- The Oxford Handbook of Computer Music
- Introduction: The Many Futures of Computer Music
- A Historical View of Computer Music Technology
- Early Hardware and Early Ideas in Computer Music: Their Development and Their Current Forms
- Sound Synthesis Using Computers
- Computational Approaches to Composition of Notated Instrumental Music: Xenakis and the Other Pioneers
- Envisaging Improvisation in Future Computer Music
- Computer Music: Some Reflections
- Some Notes on My Electronic Improvisation Practice
- Combining the Acoustic and the Digital: Music for Instruments and Computers or Prerecorded Sound
- Dancing the Music: Interactive Dance and Music
- Gesture and Morphology in Laptop Music Performance
- Sensor-Based Musical Instruments and Interactive Music
- Spatialization and Computer Music
- The Voice in Computer Music and Its Relationship to Place, Identity, and Community
- Algorithmic Synesthesia
- An Introduction to Data Sonification
- Generative Algorithms for Making Music: Emergence, Evolution, and Ecosystems
- Computational Modeling of Music Cognition and Musical Creativity
- Soundspotting: A New Kind of Process?
- Interactivity and Improvisation
- From Outside the Window: Electronic Sound Performance
- Empirical Studies of Computer Sound
- Toward the Gender Ideal
- Sound-Based Music 4 All
- Framing Learning Perspectives in Computer Music Education
- Appendix: A Chronology of Computer Music and Related Events
Abstract and Keywords
This article explains the author's experience in the world of computer music. In the 1960s, the author eschewed synthesis and found his own way to generate electronic sound, which allowed him to perform his music in real time in the so-called classical electronic music studio. The studio consisted of a small variety of electronic test equipment, a large telephone style patch bay, amplifiers, speakers, and two professional Ampex stereo tape machines. The author had discovered tape head delay and that he could use more than one tape machine to add distance between playback heads for longer time delays. In his experience with long practice sessions playing hisy accordion, he had noticed that his hands usually had a very pleasant tingling sensation that he enjoyed.
Pauline Oliveros, Rensselaer Polytechnic Institute
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