- 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 discusses computer-generated sound as the object of empirical study, particularly in perceptual, cognitive, and computational research. The purpose of this article begins with the musicological, taken broadly as understanding the structure of music and its impact on listeners, as well as the creative and performative roles of those who realize the music. It continues with the use of computer-generated sound as material for studies on sonic cognition and temporal perception more broadly. This article focuses on computer sound that is fundamentally musical or intended as such but makes soccasional references to the literature on other computationally generated sounds. Some such sounds are used to bridge the gap between natural phenomena such as object looming and musical phenomena such as crescendi and diminuendi. When an object that generates sound approaches, the sound can be an important influence on one's biological responses and the response of avoidance when necessary.
Freya Bailes, University of Western Sydney.
Roger Dean is Research Professor of Sonic Communication at the University of Western Sydney, and Founder and Artistic Director of austraLYSIS. He is also author of Hyperimprovisation: Computer Interactive Sound Improvisation (2003) and Sounds from the Corner: Australian Contemporary Jazz Since 1973 (2005).
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