to re-re-re-read the manuals every so often.Then there's the internet. Frankly, there are some major which let us access among the best resources on MIDI and digital recording -- for the beginner to the expert.

A practical manual on MIDI sequencing for contemporary music
This little book comes with a 3.5-inch floppy disk containing some 30-odd MIDI files which are closely linked to the contentsof the book. The technology of the digital studio is covered only verybriefly, and the emphasis is on the techniques for building MIDI arrangements for a variety of contemporary musical styles, e.g. pop, jazz, country, latin, rock.As an experienced music educator, the author has arranged the lessons very logically from basic to complex, and I felt like it was having a personalmusic tutor guiding me through the paces. The maximal benefit from this book would be derived by sitting in front of your computer sequencer as you read and play through the sequenced examples. It is a very 'hands on' and systematic approach to teaching music arrangement, lots of practical tips and tricks, but relatively little theoretical discussion on musical style, harmony, rhythm, and the like. This book is one of a series of "Berklee Guides" from the famed

Berklee College of Music. ... Read more

Product Description

Customer Reviews (1)

Nice, but lacks depth
Rodgers assembles a nice selection of prominent women composers in the field of electronic music, giving each around six pages of interview space, plus one page of biography. Her questions tend to be fairly journalistic, so don't expect anything too theoretical. It's not fluff, but it's still pretty casual and easily accessible. I would have liked to see more depth in the questioning. Everyone gets asked how they got into music, which invites almost universally banal answers. Likewise, the biographies are just career snapshots containing nothing that you couldn't find with a quick Google search.

However, it's nice that someone is at least taking steps to cover these composers/musicians/artists. This is most definitely a first-step; there is ample room for much more detailed, substantive analysis, but I suppose the overall project of bringing people like Ikue Mori into academic awareness is still aided by these little interviews. It's also convenient to have them all in one place, and all done by the same person. That said, the interview quality tends to reflect that of the artist. Mira Calix's interview is breezy whereas Jessica Rylan's interview is much more interesting. Nothing against Mira Calix, but she is a thoroughly intuitive musician who prefers not to think too hard about her compositional process, and that leads to a rather uninteresting interview.

This isn't a great book, but it's a start and I appreciate the effort. I might recommend it to those interested in contemporary music, and who are relatively unfamiliar with the artists interviewed within. I doubt that I would recommend this to many people familiar with a significant number of these artists, as there isn't much depth here (again, by necessity, as the interviews are six pages long, not counting the obligatory photo). ... Read more

Product Description
Cartoon characters introduce the techniques and theory of keyboard playing. ... Read more